adobe cokor

The witch characters in literature and folklore have always held a unique and captivating allure. Often portrayed as wise, mysterious, and powerful, these female figures have intrigued audiences for centuries. From the Wicked Witch of the West in "The Wizard of Oz" to Circe in Greek mythology, these characters have been depicted in various forms across different cultures. One common representation of a witch character is that of an old woman with magical abilities. These characters are often seen as healers, herbalists, or practitioners of dark magic. They possess knowledge of herbs, potions, and spells that can either help or harm others.

Hamlet has been away at Wittenberg long enough for Claudius to murder Hamlet's father and then to marry his mother Gertrude, and then for the news to reach Hamlet. Presumably this would be a few months at least, long enough for Ophelia to know she's pregnant. When he returns, she is hoping he'll do the right thing.

René Girard echoes his assertion, arguing revenge surpasses limits in space and time , creating inexhaustible circles of violence, encompassing whole generations. Sixteenth- century alchemical treatises describe the opus alchymicum as a process of struggle during which the quarrelling foes are gradually reunited thanks to the help of mediators and peace-makers.

They possess knowledge of herbs, potions, and spells that can either help or harm others. Examples of such characters can be found in fairy tales like "Hansel and Gretel" and "Sleeping Beauty." On the other hand, there are also younger and more seductive witches in literature and pop culture, such as the character of Morgana in the TV series "Merlin.

Synchretic Hamlet (Oliveira, 2005)

Hamlet Sincrético (Syncretic Hamlet, 2005) is a collaborative production by Grupo Caixa Petra that adapts Shakespeare’s Hamlet from a “black aesthetic”. It draws on Afro Brazilian cultural and religious syncretic elements as metaphors to retell Shakespeare’s tragedy. The production respects the linearity of the source play but does not reproduce its language which follows the particular nature of each character. The characters are incarnations of types or characters from Afro-Brazilian mythology and religions. For instance, while Hamlet’s role as the seeker of justice is associated with Xangô, the *orixá (or orisha) of justice and wisdom, the ghost is linked to Oxalá, the sky father orisha. Gertrudes is the queen of carnival and Polonius is characterized as a former *Candomblé priest converted into an evangelical preacher. Claudius is portrayed as Zé Pilintra, a folk character in the *Umbanda and *Catimbó traditions known for his bohemianism and wild partying.

The play was first performed at the São Pedro Psychiatric Hospital in Porto Alegre (Rio Grande do Sul state) where the pavilion, patio and corridors were used as stages to underscore racial, gender and ethnic injustices.

*Orixás (or orishas) are deities of the African Yoruba religion that are said to govern various aspects of the world.
*Candomblé is an Afro-Brazilian religion with origins in Yoruban religious rituals and beliefs.
*Umbanda is a cult that emerged in Rio de Janeiro in the 1930s and combines African possession religion with Catholicism, occultism, and Allan Kardec’s spiritualism.
*Catimbó is a syncretic cult that amalgamates religious and magic practices. It is most prevalent in the northeast of Brazil.

Credits

Director: Jessé Oliveira Elenco
Music director: Luiz André da Silva
Costume designer: Adriana Rodrigues, Gil Collares
Religion specialist: Baba Diba de Yemonjá
Light director : Miguel Tamarajó, Camila de Moraes, Jessé Oliveira
Production and press: Silvia Abreu
Cast: Adriana Rodrigues, Eder Santos, Flávio Oyá Tundê, Glau Barros, Juliano Barros, Kdoo Guerreiro, Leandro Daitx, Marcelo de Paula, Diego Neimar, Silvio Ramão, Silvia Duarte and Wagner Santos.

Click here to read an essay by Anna Camati (Global Shakespeares Editor for Brazil) about the production.

Articles

CAMATI, A. S. Hamlet sincrético, do Grupo Caixa-Preta: hibridismo cultural e espaço cênico alternativo. In: CLOSEL, Régis A, B.; MARIN, Ronaldo (Orgs.).Shakespeare 450 anos. São Paulo: Cena IV – Instituto Shakespeare Brasil, 2014, p. 149-164.

CAMATI, A. S. Brazilian Outdoor Shakespeares: Street Theatre as Public Art. Lapis Lazuli: An International Literary Journal. Commemorating 400 years of Shakespeare, v. 6, n. 1-2, p. 26-33, Spring /Autumn, 2016. < http://pintersociety.com/wp-content/uploads/2016/11/Camati-Anna-Stegh-4.pdf>

CAMATI, A. S. Perspectivas míticas em Hamlet sincrético. In: OLIVEIRA, Jessé.; LOPES, Vera (orgs). Hamlet sincrético – Em busca de um teatro negro. Porto Alegre: Caixa-Preta, 2019.

Production notes written by Cris Busato Smith.

" These witches use their beauty, charm, and powers of manipulation to achieve their goals. They are often depicted as the villains or antagonists in stories, using their powers for personal gain or to cause harm to others. In some stories, witches are portrayed as complex and morally ambiguous characters. They possess a combination of good and evil traits, making them intriguing and relatable. For example, the character of Elphaba in the novel "Wicked: The Life and Times of the Wicked Witch of the West" challenges the traditional portrayal of witches as pure villains. She is portrayed as a sympathetic character with understandable motives and a desire for justice. Overall, witch characters in literature and folklore offer a rich and diverse portrayal of women who possess supernatural powers. They challenge societal norms and expectations, often defying traditional gender roles. Whether they are portrayed as benevolent healers or malevolent sorceresses, these characters continue to captivate and enchant audiences with their fascinating qualities..

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