Reimagining desire and identity in the title characters of Hamlet and Richard III in a South African context

Abstract

Ten tye van my meestersgraadstudie in Teaterregie aan East 15 Acting School, Londen, het Tony Clark, my dosent, gereeld die vraag gevra: ‘As jy nou ’n Shakespeare-toneelstuk sou regisseer, hoekom sou jy dit doen? Wat sou die toneelstuk vandag beteken?’ Ek het myself die volgende begin afvra, ‘As ek ’n Shakespeare-toneelstuk in ’n moderne konteks sou transponeer, tot watter nuwe perspektiewe en interpretasies sal dit lei as ek dit vanuit ’n queer perspektief sou lees? Hoe sou dit die identiteit en begeertes van die karakters en die interpretasie daarvan beïnvloed?’ Die navorsing het ten doel gehad om te ondersoek wat sou gebeur indien die seksualiteit van die karakters Richard en Hamlet verander is deur Hamlet en Richard III te transponeer in queer aanpassings en hoe dit die identiteit en begeertes van die karakters in die nuwe aanpassings sal verander. Om dit te doen het die navorsing ‘nie-uitgesproke of onbewuste lesbiese, gay of queer teenwoordigheid’ geïdentifiseer, of waarna verwys sal word as queer aanduidings, deur die koderingsproses van die Konstruktivisties-gegronde Teorie in Hamlet en Richard III van William Shakespeare te gebruik. Die queer-teorie het literêre ontleding aansienlik beïnvloed. Dit het die veld se fokus verder verbreed as konvensionele binêre opvattings van geslag en seksualiteit. Met behulp van die queer-teorie kan ’n mens bestudeer hoe geslag en seksualiteit in tekste ontwrig en uitgedaag word en hoe hierdie kategorieë geskep en uitgevoer word deur taal en narratief. Daar bestaan ooreenkomste ​​tussen die queer-teorie en lesbiese, gay en queer kritisisme (LGQC), aangesien hulle albei geslag en seksualiteit ondersoek. Daar is egter wel ’n effense verskil in hul benaderings en fokuspunte. Terwyl LGQC op die ontleding van bepaalde kulturele voorstellings fokus, dekonstrueer die queer-teorie binêre kategorieë. Een van die fundamentele idees van LGQC is die soeke na tekstuele bewyse, of eerder leidrade, in die literêre interpretasie van tekste. In die meeste gevalle is hierdie leidrade blatante homo-erotiese beelde en selfdegeslag-interaksies, maar soms is hierdie leidrade subtiel en skep ’n homo-erotiese atmosfeer in ’n heteroseksuele werk. Daar bestaan ​​verskeie voorbeelde van subtiele “onuitgesproke of onbewustelike” leidrade, maar hierdie navorsing fokus hoofsaaklik op homososiale binding. In Tyson (2006) word homososiale binding verduidelik as ’n sterk emosionele band tussen karakters van dieselfde geslag. Die doelwit van die navorsing was om te ondersoek watter queer aanduidings in die draaiboek geïdentifiseer kan word en hoe dit ’n invloed op die transponering van die tekste in nuwe queer aanpassings het. Die fokus van hiedie navorsing was hoofsaaklik op gay sensitiwiteit. ’n Voorlopige ontleding toon duidelik dat, nadat die karakters se interaksies met mekaar ondersoek is, daar subtiele queer leidrade in Richard III en Hamlet teenwoordig is. Ander gebeure en interaksies is toe ontleed om te sien of dit hierdie leidrade ondersteun. Na my mening het die resultate gewys op elemente van homososiale binding tussen die relevante karakters, wat ek geïnterpreteer het as aanduidings dat Richard en Hamlet gay mans was. Soos hierbo genoem het die navorsing die koderingsproses van die konstruktivisties-gegronde teorie toegepas. Die eerste stap is Aanvanklike Kodering, gevolg deur Gefokusde Kodering, waar kategorieë verfyn word, en dan laastens, teorie-ontwikkeling. Die Aanvanklike Koderingsproses en die proses van queer bewuswording het queer leidrade in die draaiboek van Richard III en Hamlet geïdentifiseer. Vir hierdie queer leidrade om geïdentifiseer te word, het die navorsing gefokus op die konsep van homososiale binding en queer interpretasie, aangesien die hooffokus van hierdie navorsing se ondersoek die verhouding tussen Richard en Tyrrel, asook Hamlet en Horatio was. Die navorsing het bevind dat die draaiboeke inderdaad ’n queer interpretasie van Richard III en Hamlet ondersteun. Gedurende die Gefokusde Koderingsproses is ander oomblikke en gebeure in die werke geïdentifiseer wat nou vanuit ’n queer perspektief geïnterpreteer kan word. Tydens die memo-skryfproses van Gefokusde Kodering is die karakters van Tyrrel (in Richard III) en Horatio (in Hamlet) ondersoek om vas te stel hoe hul interaksie ’n queer interpretasie ondersteun. Die laaste deel van die koderingsproses memo-skryfproses) was om Hamlet en Richard III te transponeer in queer aanpassings, waar Richard en Tyrrel, asook Hamlet en Horatio, in verhoudings met dieselfde geslag geplaas is. Nietemin, wanneer die queer aanpassings gelees word, bevind die navorsing dat die queer interpretasies van hierdie toneelstukke steeds nie hulself in die draaiboeke alleen kon ‘voordoen’ nie. ’n Nuwe vraag het ontstaan: ‘Hoe om die queer leidrade in die nuwe queer aanpassings van Hamlet en Richard III aan te bied? Die navorsing het daarom Hamlet en Richard III ingesluit waar gevind is dat die transposisie na die verhoog nodig was om lewe te gee aan die ‘queer interpretasie’ van die hoofkarakters. Dit is duidelik dat die navorsing akteurs se vertonings moes insluit om te bepaal hoe die karakters se seksualiteit hul identiteit en begeertes beïnvloed het. Die akteurs se interpretasie en lewering van die dialoog, hul gebare en optrede het die queer interpretasie van die draaiboek na die voorgrond gebring.

𝑬𝒏𝒈𝒍𝒊𝒔𝒉 During my Master’s studies in Theatre Directing at East 15 Acting School, London, a question regularly asked by my lecturer, Tony Clark, was: ‘If you were to direct a Shakespeare play now, why would you do it? What would the play say today?’ I started asking myself, ‘If I were to transpose a Shakespeare play into a modern context, what new perspectives and interpretations could be arrived at if I were to read it from a queer perspective? How would that influence the identity and desires of the characters and the interpretation thereof?’ The study aimed to examine what would happen if the sexuality of the characters Richard and Hamlet were changed by transposing 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐, into queer adaptations and how that would change the identity and desires of the title characters in the new adaptations. To do this, the study identified ‘unspoken or unconscious lesbian, gay, or queer presence’, or what will be referred to as queer cues, utilising the coding process of Constructivist-Grounded Theory in Hamlet and Richard III by William Shakespeare. Queer Theory has significantly impacted literary analysis. It has broadened the field’s focus beyond conventional binary conceptions of gender and sexuality. Using Queer Theory, one can study how gender and sexuality are disrupted and challenged in texts and how these categories are created and performed through language and narrative. Similarities exist between Queer Theory and Lesbian, Gay, and Queer Criticism (LGQC) as they both examine gender and sexuality. However, their approaches and points of focus are slightly different. While LGQC focuses on analysing particular cultural representations, Queer Theory deconstructs binary categories. One of the fundamental ideas of LGQC is the quest for textual evidence, or rather cues, in the literary interpretation of texts. In most cases, these cues are blatant homoerotic imagery and same-sex interactions, but sometimes these cues are subtle and create a homoerotic atmosphere in a heterosexual work. Several examples of subtle “unspoken or unconscious” cues exist, but this study predominantly focuses on 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨. In Tyson (2006), 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨 is explained as portraying a strong emotional bond between characters of the same sex. The study aimed to examine which 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 could be identified in the scripts through a 𝘲𝘶𝘦𝘦𝘳 𝘳𝘦𝘢𝘥𝘪𝘯𝘨 and how that influenced the transposition of the scripts into new queer adaptations.

The focus of this study was mainly on 𝘨𝘢𝘺 𝘴𝘦𝘯𝘴𝘪𝘣𝘪𝘭𝘪𝘵𝘺. A preliminary analysis made it clear that after examining the characters’ interactions with each other, there were subtle queer cues evident in 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 and 𝘏𝘢𝘮𝘭𝘦𝘵. Other events and interactions were then analysed to see if they supported these cues. In my opinion, the results pointed to elements of 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨 between the relevant characters, which I interpreted as indications that Richard and Hamlet were gay men. As mentioned above, the study applied the coding process of Constructivist-Grounded Theory. The first step is Initial Coding, followed by Focussed Coding, where categories are refined, and then finally, theory development. The Initial Coding process and the process of 𝘲𝘶𝘦𝘦𝘳 𝘳𝘦𝘢𝘥𝘪𝘯𝘨 identified 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 in the scripts of 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 and 𝘏𝘢𝘮𝘭𝘦𝘵. For these 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 to be identified, the study focussed on the concept of 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨 and queer interpretation, seeing that the main focus of this study’s inquiry was the relationship between Richard and Tyrrel, and Hamlet and Horatio. The study found that the scripts indeed supported a queer interpretation of 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 and 𝘏𝘢𝘮𝘭𝘦𝘵. During the Focused Coding process, other moments and events in the scripts were identified that can now be interpreted from a queer perspective. During the memo-writing process of Focused Coding, the characters of Tyrrel (in 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐) and Horatio (in 𝘏𝘢𝘮𝘭𝘦𝘵) were examined to establish how their interactions supported a queer interpretation. The last part of the coding process (Memo-Writing) was transposing 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 into queer adaptations, where Richard and Tyrrel and Hamlet and Horatio were placed in same-sex relationships. Nevertheless, when reading the queer adaptations, the study found that the queer interpretations of these plays could still not ‘present’ themselves in the scripts alone. A new question emerged: ‘How to present the 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 in the new queer adaptations of 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐?’ The study, therefore, included 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐, where it was found that the transposition to the stage was necessary to bring to life the ‘queer interpretations’ of the title characters. Clearly, the study needed to include actors’ performances to determine how the characters’ sexuality influenced their identities and desires. The actor’s interpretation and delivery of the lines, their gestures, and actions brought the queer interpretation of the scripts to the forefront. ___________________________________________________________________

Ngesikhathi ngenza izifundo zami zeMaster’s zoKuqondisa Kwetiyetha e-East 15 Isikole Sokulingisa, eLondon, kunombuzo owawuvame ukubuzwa uthisha wami, uTony Clark, owawuthi: ‘Uma ubungathola ithuba lokuqondisa umdlalo weshashalazi kaShakespeare njengamanje, ubungawenzelani? Ubungathini umdlalo ngokwanamuhla?’ Ngaqala ukuzibuza, ‘Uma bengingase ngiguqule umdlalo kaShakespeare umongo wawo ugxile kokwamanje, yimiphi imibono emisha nezincazelo ezingavela uma bengingawufunda ngombono womuntu oyi-queer? Ingabe lokho kungaba namthelela muni ekuzaziseni nasezifisweni zabalingiswa kanye nendlela abangachazwa ngayo? Ucwaningo beluhlose ukuhlola ukuthi yini engenzeka uma ubulili babalingiswa uRichard noHamlet bungashintshwa ngokuguqula amagama athi Hamlet kanye noRichard III babe ngabangama aqueer nokuthi lokho kungabushintsha kanjani ububona kanye nezifiso zamagama abadlali emdlalweni omusha. Ukwenza lokhu, ucwaningo luthole ‘ubukhona kanye nokungakhulunywa ngobukhona kwama-lesbian, gay noma ama-queer’ noma lokho okujwayeleke njengezimpawu zobu-queer, kube sekusetshenziswa inqubo yekhodingi yeConstructivist-Grounded Theory kuHamlet kanye noRichard III bakaWilliam Shakespeare. IQueer Theory ibe nomthelela omkhulu ekuhlaziyweni kwemibhalo ehlobene nalesi sifundo. Lokhu kwandise ukugxila endimeni ngale kwemibono ehamba ngambili evamile yobulili nobulili. Ngokusebenzisa iQueer Theory, umuntu angakwazi ukufunda ukuthi ubulili nobulili buphazanyiswa kanjani futhi buphonselwa kanjani inselelo emibhalweni nokuthi lezi zigaba zakhiwe futhi zenziwa kanjani ngolimi nokulandisa. Kukhona ukufana okukhona phakathi kweQueer Theory kanye neLesbian, Gay, neQueer Criticism (LGQC) njengoba kokubili kuhlola ubulili nobulili. Kodwa ke, izindlela zakho kanye namaphuzu okugxilwe kuwo kuthe ukuhluka kancane. Nakuba i-LGQC igxile ekuhlaziyeni izethulo ezithile zamasiko, iQueer Theory yakha kabusha izigaba zikanambambili. Eminye yemibono eyisisekelo ye-LGQC ukufuna ubufakazi bombhalo, noma kunalokho izinkomba, ekuchazeni imibhalo. Ezimweni eziningi, lezi zimpawu ziyizithombe ezisobala zehomoerotic kanye nokusebenzisana kwabantu bobulili obufanayo, kodwa ngezinye izikhathi lezi zimpawu zicashile futhi zidala ukuthi indawo izwakale ibehomoerotic emsebenzini wobulili obuhlukile. Kunezibonelo ezikhona ezimbalwa zezimpawu ezicashile “ezingakhulunywa noma ezingazi lutho,” kodwa lolu cwaningo lugxile kakhulu ku-homosocial bondiibondiibomosocial bonnii. UTyson (2006), embhalweni wakhe othi homosocial bonding echazwa njengokubonisa isibopho esiqinile ngokwemizwa phakathi kwabalingisi bobulili obufanayo. Ucwaningo lwaluhlose ukuhlola ukuthi imaphi amaqueer cues angahlonzwa emibhalweni ngokusebenzisa ukufunda ngendlela yequeer nokuthi lokho kunganamuphi umthelela ekushintsheni umbhalo ukuze uhambisane nezimo ezintsha zamaqueer. Lolu cwaningo belugxile kakhulu emizweni yamagay. Ukuhlaziya kokuqala kwenze kwacaca ukuthi ngemva kokuhlola ukusebenzisana kwabalingisi omunye nomunye, kube nezimpawu ezicashile zamaqueer ebezibonakala kuRichard III kanye noHamlet. Eminye imisebenzi nokusebenzelana kwabe sekuhlaziywa ukuze kubonakale ukuthi ziyazisekela yini lezi zimpawu. Ngokubona kwami, imiphumela yaveza izici zehomosocial bonding phakathi kwabalingisi abafanele, engiyihumushe njengezinkomba zokuthi uRichard kanye noHamlet bangamadoda angamagay. Njengoba kushiwo ngenhla, ucwaningo lusebenzise inqubo yekhodingi yeConstructivist-Grounded Theory. Isinyathelo sokuqala Ikhodi Yokuqala, ilandelwa Ikhodi Egxilile, lapho izigaba zicwengwa khona, ekugcineni, bese kuthuthukiswa itiyori. Inqubo yeKhodingi Yokuqala kanye nenqubo yokufunda ngendlela yequeer kwathola izimpawo zobuqueer emibhalweni kaRichard III kanye noHamlet. Ukuze lezi zimpawu zobuqueer zibonakale, ucwaningo lugxile emcabangweni wehomosocial bonding kanye nencazelo yequeer, ngokubona vele ukuthi umongo wocwaningo umayelana nokuthola ubudlelwano phakathi kukaRichard noTyrrel kanye noHamlet benoHoratio. Ucwaningo luthole ukuthi ngempela imibhalo iyavumelana nokuchazwa kuka Richard III noHamlet. Ngesikhathi kwenziwa inqubo yeKhodingi Egxilile, kwatholakala eminye imizuzu kanye nezigameko emibhalweni esezingachazwa ngokwemibono yamaqueer. Ngesikhathi senqubo yokubhalwa kwememo yeKhodingi Egxilile, abalingiswa uTyrrel (kuRichard III) kanye noHoratio (kuHamlet) kwabhekisiswa indlela ababekhuluma ngayo ukulekelela ukuchazwa kwamaqueer. Ingxeye yokugcina yenqubo yekhodingi (Ukubhalwa kwe-Memo) yayimayelana nokushintsha uHamlet noRichard III ukuthi bahambisane nendlela yokwenza yamaqueer, lapho uRichard noTyrrel kanye noHamlet benoHoratio babekwa ebudlelwaneni bobulili obufanayo. Kodwa ke, uma kufundwa lezindlela zokuhambisana namaqueer, ucwaningo luthole ukuthi ukuchazwa kwamaqueer kulemidlalo namanje akukwazi ukuzichaza ngokwakho emibhalweni iyodwa. Kwabe sekuvela umbuzo omusha: ‘Zingavezwa kanjani izimpawu zobuqueer ezindaweni ezintsha lapho amaqueer kumele ajwayeleke kuHamlet noRichard III?’ Ngakho-ke, ucwaningo lubandakanye uHamlet noRichard III, lapho kutholakale khona ukuthi isigaba sokushintshwa besifanele ukuze kuphiliswe ‘izincazelo zamaqueer’ emagameni abalingiswa. Okucacayo, ucwaningo bekufanele lubandakanye indlela abalingiswa abethula ngayo umsebenzi ukuzama ukuthola ukuthi ingabe ubulili babo bube nomthelela yini ezinhlosweni zabo kanye nasekuzazini kwabo. Indlela abalingiswa abethula nabachaza ngayo olayini babo, ukukhuluma ngezenzo kanye nokwenza kwabo kwabeka incazelo yamaqueer phambili.

Nakong ya lengolo la ka la kgau ya dikerii tsa mohlehlo (Masters), thutong ya tsamaiso ya sethala (Sekolo sa East IS Acting, London, potso e neng e botswa hangata ke barupelli, Tony Clark, ke: Ha e ne e ba o ka tsamaisa papadi ya Shakespeare hona tjee, o ne o ka etsa jwang? Papadi yee e ne e ka reng kajeno? Ke ile ka qala ka ipotsa, ‘ha e ne e ba ke lokela ho fetolela papadi ya Shakespeare ho ya moelelong wa mehleng ena, e be tjhadimo e ntjha le botoloki tse neng di ka fihlelwa ha ke ne nka bala ke ikamahantse le kutlwisiso ya lewa la botabane? E be see se ne se tla ba le tshusumetso efe mabapi le boitsebo le dithahasello tsa batshwantshisi le botoloki kamorao ho moo? Sepheo sa diphuputso tsena ke ho hlahloba se neng se ka etsahala ka bong ba Richard le Hamlet ha bo ne bo ka fetolwa ka lebaka la Hamlet le Richard III, ho ya ho botabane boo bo iketsetswang le hore hoo ho ne ho ka fetola boitsebo le dithahasello tsa sehlooho tsa mong tsa batshwantshisi jwang sebopehong se setjha. Tabeng ena, diphuputso di utlwisisitse hore ‘e sa bueheng ka morero ka basadi ba bang le dikamano tsa lerato le basadi ba bang, le banna ba bang le dikamano tsa lerato le banna ba bang kapa boteng ba ho sa tsebahaleng moo ho welang kapa ho ka hlaloswang e le ho malebaleba a ho sa tlwaelehang ho sebedisweng e le mehato ya ho tshwaya ya lewa la Constructivist-Grounded ho Hamlet le Richard III tsa Shakespeare. Lewa la tse sa tlwaelehang le bile le seabo se seholo manollong ya dingolwa tsa tshwantshiso. Lewa lena le hodisitse tsepamo ya karolo ena ho feta tjhadimo e amohelehang habediya botona le botshehadi le thobalano. Ka tshebediso ya lewa la tse sa tlwaelehang, motho a ka ithuta botona le botshehadi le thobalano hore na di ka hlahlobiswa le ho qholotswa ka hara dingolwa tsa tshwantshiso le hore na mekgahlelo ena e thehwa le ho hlahiswa jwang ka puo le meqoqo. Tshwano e teng dipakeng tsa lewa la tse sa tlwaelehang, le basadi ba ratanang le basadi ba bang le banna ba ratanang le banna ba bang, le ho nena tse sa tlwaelehang (LGQC) kaha ka bobedi di hlahloba botona le botshehadi le thobalano. Leha ho le jwalo, katamelo le tsepamo ya tsona e fapana hanyenyane. Ha LGQC e tsepame hodima ho manolla ho tobang boemedi ba moetlo, lewa la tse sa tlwaelehang le qhaqholla mefuta e mmedi. E nngwe ya dintlha tsa bohlokwa tsa LGQC ke ho hloka bopaki bo ngotsweng, kapa malebela ka botoloki ba dingolwa. Dintlheng tse ngata, malebela ka pono e pepeneneng ya batho ba bong bo le bong ba nang le ditakatso tsa thobalano le ditshwantsho tsa thobalano, leha ka nako e nngwe bopepenene bona bo potelletse mme bo etsa hore moya wa batho ba bong bo tshwanang mosebetsing wa batho ba bong bo fapaneng. Mehlala e mengata e potetseng “E sa buuweng kapa e etsahalang e sa rerwa,” malebela a teng, empa diphuputso tsena di hlile di tsepame ho kopano ya batho ba bong bo le bong, haholoholo banna ba kopanang. Ho Tyson (2006) batho ba banna ba bong bo le bong ba kopanang e hlahiswa e le maikutlo a matla dipakeng tsa batshwantshisi ba bong bo le bong. Diphuputso tsena di na le sepheo sa ho hlahloba hore na ke malebela afe a sa tlwaelehang a ka utlwisiswang bongoding ba ditshwantshiso ka mokgwa wa ho bala ka tse sa tlwaelehang le hore na hoo ho susumetsa phetoho ya sengolwa sa ditshwantshiso ho ya ho tse ntjha tse ka amahanywang le maemo. Tsepamo ya boithuto bona e ne e le hodima ho ela hloko botabane. Manollo ya motheo e hlakisitse hore kamora tlhahlobo ya kopano ya batshwantshisi le e mong le e mong, ho ile ha ba le bopaki ba malebaleba a sa tlwaelehang a se potetseng ka hara Richard III le Hamlet. Diketsahalo tse ding le dikopano, di ile tsa manollwa ho bona hore na ho ka tshehetswa tse potetseng. Ho ya ka maikutlo aka, diphetho di supa ha dikarolo tsa kopano ya batho ba bong bo fapaneng dipakeng tsa batshwantshisi ba amehang, tseo ke di tolokang hore Richard III le Hamlet e ne e le ditabane tsa banna. Jwalo kaha ke bontshitse ka hodimo, diphuputso tsena di sebedisitse mokgwa wa ho tshwaya wa lewa la Constructist-Grounded. Mohato wa pele ke ho tshwaya ha pele. O latetswe ke ho tswaya ho tsepameng, moo mefuta e ileng ya hlophiswa ka ho hlwekisa, e ileng ya ba qetellong ha ho etswa lewa. Ho tshwaya ha motheo le mehato ya ho bala ho sa tlwaelehang ho ile ha hlwauwa, boithuto ba tsepama ho malebela a sa tlwaelehang ho dingolwa tsa tshwantshiso tsa Richard III le Hamlet. Sebakeng sa malebela a sa tlwaelehang hore ho be le kutlwisiso, diphuputso tsena di ile tsa sepama hodima mohopolo wa dikamano tsa batho ba kopaneng ba bong bo fapaneng le tse tlwaelehileng hore di hlaloswe, ho bona tsepamo ya patlisiso ya sehlooho ya diphuputso e ne e le dipakeng tsa Richard III le Tyrrel, le Hamlet le Horatio. Boithuto bo sibollotse hore dingolwa tsa tshwantshiso e le ka nnete di tshehetsa bohlalosi ba tse sa tlwaelehang ka Richard le Hamlet. Nakong ya mohato wa ho tshwaya ho tsepameng, dinako tse ding le diketso tsa sengolwa sa tshwantshiso di ile tsa hlwauwa mme ha jwale di ka hlaloswa ka leihlo la tse sa tlwaelehang. Nakong ya mehato ya ho ngola ditsebiso tsa ho tshwaya ho tsepameng ha batshwantshisi ba Tyrrel (ka hara Richard III) le Haratio (ka hara Hamlet) di ile tsa hlahlojwa ho fumana mokgwa wa ho kopanya tse tshehetswang ke bohlalosi ba tse sa tlwaelehang. Karolo ya ho qetela ya mohato wa ho tshwaya kapa hona ho ngola ditsebiso, e ne e le wa ho fetola Hamlet le Richards III ho ya ho tse sa tlwaelehang tse ka amahanywang le maemo, mme diphuputso di fumane hore bohlalosi ba tse sa tlwaelehang ka hara ditshwantshiso tsena e ke ke ya ba tsa ‘kajeno’ tsona ka botsona ka hara dingolwa tseo ka botsona. Potso e ntjha: ‘Ho ka hlahiswa jwang malebaleba a tse sa tlwaelehang ka hara mokgwa o motjha wa ho ikamahanya le maemo a tse sa tlwaelehang ka hara Hamlet le Richard III? Bakeng sa diphuputso, ka lebaka leo, mofuputsi o kenyelletsa Hamlet le Richard III, moo ho ileng ha fumaneha diphetoho tsa sethala di hlokeha ho tlisa bophelo ba ‘bohlalosi’ ba tse sa utlwahaleng tsa sehlooho se reng mong wa batshwantshisi. Ka tsela e hlakileng, diphuputso di ne di lokela ho kenyelletsa batshwantshisi ho hlakisa kamoo batshwantshisi ba susumetswang ke bong ba bona bakeng sa boitsebiso le ditabatabelo tsa bona. Batshwantshisi le hona ho hlahisa mela, diketso tsa bona tse bontshwang ka ditho tsa mmele, le diketso tsa bona ka kakaretso di hlakisitse bohlalosi ba tse sa utlwisiseheng ho sengolwa ska tsela e qaqileng ka ho phethahala.