This paper investigates an example of the theater – film interface. Recent studies in mediality have given new impetus to the postsemiotic theories of adaptation and representational logic. Film theories have amply benefited from comparative investigations into the analogies and differences between theatrical and cinematic representational techniques. My focus here is on Shakespearean scholarship and the reinterpretations of the early modern theater, as well as the bearing these new findings had on filmic representation. I intend to establish a connection between the two fields by attempting an analysis of a production of Hamlet by the pioneering figure of experimental Hungarian theater and film, Gábor Bódy. The cultural practice and public spectacle of anatomy will be the example which will connect in my argumentation the early modern and the postmodern, as well as the theatrical and the cinematic. I would like to shed light on how Bódy’s work can be interpreted as a peculiar premonition of critical trends that emerged after his experiments.
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