About the Author:
Dominic Dromgoole was the artistic director of Shakespeare’s Globe Theatre in London from 2006 to 2016. He is the author of Will & Me: How Shakespeare Took Over My Life and The Full Room: An A-Z of Contemporary Playwriting. He has written for the Guardian, Telegraph, and Sunday Times (UK).
Excerpt. © Reprinted by permission. All rights reserved.:
Translated into too many languages to count, and performed more times than Shakespeare ate hot dinners, and cold ones, or drew breath for that matter, Hamlet is one of those rare documents, which can truly be said to have brought the world closer together. In 1608, on board a ship called the Dragon, Hamlet was performed by its crew off the coast of Sierra Leone for a group of visiting dignitaries. The crew remembered enough of the play from what they had seen at the Globe to shamble together a show without a script. Several months later, they did the same in Indonesia. Within ten years of its first performance, groups of English actors, known collectively as the English Comedians, were performing it across Northern Europe in broad, hyper physical productions. Since then it has played everywhere, in theatres, fields, caves, hovels and palaces.
It has tested millions of the greatest actors and actresses, leaving some exhilarated with triumph and some desolate with failure, and all hungering for more. It has been recorded, televised and filmed over and over and over again. It is recited in schoolrooms, quoted in boardrooms, mumbled by lovers, pondered on by sages, argued over by critics, passed on from parent to child, cursed by the student, wept over by the spectator, and stored in the heart as a fortifying secret by millions of us afraid of the bruising of the world. It is part of the fabric that surrounds us. It has become in large part us.
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