1OED, 'true', 4b. My use of the word 'craftsman' here is informed by reading Richard Sennett's remarkable book The Craftsman (London: Allen Lane, 2008). I am currently working on the relationship between his analysis of craftsmanship and various approaches to theatre-direction and actor-training.
2Hamlet, 2.1.61-3. Subsequent references appear in the body of the text and all are to Ann Thompson and Neil Taylor's Arden edition of the 2nd Quarto (London, 2006).
3The production was, however, a notable commercial success, being “shown eighty-four times, as often as five times a week during its first month and always to full houses,” (Vining-Morgan, 77).
4The first was in 1896. The plan for his second production (which, for a number of reasons, did not fulfil its potential) is published as Stanislavski Produces Othello, trans. Helen Nowak (London: Geoffrey Bles, 1948). For information on the production see Jean Benedetti, Stanislavski: His Life and Art (London: Methuen, 1990), pp.328-30.
5Elizabeth I died on March 24, 1603 and her funeral was on April 28. See also Antonia Fraser, The Gunpowder Plot: Terror and Faith in 1605 (London: Weidenfeld and Nicholson, 1996; this ed. London: Phoenix, 2002), p.xxxiv: “it was royal custom for [the burial] to happen a month after death.” 6He cites Salvador de Madariaga, who claims that “even on important points, Shakespeare does not seem to pay much attention either to his audience or the play,” On Hamlet (London: Hollis and Carter, 1948), p.115, a clanger if ever there was one.
7I am depending partly on R.A. Foakes again here, and his analysis of the play's diction and imagery, see “Hamlet and the Court of Elsinore” in Shakespeare Survey 9, 1956, pp.35-43.
8There are two ambassadors in both Quarto texts, though not in the Folio.
9Tarkovsky struggled with the traditional translations, finding Lozinsky “inarticulate and clumsy” (Time Within Time 121) and Pasternak “appalling, opaque” (ibid.) and “staggeringly inaccurate” (380).
10I take this quotation from his lecture on Characterization given in Hollywood in 1951 (On Theatre and the Art of Acting [The Working Arts Library]), but the exercise is also described in On the Technique of Acting, ed. Mel Gordon (New York: Harper Collins, 1991), pp.100-104.
11See also Sculpting in Time p. 110 for examples of how Tarkovsky sought to alter the quality of time in his films to “bring out a state of mind through means other than acting.”