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Shakespeare Electronic Conference, Vol. 3, No. 299.  Monday, 2 November 1992.
 
(1)	From: 	Stephen Orgel <orgel@leland.stanford.edu>
	Date: 	Monday, Nov. 2, 1992, 19:11:51 PST
	Subj: 	doubling
 
(2)	From: 	Balz Engler <engler@urz.unibas.ch>
	Date: 	Tuesday, Nov. 3, 1992, 08:58:16 +0100
	Subj: 	SHK 3.0298 More Rs: Doubling Claudius and Ghost
 
(1)---------------------------------------------------------------------------
 
From: 		Stephen Orgel <orgel@leland.stanford.edu>
Date: 		Monday, Nov. 2, 1992, 19:11:51 PST
Subject: 	doubling
 
If doubling was really a significant device in Shakespeare's theater, why
weren't the two twin plays, C of E and 12N, written so they could be
doubled? Surely it's we who believe that the actor is the character; so
in our twin plays, Jeremy Irons or Bette Davis have to be both twins.
 
Stephen Orgel
 
(2)----------------------------------------------------------------------------
 
From: 		Balz Engler <engler@urz.unibas.ch>
Date: 		Tuesday, Nov. 3, 1992, 08:58:16 +0100
Subject: More Rs: Doubling Claudius and Ghost
Comment: 	SHK 3.0298 More Rs: Doubling Claudius and Ghost
 
Doubling in *Hamlet*. This reminds me of a production of the play I saw in
Weimar, in the GDR, in 1972, I think. There the doubling was between the
Ghost and Fortinbras. In a post-performance discussion the point was raised
whether this was significant, whether this meant a return to the conditions
before Claudius's usurpation, that the production had a kind of cyclical
Weltbild. This was fiercely denied by the director--after all, the official
reading in the GDR at the time was that a new era is dawning at the end of
the play. No, it just so happened that the actor doing Fortinbras had fallen
ill. This is just an anecdote. But it illustrates, I think, the importance
of doubling for interpretation.
 
Balz Engler
Basel University, Switzerland
engler@urz.unibas.ch

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