Referring to several European productions of Hamlet between 2001 and 2014, Nicoleta Cinpoeş in this article examines the stage struggle to ‘recuperate’ an Ophelia that both discursive criticism and visual objectification bury prematurely, albeit by different means and for different aims, when they claim, in Laertes's words: ‘The woman will be out.’ She takes Laertes's words to mean both taking the woman out and putting the woman on view, and offers a preliminary survey of the customary textual cuts and their effect on Ophelia's part, exploring ‘the four unscripted scenes’ of three directors – Vlad Mugur, Radu Alexandru Nica, and Jan Klata – and their impact on Ophelia's role as found in Shakespeare's play. Nicoleta Cinpoeş is Principal Lecturer at the University of Worcester and author of Shakespeare's Hamlet in Romania 1778–2008 (Mellen, 2010) as well as editor of, and contributor to, Doing Kyd (Manchester University Press, 2016). She has published articles in Shakespeare Bulletin, SEDERI, Testi e linguaggi, Arrêts sur scène, Theatrical Blends, and Studia Dramatica.

中文翻译：

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处理奥菲莉亚：四个无脚本场景中的故事

参考了几个欧洲的产品村庄在 2001 年至 2014 年间，Nicoleta Cinpoeş 在本文中审视了“恢复”奥菲莉亚的舞台斗争，话语批评和视觉对象化都过早地埋葬了这种奥菲莉亚，尽管他们声称以不同的方式和不同的目标，用莱尔特斯的话来说：“女人会出来的。她将莱尔特斯的话理解为既要把女人带出去又要把女人放在视野中，并对习惯性的文本剪辑及其对奥菲莉亚的影响进行了初步调查，探索了三位导演——弗拉德·穆古尔、拉杜的“四个无剧本场景” Alexandru Nica 和 Jan Klata——以及他们对莎士比亚戏剧中奥菲莉亚角色的影响。Nicoleta Cinpoeş 是伍斯特大学的首席讲师，着莎士比亚在罗马尼亚的哈姆雷特 1778-2008（梅伦，2010 年）以及编辑和贡献者，做kyd（曼彻斯特大学出版社，2016 年）。她曾在莎士比亚公报、SEDERI、Testi e linguaggi、Arrêts sur scène、戏剧混合， 和戏剧研究.