The play Hamlet by William Shakespeare is undoubtedly one of the most famous and widely studied works in literature. It explores various themes, including madness, revenge, and the supernatural. The presence of the occult in Hamlet is particularly intriguing, as it adds an extra layer of complexity to the narrative. In the play, the protagonist Hamlet encounters the ghost of his father, who reveals that he was murdered by his own brother, Claudius. This encounter with the supernatural sets off a series of events that lead to the tragic downfall of the characters. The ghost's appearance and the information he imparts to Hamlet are central to the plot, and they raise questions about the nature of the afterlife and the existence of otherworldly forces.
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.
The ghost's appearance and the information he imparts to Hamlet are central to the plot, and they raise questions about the nature of the afterlife and the existence of otherworldly forces. Throughout the play, Hamlet's relationship with the occult grows, as he seeks guidance and tries to make sense of the morally ambiguous world he finds himself in. He consults a group of traveling actors to stage a play that aims to expose Claudius' guilt, using the concept of theater as a medium to uncover the truth.
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 actions demonstrate Hamlet's willingness to engage with the supernatural and his determination to seek justice. Additionally, a character named Horatio is often seen as a voice of reason and a source of stability in the play. He is skeptical about the supernatural and urges Hamlet to exercise caution when dealing with the ghost. However, Hamlet persists in his pursuit of the truth, ultimately leading to his tragic demise. The presence of the occult in Hamlet raises intriguing questions about the nature of reality, the human condition, and the search for truth. It highlights the characters' vulnerability and the extent to which they are shaped by their beliefs and experiences. The play delves into the realm of the unknown, challenging conventional notions of rationality and exploring the depths of human consciousness and emotion. Overall, the exploration of the occult in Hamlet adds a mystical and suspenseful element to the play. It invites audiences to question their own beliefs and consider the supernatural as a powerful force that can shape human destiny. The presence of the occult specialist in Hamlet serves as a catalyst for the unfolding events, propelling the characters into a world where truth becomes elusive and the boundaries between the living and the dead are blurred..
Reviews for "The Cursed Knowledge: The Occult and Hamlet's Journey to Vengeance"
1. John - 1 out of 5 stars - This book was a complete disappointment. The title sounded intriguing, but the execution was just plain terrible. The storyline lacked coherence and the characters were poorly developed. The supposed occult specialist was portrayed as shallow and unrealistic. Honestly, I struggled to finish this book and I cannot recommend it to anyone looking for a well-written and engaging story.
2. Sarah - 2 out of 5 stars - I had high hopes for "Hamlet and the occult specialist" based on the concept, but unfortunately, it fell short. The writing style was confusing and hard to follow, making it difficult to fully grasp the plot. The integration of the occult elements felt forced and out of place within the story. Overall, I found the book to be uninspiring and I would not recommend it to those expecting a compelling blend of Shakespeare and the supernatural.
3. Michael - 2 out of 5 stars - As a fan of both Hamlet and occult themes, I was excited to dive into this book. However, I was sorely disappointed by the execution. The plot felt disjointed, with the occult elements randomly woven into the story without much purpose. The characters lacked depth and their motivations were unclear. While the concept had potential, it did not deliver a satisfying reading experience for me. I would advise others to approach this book with caution.
4. Emma - 1 out of 5 stars - "Hamlet and the occult specialist" was a tedious read from start to finish. The story lacked originality and failed to engage my interest. The so-called occult specialist seemed like a mere caricature, and their interactions with the other characters felt forced. The book delved too much into unnecessary details, making the plot drag on without significant development. I would not recommend this book to anyone seeking an enjoyable and captivating read.