One of the most entrenched myths that dramatic authors need to contest and adjust to is the Shakespeare myth, a long-lasting and all-pervasive influence that Shakespeare’s name and texts have exerted since the late 16th century, being perceived as “represent[ing] truths that transcend particular circumstances” (Sinfield, 1998: 129). In order to be actively involved in the “making of culture” (Sinfield, 1998: 128) and for the purpose of establishing and (re)defining one’s own position within and against the canonical (trans)national texts, many British dramatists, including Tom Stoppard, have alluded to, quoted, or incorporated portions of Shakespeare’s plays within their own, or even reconstituted them completely. This paper discusses the manner in which Stoppard appropriates Shakespeare’s Hamlet and Macbeth – probably his best known and most frequently staged and adapted tragedies – in order to question the importance of both the author and his work within the context of contemporary culture and society.

Author Name: Ifeta Ciric-Fazlija

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Keywords: British drama, William Shakespeare, Hamlet , Macbeth , Tom Stoppard, Dogg’s Hamlet, Cahoot’s Macbeth , pastiche, parody

ISSN: 2336-9884

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