Alienating Hamlet

IF 0.3 3区 文学 0 LITERARY THEORY & CRITICISM
Per Sivefors
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引用次数: 0

Abstract

The protagonist of Jenny Andreasson's autobiographical novel Teatern (2022) is a young female director whose feminist production of Hamlet at the Swedish national stage fails to have its planned premiere. While the novel makes a point of describing the misogynist structures behind this failure, the present article suggests that class structures and precarity are the main reasons behind it. The financial difficulties of the theatre generate a clear discrepancy between cultural capital – embodied by Shakespeare's canonical play – and economic. The resulting precarious work situation is reflected in the protagonist's yearning for stability, in her recurring assertions of class privileges vis-à-vis her co-workers and in her increasing sense of alienation from both them and her own work. While not strictly paraphrasing Shakespeare's play, the protagonist invokes parallels to both Hamlet and Ophelia, and Teatern, instead of locating these parallels in an ‘existential’ reading of Shakespeare's play, anchors the theme of alienation in the economic and social strictures of the theatre institution.
疏远哈姆雷特
珍妮·安德拉森的自传体小说《Teatern》(2022)的主人公是一位年轻的女导演,她在瑞典国家舞台上的女权主义作品《哈姆雷特》未能如期首映。虽然小说着重描述了这种失败背后的厌女主义结构,但本文认为阶级结构和不稳定性是其背后的主要原因。剧院的财政困难在文化资本(体现在莎士比亚的经典戏剧中)和经济资本之间产生了明显的差异。由此产生的不稳定的工作状况反映在主人公对稳定的渴望中,反映在她对-à-vis同事的阶级特权的反复主张中,反映在她对他们和自己的工作越来越疏远的感觉中。虽然不是严格地改写莎士比亚的戏剧,但主人公引用了哈姆雷特和奥菲莉亚的相似之处,而Teatern不是在莎士比亚戏剧的“存在主义”阅读中找到这些相似之处,而是将异化的主题锚定在戏剧制度的经济和社会限制中。
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来源期刊
Critical Survey
Critical Survey LITERARY THEORY & CRITICISM-
CiteScore
0.20
自引率
0.00%
发文量
40
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