Abstract
In terms of postmodernism а classical plot becomes more active, mobile and begins to travel through the cultural discourses in different social and political channels, thereby indirectly achieving its full inner creative potential in the minds of readers. The paper focuses on Muller’s Hamletmachine which uses the Shakespearean plot. The authors of the article explore the new features introduced by the writer into the classic plot by placing it in postmodern principles (game, changes of meanings, rhizome, blissful ignorance of consumer society) which are woven together in a syncretic way. Muller masterfully uses these devices to transmit the political ideas and describe the history of communism and the historical events. The comparative method in combination with complex descriptive analysis of the text is chosen as the main methodology. The aim of the study is to find out what purposes and what political events Muller involves in the text of the drama.
Highlights
Müller referred to Shakespeare's heritage throughout his life
The study is interested in what way and what events of the political history of the world manifested in the drama “Hamletmachine”
Müller worked on nine pages of “Hamletmachine” after his first nine-month stay in the United States (1975/1976) and intensive work in the winter of 1976/1977 in Bulgaria
Summary
Müller referred to Shakespeare's heritage throughout his life. After translating and adapting the works by Shakespeare the writer commenced transforming "Shakespeare's material" into his own works. According to the Müller, Shakespeare was synonymous with wars and revolutions. Shakespeare created such characters who since no longer existed with the exception of the personalities of 1917: "Lenin was a Shakespearean character, Trotsky was a Shakespearean character, Stalin was a Shakespearean character" [quoted from 1, p. Müller perceived the end of the era of socialism as the end of the era of Shakespeare and time of bourgeois farce. A. Karschnia notes that for Müller Shakespeare had never been associated with humanism and realism. For the German writer Shakespeare's "great realism" is the obvious opposite of humanism, since it did not want to know anything about the bloody roots of history, seeing itself on the way to near social harmony [quoted from 1, p. For the German writer Shakespeare's "great realism" is the obvious opposite of humanism, since it did not want to know anything about the bloody roots of history, seeing itself on the way to near social harmony [quoted from 1, p. 219]
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