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Volu m e II - Purdue University Calumet

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Kelsey McMahan<br />

<strong>University</strong> of Michigan – Flint<br />

“I Will Obey My Lord”:<br />

Adrian Noble’s Vision of Ophelia in Shakespeare’s Hamlet<br />

Previous critics and directors have frequently viewed Ophelia as a young woman who focuses<br />

primarily on her love for Hamlet. However, in the 2008 Stratford Canada production of Shakespeare’s<br />

Hamlet, director Adrian Noble sees Ophelia as a child who has never outgrown her dependence on her<br />

father, Polonius. For Noble, Ophelia’s love for Polonius far outstrips her feelings for Hamlet. Noble uses<br />

costuming, blocking, and stage business in order to present Ophelia initially as a dependent, loving, and<br />

submissive child. Ophelia’s costumes are childish and immature throughout much of the play. During the<br />

mad scene, her identification with her father is stressed when she puts on her father’s jacket and literally<br />

wears his clothing. She remains close to Polonius on stage, often hugging and caressing him, as well as<br />

listening intently to his words. Even when she disagrees with him, she does so in a loving and submissive<br />

way. Noble presents a portrait of Ophelia as a child who has never been able to separate from her father,<br />

and whose love for Hamlet is immature and unformed (Noble).<br />

Noble gives Ophelia a childlike appearance in the beginning of the play during Act One, Scene<br />

Two. This idea is portrayed through her costume and actions. In the opening scene, Ophelia wears a<br />

flowery pinafore. It is designed with light, pastel colors, revealing her innocence. The flowers at this point<br />

in the play are charming on Ophelia. Underneath the pinafore, she wears a tight, button-up shirt which<br />

keeps her body completely covered. She also wears a flowery crown around her head. The head-piece is<br />

similar to one that a child might dress up in today. Noble gives her the appearance of a princess with no<br />

stress in her life whatsoever. The actions she takes are also consistent with a childlike portrayal. When the<br />

scene begins, everyone dances onto the stage celebrating King Claudius, who is new to the throne. As they<br />

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