Hamlet's advice to the players may well be taken for Shakespeare's own theory of theater. Indeed, Hamlet is filled with such metatheatrical moments, from the play-within-a-play to the gossip about the London stage; it's not a stretch at all to here the bard's voice behind Hamlet's. The speech's most significant moment, in terms of aesthetic theory, is the passage that begins, "for anything so o'erdone is from the purpose of playing." Hamlet reveals the primeval roots of theater as he understands them -- to act as a mirror on both the universal and the particular levels, reflecting both human nature across centuries and the peculiar habits of a given time in history. Overacting, clowing, and mugging might gain a moment's applause, but these things are not valuable beyond immediate gratification. Indeed, they run counter to the deepest nature of theater, which is to depict humanity not in a grotesque form, but as it actually is.
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