在莎士比亞的時代，《哈姆雷特》創造了廣大的觀眾群 ，並風靡了很長
一段時間。面對宮廷中處處險境與危機，哈姆雷特隨時要戴上各種不同的面具裝瘋作傻，設法在夾縫中生存下去。大多數時候哈姆雷特要假裝瘋狂，有時候則是狂暴或呆默，飾演哈姆雷特的角色就需要表演功力具備彈性與應變力來面對種種挑戰。這需要極好的演技，包括戲劇性的發音方式、表情動作、對角色的充分了解與掌握、以及豐富的生命與表演閱歷等。這些重要元素哈姆雷特都透過《哈姆雷特》劇中的戲中戲《捕鼠器》來對演員闡發和指導。就現實層面而言，哈姆雷特身為演員與製作人，反應的很像現實世界莎士比亞本人不同時期的具體經驗。我的論文試圖從《哈姆雷特》的演員與劇本及製作各層面提供證據與論點來揭露此劇的魅力下內藏的玄機，進一步了解此劇如何滿足倫敦戲劇觀眾的挑剔胃口。
In Shakespeare’s time Hamlet drew a great attendance when it was first produced, and had been popular for a long time because the play was outstanding. Facing a variety of dilemmas in his life, Hamlet has to put on different masks in front of different people just to survive. Most of the time Hamlet is forced to play mad but at some occasions violent or numb. Henceforth, the actor who acts Hamlet faces huge challenges of flexibility and spontaneity in performance capability. This requires excellent acting skills, including vocalization, movement, expression, an understanding of the character, and experiences in life and performance. All of these vital elements are well explained and instructed by the character Hamlet himself in the play before the Mousetrap, the play-within-play in Hamlet. In a realistic sense, the character Hamlet echoes interestingly the dramatist William Shakespeare, an actor and a producer himself in different stages. My thesis will offer proofs and argument from the actors to various aspects of the Hamlet to reveal the secret of the charms that the play offers for the increasing and demanding London playgoers.
