This watercolour by the British artist John Absolon (1815–1895) depicts the renowned British actor Edmund Kean (1788–1835) in the title role of Hamlet, which he played several times during his career. The scene is Act 3, Scene 4, when the Ghost appears to Hamlet in Gertrude’s closet.
Although this painting depicts a specific actor rather than just the characters of Hamlet, Absolon has painted an artistic interpretation of the scene rather than a depiction of stage realism. This creates an interesting question of how we read the image of the Ghost; is Absolon’s transparent spirit a result of artistic licence, or the memory of a particular production effect of costume or lighting?
Shakespeare’s stage ghosts
In the text of Shakespeare’s First Folio, the ghosts have stage directions and sometimes speech, from which we can infer that in early productions they were physically embodied onstage by actors. This seems to have been the case even when not all the living characters in the scene can see the ghost, such as in the closet scene depicted here, where the Ghost of Hamlet’s father is invisible to Gertrude, or the banquet scene in Macbeth, where Banquo’s Ghost is invisible to all bar his murderer. The objective reality of Shakespeare’s stage ghosts to the worlds of their plays is open to interpretation. Some modern productions don’t use actors for the ghosts, emphasizing the psychological disturbance of those characters that see them. Richard Eyre’s award-winning production of Hamlet at the Royal Court Theatre in 1980 removed the Ghost from the stage altogether, placing his lines in the mouth of a disturbed (and possibly possessed) Hamlet, played by Jonathan Pryce.
- Full title:
- Mr. Edmund Kean as Hamlet
- Watercolour / Illustration / Image
- John Absolon
- Usage terms
- Held by
- Folger Shakespeare Library
- ART Box A164 no.1 (size L) (Digital Image filename 35608)
- Article by:
- John Mullan
- Language, word play and text, Tragedies
Much of Macbeth is set at night, yet its first performances took place in the open air, during daylight hours. John Mullan explores how Shakespeare uses speech and action to conjure the play's sense of growing darkness.
- Article by:
- Alice Rylance-Watson
Alice Rylance-Watson tells the story of a late-18th century art venture, the Boydell Shakespeare Gallery, which occasioned some of the most beautiful and iconic paintings of Shakespearean scenes. She discusses the relationship between commerce and fine art, and outlines the important role Boydell's enterprise played in the rise of British bardolatry.
- Article by:
- Kim Ballard
- Tragedies, Power, politics and religion
Rhetoric was a much-valued skill in Renaissance England, as it was in ancient Rome. Kim Ballard discusses the connections between rhetoric and power in Julius Caesar, one of Shakespeare's Roman plays.
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