Schema and Concretisation in Theatre Performance

--Fat Hamlet and Non-fat Hamlet--

Abstract

In Hamlet, Gertrude says of her son, Hamlet, “He's fat.” According to a modern interpretation, she does not mean that Hamlet is literally fat, but that he is only “sweaty”, for this was the meaning of the word “fat” at the time. This interpretation apparently presupposes an idealized image of Hamlet, which the reader deduces from the play. Even if a fat actor is playing Hamlet on the stage, the audience should perceive him as a non-fat Hamlet.

How should we describe the relationship between these two figures of Hamlet: the idealized one as an image and the actual one on the stage?

In his influential book, The Literary Work of Art, Roman Ingarden applies his ontological theory of schema and concretisation in the reader's perception of the literary work of art to the case of theatre art as well. But he does not seem to be concerned with the above-mentioned question. The present paper tries to make clear the theatrical structure hidden behind the two figures of Hamlet, following Ingarden's theory of schema and concretisation.