My essay will examine how two Indian adaptations of Hamlet, separated by more than a century, engage with the canonical text and also rehearse codes of indigenous identity. The adaptations in question are (i) Hariraj, a Bengali play first staged in 1897 and (ii) Haider, a Hindi film released in 2014. These two adaptations operate within popular media: Hariraj was commercially the most successful stage adaptation of Shakespeare in 19th-century Bengal, while Haider has been the highest grosser among all of director Vishal Bhardwaj's films. Coincidentally, both of these base the action in Kashmir. For Hariraj, the locale implies a pseudo-medieval past suggestive of Hindu political autonomy, which would therefore appeal to the contemporary taste for Hindu revivalism in Bengal. As against this, Haider brings the elements of Shakespearean appropriation to a dialogue with the setting for its action – the militancy-stricken and militarized (Indian) Kashmir of 1995, characterized by gross violation of human rights. If Haider explores the ideological and aesthetic limits of representing the Indian nation as a political construct, Hariraj may be seen as an exercise in imagining an exclusionary Hindu past imbued with the glamour of Shakespearean tragedy. More importantly, both of the adaptations show the Gertrude-equivalent to be strong-willed and transgressive, and in both the texts, the Gertrude-figure's climactic revelation of maternal love coincides with a self-punitive/redemptive suicide. These two adaptations are thus invested in re-formulating the sub-plot of Hamlet's mother in an attempt at testing the representational limits of femininity. In both the cases, the Shakespearean original acts as a catalyst for dramatizing cultural expectations and assessing the imbrications between the personal and the political.

中文翻译：

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哈里拉（Haiiraj）和海德（Haider）：流行娱乐与民族在哈姆雷特的两次印度改编中

我的文章将研究相距一个多世纪的两次印度改编的《哈姆雷特》如何与规范文本互动，以及如何排练土著身份代码。涉及的改编为（i）1897年首次上演的孟加拉剧《哈里拉吉》和（ii）2014年发行的印地语电影Haider。这两种改编在大众媒体中运作：商业上最成功的莎士比亚戏剧改编版Hariraj是第19届百年孟加拉人，而海德尔（Haider）则是导演维沙尔·布哈德（Vishal Bhardwaj）所有电影中票房最高的电影。巧合的是，这两个行动都是在克什米尔开展的。对于哈里拉吉（Hariraj）而言，该语言环境暗示着伪中世纪的历史，暗示了印度教的政治自治，因此将吸引当代孟加拉国对印度教复兴主义的品味。与此相反，Haider将莎士比亚拨款的内容与行动背景进行了对话-1995年遭受军事打击和军事化（印度）的克什米尔，其特点是严重侵犯人权。如果海德尔探索将印度民族代表为政治建构的意识形态和美学极限，那么哈里拉吉就可以被视为一种构想一个充满莎士比亚悲剧魅力的排斥印度教徒的活动。更重要的是，这两部改编作品都表现出格特鲁德同等的意志坚强和具有侵略性，在这两本书中，格特鲁德人物对母爱的高潮启示都与自我惩罚/救赎的自杀相吻合。因此，将这两种改编投入到重新构建“哈姆雷特”子图的过程中。的母亲试图测试女性气质的代表性极限。在这两种情况下，莎士比亚原著都是催化戏剧化文化期望并评估个人与政治之间冲突的催化剂。