Hamlet: performance conventions

Original Performance Conventions

During the Elizabethan era, Hamlet was performed in daylight on open-air amphitheatres, such as the Globe Theatre. The natural light allowed for long performances of up to four hours.
All the roles in Hamlet were originally played by men, including the female characters. This affected the physical and vocal characterization in the performance.
Scenery and props were minimal because the focus was on the language and the versatility of the performers. Instead of detailed realism, active audience imagination was important.
Costumes were heavily used to indicate character’s social status or occupations. For example, Hamlet would probably dress in mourning clothes to show his grief over his father’s death.
Emphasis was on speech over action, with rhythms and rhetorical devices giving clues to the characters’ emotional states.

Modern Performance Conventions

In the modern era, Hamlet is performed by actors of both genders and varying ethnicities, making the play more diverse and representative.
Lighting and sound technology allow for production decisions to be made about time of day, mood and symbolism, granted a greater scope for interpretation and dramatisation.
Set designs and costumes have become more elaborate and detailed, extending beyond just indicators of status to help in character development and plot advancement.
The highly psychological nature of Hamlet has led to increased use of soliloquies, asides and dramatic irony to explore the complexities of the characters.
Different directing choices can create bold interpretations. For example, directors may choose a minimalist approach to focus on the text and acting, or a stylistic approach, such as a specific historical or contemporary setting.

Notable Performance Conventions Across Time

Staging Hamlet in the round or on a thrust stage, similar to the original Globe Theatre, enhances the audience’s involvement in the play.
Hamlet’s famous “To be or not to be” soliloquy is staged in varying ways, sometimes as an internal monologue, or a direct address to the audience.
Ghost of King Hamlet: Creators use diverse methods such as lighting, shadow play, or voice modification to depict the ghost’s supernatural essence.
Ophelia’s madness towards the end of the play is often visually represented through disheveled attire and mannerisms, echoing Hamlet’s own feigned madness.
In many performances, Claudius is characterised as smoothly manipulative rather than overtly evil to add layers to his villainy.

Remember, the interpretation and use of performance conventions greatly depend on the director’s vision and the cultural/historical context of a production.