1.
William Shakespeare
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William Shakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the worlds pre-eminent dramatist. He is often called Englands national poet, and the Bard of Avon and his extant works, including collaborations, consist of approximately 38 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright, Shakespeare was born and brought up in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children, Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a career in London as an actor, writer. He appears to have retired to Stratford around 1613, at age 49, Shakespeare produced most of his known work between 1589 and 1613. His early plays were primarily comedies and histories, which are regarded as some of the best work ever produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, Othello, King Lear, in his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and it was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as not of an age, but for all time. In the 20th and 21st centuries, his works have been adapted and rediscovered by new movements in scholarship. His plays remain highly popular and are studied, performed. William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden and he was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth unknown, but is traditionally observed on 23 April. This date, which can be traced back to an 18th-century scholars mistake, has proved appealing to biographers because Shakespeare died on 23 April 1616 and he was the third child of eight and the eldest surviving son. At the age of 18, Shakespeare married 26-year-old Anne Hathaway, the consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaways neighbours posted bonds guaranteeing that no lawful claims impeded the marriage, twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596, after the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the bill of a law case before the Queens Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589
2.
Hamlet
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The Tragedy of Hamlet, Prince of Denmark, often shortened to Hamlet, is a tragedy written by William Shakespeare at an uncertain date between 1599 and 1602. Set in the Kingdom of Denmark, the play dramatises the revenge Prince Hamlet is called to wreak upon his uncle, Claudius, by the ghost of Hamlets father, Claudius had murdered his own brother and seized the throne, also marrying his deceased brothers widow. It has inspired many other writers—from Johann Wolfgang von Goethe and Charles Dickens to James Joyce and he almost certainly wrote his version of the title role for his fellow actor, Richard Burbage, the leading tragedian of Shakespeares time. In the 400 years since its inception, the role has been performed by highly acclaimed actors in each successive century. Three different early versions of the play are extant, the First Quarto, the Second Quarto, each version includes lines and entire scenes missing from the others. The plays structure and depth of characterisation have inspired much critical scrutiny, the protagonist of Hamlet is Prince Hamlet of Denmark, son of the recently deceased King Hamlet, and nephew of King Claudius, his fathers brother and successor. Claudius hastily married King Hamlets widow, Gertrude, Hamlets mother, Denmark has a long-standing feud with neighboring Norway, which culminated when King Hamlet slew King Fortinbras of Norway in a battle years ago. Although Denmark defeated Norway, and the Norwegian throne fell to King Fortinbrass infirm brother, Denmark fears that an invasion led by the dead Norwegian kings son, Prince Fortinbras, is imminent. On a cold night on the ramparts of Elsinore, the Danish royal castle and they vow to tell Prince Hamlet what they have witnessed. As the court gathers the next day, while King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser Polonius, after the court exits, Hamlet despairs of his fathers death and his mothers hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself, as Poloniuss son Laertes prepares to depart for a visit to France, Polonius gives him contradictory advice that culminates in the ironic maxim to thine own self be true. Poloniuss daughter, Ophelia, admits her interest in Hamlet, and that night on the rampart, the ghost appears to Hamlet, telling the prince that he was murdered by Claudius and demanding that Hamlet avenge him. Hamlet agrees and the ghost vanishes, the prince confides to Horatio and the sentries that from now on he plans to put an antic disposition on and forces them to swear to keep his plans for revenge secret. Privately, however, he remains uncertain of the ghosts reliability, soon thereafter, Ophelia rushes to her father, telling him that Hamlet arrived at her door the prior night half-undressed and behaving crazily. Polonius blames love for Hamlets madness and resolves to inform Claudius, as he enters to do so, the king and queen finish welcoming Rosencrantz and Guildenstern, two student acquaintances of Hamlet, to Elsinore. The royal couple has requested that the students investigate the cause of Hamlets mood, additional news requires that Polonius wait to be heard, messengers from Norway inform Claudius that the King of Norway has rebuked Prince Fortinbras for attempting to re-fight his fathers battles. The forces that Fortinbras conscripted to march against Denmark will instead be sent against Poland, Polonius tells Claudius and Gertrude his theory regarding Hamlets behavior, and speaks to Hamlet in a hall of the castle to try to uncover more information. Hamlet feigns madness but subtly insults Polonius all the while, when Rosencrantz and Guildenstern arrive, Hamlet greets his friends warmly, but quickly discerns that they are spies
3.
Prince Hamlet
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Prince Hamlet is the title character and protagonist of William Shakespeares tragedy Hamlet. He is the Prince of Denmark, nephew to the usurping Claudius, and son of King Hamlet, at the beginning of the play, he struggles with whether, and how, to avenge the murder of his father, and struggles with his own sanity along the way. By the end of the tragedy, Hamlet has caused the deaths of Polonius, Laertes, Claudius and he is also indirectly involved in the deaths of his love Ophelia and of his mother Gertrude. The play opens with Hamlet deeply depressed over the recent death of his father, King Hamlet, one night, his fathers ghost appears to him and tells him that Claudius murdered him in order to usurp the throne, and commands his son to avenge his death. Claudius sends for two of Hamlets friends from Wittenberg, Rosencrantz and Guildenstern, to find out what is causing Hamlet so much pain, Claudius and his advisor Polonius convince Ophelia—Polonius daughter and Hamlets true love—to speak with Hamlet while they secretly listen. Ophelia greets him, and offers to return his remembrances, upon which Hamlet questions her honesty and tells her to get thee to a nunnery. Hamlet devises a test to see whether Claudius is guilty, he hires a group of actors to perform a play about the murder of a king in front of the royal court, Claudius demands the play be stopped half through because it is the cause of his guilty conscience. When Claudius leaves the audience deeply upset, Hamlet knows that the ghost was telling the truth, a second attempt on Claudius life ends in Polonius accidental death. Claudius, now fearing for his life, sends Hamlet to England, accompanied by Rosencrantz, alone, Claudius discloses that he is actually sending Hamlet to his death. Prior to embarking for England, Hamlet hides Polonius body, ultimately revealing its location to the King, meanwhile, her fathers death has driven Ophelia insane with grief, and Claudius convinces her brother Laertes that Hamlet is to blame. He proposes a match between the two. Laertes informs the king that he will poison the tip of his sword so that a mere scratch would mean certain death. Claudius plans to offer Hamlet poisoned wine if that fails, Gertrude enters to report that Ophelia has died. In the Elsinore churchyard, two clowns, typically represented as gravediggers, enter to prepare Ophelias grave, Hamlet arrives with Horatio and banters with one of them, who unearths the skull of a jester whom Hamlet once knew, Yorick. Ophelias funeral procession approaches, led by Laertes, Hamlet interrupts, professing his own love and grief for Ophelia. He and Laertes grapple, but the fight is broken up by Claudius, later that day, Hamlet tells Horatio how he escaped death on his journey, disclosing that Rosencrantz and Guildenstern have been sent to their deaths instead. A courtier, Osric, interrupts to invite Hamlet to fence with Laertes, despite Horatios warnings, Hamlet accepts and the match begins. After several rounds, Gertrude toasts Hamlet, accidentally drinking the wine he poisoned, between bouts, Laertes attacks and pierces Hamlet with his poisoned blade, in the ensuing scuffle, Hamlet is able to use Laertes own poisoned sword against him
4.
Ophelia
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Ophelia is a character in William Shakespeares play Hamlet. She is a noblewoman of Denmark, the daughter of Polonius, sister of Laertes. She is one of the two characters in the play. In Ophelias first speaking appearance in the play, she is seen with her brother, Laertes, Laertes warns her that Hamlet, the heir to the throne of Denmark, does not have the freedom to marry whomever he wants. Ophelias father, Polonius, who enters while Laertes is leaving, also forbids Ophelia from pursuing Hamlet, based on what Ophelia told him, Polonius concludes that he was wrong to forbid Ophelia from seeing Hamlet, and that Hamlet must be mad with love for her. Polonius immediately decides to go to Claudius, the new King of Denmark and also Hamlets uncle and stepfather, Polonius later suggests to Claudius that they hide behind an arras to overhear Hamlet speaking to Ophelia, when Hamlet thinks the conversation is private. Since Polonius is now sure that Hamlet is lovesick for Ophelia, Claudius agrees to try the eavesdropping plan later. The plan leads to what is called the Nunnery Scene. Polonius instructs Ophelia to stand in the lobby of the castle while he, Hamlet enters the room in a different world from the others, and recites his To be, or not to be soliloquy. Hamlet approaches Ophelia and talks to her, saying Get thee to a nunnery, Hamlet asks Ophelia where her father is and she lies to him, saying her father must be at home. Hamlet realizes he is being spied and he exits after declaring, I say we will have no more marriages. Ophelia is left bewildered and heartbroken, sure that Hamlet is insane and she knows that ultimately it is she that broke him because she lied. She was the woman he had loved and a friend whom he trusted, after Hamlet storms out, Ophelia makes her O, what a noble mind is here oerthrown soliloquy. The next time Ophelia appears is at the Mousetrap Play, which Hamlet has arranged in order to try to prove that Claudius killed King Hamlet, Hamlet sits with Ophelia and makes sexually suggestive remarks, he also says that womans love is brief. Later that night, after the play, Hamlet kills Polonius during a meeting between Hamlet and his mother, Queen Gertrude. At Ophelias next appearance, after her fathers death, she has gone mad and she talks in riddles and rhymes, and sings some mad and bawdy songs about death and a maiden losing her virginity. She exits after bidding everyone a good night, the last time Ophelia appears in the play is after Laertes comes to the castle to challenge Claudius over the death of his father, Polonius. Ophelia sings more songs and hands out flowers, citing their symbolic meanings, although interpretations of the meanings differ
5.
Yorick
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Yorick is a character in William Shakespeares play Hamlet. He is the court jester whose skull is exhumed by the gravedigger in Act 5, Scene 1. The sight of Yoricks skull evokes a monologue from Prince Hamlet on mortality, Alas, poor Yorick. I knew him, Horatio, a fellow of infinite jest, of most excellent fancy, he hath borne me on his back a thousand times, here hung those lips that I have kissed I know not how oft. Your flashes of merriment, that were wont to set the table on a roar, the opening words are very commonly misquoted as Alas, poor Yorick. This theme of Memento mori is common in 16th- and 17th-century painting, appearing in art throughout Europe, images of Mary Magdalene regularly showed her contemplating a skull. It is also a common motif in 15th- and 16th-century British portraiture. A more direct comparison is with pictures of children or young men. It was also a motif in emblem books and tombs. Hamlet meditating upon the skull of Yorick has become the most lasting embodiment of this idea, the name Yorick has most often been interpreted as an attempt to render a Scandinavian forename, usually either Erick or Jørg, a form of the name George. The name Rorik has also suggested, since it appears in Saxo Grammaticus, one of Shakespeares source texts. There has been no agreement about which name is most likely, an alternative suggestion is that it may be derived from the Viking name of the city of York, a connection that was first made in 1866. More recently Gerald Kilroy has suggested that it is an anagram of the Greek word Kurios, which he takes to be a reference to the Catholic martyr Edmund Campion. The name was used by Laurence Sterne in his comic novels Tristram Shandy and A Sentimental Journey as the surname of one of the characters, parson Yorick is supposed to be descended from Shakespeares Yorick. Travens novel The Death Ship the doomed vessel is named the Yorikke, the earliest visual image of Hamlet holding Yoricks skull is a 1773 engraving by John Hall after a design by Edward Edwards in Bells edition of Shakespeares plays. It has since become a common subject and he was portrayed by comedian Ken Dodd in a flashback during the gravedigging scene in Kenneth Branaghs 1996 film Hamlet. Pianist André Tchaikowsky donated his skull to the Royal Shakespeare Company for use in theatrical productions and his skull was used during rehearsals for a 1989 RSC production of Hamlet starring Mark Rylance, but the company eventually decided to use a replica skull in the performance. Musical director Claire van Kampen, who later married Rylance, recalled, As a company and it is possible that some of us felt a certain primitive taboo about the skull, although the gravedigger, as I recall, was all for it
6.
Human skull symbolism
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Skull symbolism is the attachment of symbolic meaning to the human skull. The most common use of the skull is as a representation of death. Humans can often recognize the buried fragments of a partially revealed cranium even when other bones may look like shards of stone. Because of this, both the death and the now past life of the skull are symbolized, moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead. As such, human skulls often have a visual appeal than the other bones of the human skeleton. Our present society predominantly associates skulls with death and evil, unicode reserves character U+1F480 for a human skull pictogram. One of the examples of skull symbolism occurs in Shakespeares Hamlet. I knew him, Horatio, a fellow of infinite jest, Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor. Compare Hamlets words Here hung those lips that I have kissed I know not how oft to Talmudic sources. Rabi Ishmael, put in his lap. and cried, oh sacred mouth. who buried you in ashes. The skull was a symbol of melancholy for Shakespeares contemporaries, Skulls and skeletons are the main symbol of the Mexican holiday, Day of the Dead. Venetian painters of the 16th century elaborated moral allegories for their patrons, next to the Magdalenes dressing-mirror, in a convention of Baroque painting, the Skull has quite different connotations and reminds the viewer that the Magdalene has become a symbol for repentance. In C. Allan Gilberts much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable toilette, a ghostly echo of the worldly Magdalenes repentance motif lurks behind this turn-of-the 20th century icon. The skull becomes an icon itself when its painted representation becomes a substitute for the real thing, simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still, when the skull appears in Nazi SS insignia, the deaths-head represents loyalty unto death. However, when tattooed on the forearm its apotropaic power helps an outlaw biker cheat death, the skull and crossbones signify Poison when they appear on a glass bottle containing a white powder, or any container in general. In the same way a skull is a warning when it decorates the palisade of a city, the Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement, that the current owner had the power to kill the former. Drinking out of a skull the blood of enemies is mentioned by Ammianus and Livy
7.
Moscow Art Theatre production of Hamlet
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The story of Craig and Stanislavski began in 1908 when the eccentric American dancer Isadora Duncan, who had a daughter with Craig, introduced the two to each other. Craig, an English theatre practitioner, had garnered interest for the symbolist, on the other end of the spectrum Constantin Stanislavski was creating a world of theatre based upon realism, the internal complexities of the mind, and the rise of psychology. After their meeting Stanislavski decided to invite Craig to help produce Hamlet for the 1910 season at the Moscow Art Theatre, one early setback of their attempt was that Stanislavski contracted a serious case of typhoid fever. This caused him take a leave of absence and delay the opening night, Hamlet eventually opened on 5 January 1912. The duo tackled this project when they were at the peak of their influence, at times this led to conflict between the entire cast and crew but eventually gave birth to one of the most unique, polarizing, and impactful productions of all the twentieth century. It became one of the most famous and passionately discussed productions in the history of the modern stage, when Stanislavski extended his invitation to Craig in April 1908, he was completely overcome by his eagerness to work with progressive theatre artists. However, Stanislavski was unaware of how different his vision for the future was from Craig’s. Following his failed experiment with Meyerhold and the studio, Stanislavski began to emphasize the importance of the actor and he believed that “neither the set, nor the director, nor the designer can carry the play…it is in the hands of the actor”. It was this principle that drove him to reconsider the approach of the actor. By the time Stanislavski became aware of Craig, he was beginning to develop the concepts that would serve as the backbone for his “system”. He was determined that good acting came from internal motivations rather than outward shows, “The actor must no longer express himself, but something else, he must no longer imitate, but indicate”. In Craig’s opinion good theatre required a unity of all elements under the control of one person, the playwright Maurice Maeterlinck had argued 15 years earlier that many of the greatest dramas in the history of theatre, including Hamlet, were not stageable. In 1908, Craig again insisted that an adequate staging of the play was impossible, when he suggested the play to the MAT, he wanted to test my theory that the Shakespearean play does not naturally belong to the art of the theatre. Stanislavski wished the actors to accompany the text with raw emotion, of course. Meanwhile, Craig sought for the actors to not try and make their characters emotional state present and this did not mean he wanted a dead show but on the contrary he believed the text clearly stated each characters motives and feelings. He strove for simplicity that Kaoru Osanai, in the Educational Theatre Journal, both had stressed the importance of achieving a unity of all theatrical elements in their work. Let us get a little stronger in it and we shall once more continue on our quest and that is why we have invited Gordon Craig. After wandering about in search of new ways, we shall return to realism for more strength
8.
House of Gonzaga
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Their family includes a saint, twelve cardinals and fourteen bishops. Two Gonzaga descendants became empresses of the Holy Roman Empire, the first members of the family of historical importance are known to have collaborated with the Guelph faction alongside the monks of the Polirone Abbey. Starting from the 12th century they became a dominant family in Mantua, growing in wealth when their allies, the Bonacolsi, defeated the traditional familiar enemy, the Casalodi. Ludovico was succeeded by Guido and Ludovico II, while Feltrino, lord of Reggio until 1371, formed the cadet branch of the Gonzaga of Novellara, whose state existed until 1728. Francesco I abandoned the alliance with the Visconti of Milan. In 1530 Federico II received the title of Duke of Mantua, in 1531, the family acquired the Marquisate of Montferrat through marriage. Through maternal ancestors, the Gonzagas inherited also the Imperial Byzantine ancestry of the Paleologus, the Gonzaga-Nevers later came to rule Mantua again when Louiss son Charles inherited Mantua and Montferrat, triggering the War of the Mantuan Succession. Another cadet branch were first sovereign counts, later dukes of Guastalla and they descended from Ferrante, a younger son of Duke Francesco II of Mantua. Ferrantes grandson, Ferrante II, also played a role in the War of the Mantuan Succession, a further cadet branch was that of Sabbioneta, founded by Gianfrancesco, son of Ludovico III. Marie Louise Gonzaga, daughter of Prince Charles Gonzaga-Nevers, was a Polish queen consort from 1645 to her death in 1667. Two daughters of the house, both named Eleanor Gonzaga, became Holy Roman Empresses, by marrying emperors Ferdinand II of Germany and Ferdinand III, Holy Roman Emperor, from the latter Empress Eleanor, the current heirs of the Gonzaga descend. St. Aloysius Gonzaga was a member of a branch of this family. The House of Gonzaga is the inspiration for the play-within-the-play in Shakespeares Hamlet, in Act 3 scene 2, they act out a play called The Murder of Gonzago. Gonzaga rule continued in Mantua until 1708 and in Guastalla until 1746, both ruling lines became extinct, and the headship of the House of Gonzaga passed to the Vescovato line, descended from Giovanni, a son of Federico I Gonzaga. That branch, shorn of sovereign domains, is extant and its head is Don Maurizio Ferrante Gonzaga, Principe del Sacro Romano Impero, Marchese Gonzaga, Conte di Villanova, Conte di Cassolnovo, Marchese del Vodice, Signore di Vescovato, Patrizio Veneto. The branches of the Gonzaga family, showing marquises and dukes of Mantua in bold, dukes of Nevers and Rethel in italics and the Guastalla line to the right
9.
Hamlet Q1
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Q1 of Hamlet, or the First Quarto as it is also called, is a short early text of the Shakespearean play. The intended publication of the play is entered in the Stationers Register in 1602 by James Roberts and it was published by the booksellers Nicholas Ling and John Trundell, and printed by Valentine Simmes. Roberts later printed the Second Quarto, the other two early printed texts of Hamlet are the Second Quarto and First Folio. Both Q2 and F1 are more than 1600 lines longer than Q1, Q1 was unknown until 1823, when the first of only two known copies was discovered by Sir Henry Bunbury. Since then the relationship between Q1 and the other early texts of the play, as well as its origin as a text, has been extensively debated. In addition to the fact that Q1 is much shorter than both Q2 and the F1 version of the play, it has a number of unique characteristics, there are many oddities and unexplained bits of action, consistent with crude cutting of the text. There is a scene between Horatio and Gertrude in which Horatio tells her that Hamlet has escaped from the ship after discovering Claudius plan to kill him. Gertrude says that she now recognises Claudius villany, but she will soothe, another significant difference is that the character of Polonius is called Corambis while his servant Reynoldo is named Montano. Various suggestions have been made to explain this, G. R. Hibbard argues that these last changes were made because Q1 derives from a touring version of the play, which was intended to include a performance at Oxford university. Hibbard believes that the names were too close to those of two famous Oxford scholars, the universitys founder Robert Polenius and the Puritan theologian John Rainolds. Since Polonius is a parody of a pompous pseudo-intellectual and his servant acts as a spy, the title page of Q1 specifically states that the play was recently performed in the Cittie of London, as also in the two Universities of Cambridge and Oxford, and else-where. This view became increasingly prominent in the 20th century and it was one of the publications named by the bibliographer Alfred W. Pollard as a bad quarto in 1909, a term he coined to distinguish several texts that he judged significantly corrupt. In 1915 Henry David Gray analysed Q1 using the model of memorial reconstruction and he concluded that the actor who played Marcellus was responsible for the reconstruction. He explained the fact that the scene, in which Marcellus does not appear, was also accurate by suggesting that the same actor must have also played one of the roles in that scene. Grey argued that hired actors playing minor roles would be susceptible to bribery than established actors in the company. An anonymous writer filled out the missing verses. In 1943 G. I. W. W. Greg had argued that the actor may also have played another role, that of Voltemar. The publication of the so-called good quarto of Hamlet so soon after Q1 has been explained as the result of the fact that Q1 was so corrupt, possibly Shakespeare or his company thought it necessary to publish the true text to preserve the authors reputation
10.
Hamlet in performance
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Hamlet is a theatre show produced by the East West Theatre Company from Sarajevo, Bosnia and Herzegovina and directed by Haris Pašović. The co-producer for Hamlet are Bosnian Cultural Centre Tuzla, British Council/Urban Cultures, director Haris Pašovićs main hero, Hamlet, is a Muslim hero struggling to survive in an ancient Islamic superpower. That is, East West Theatre Companys Hamlet is set in Topkapı Palace, shakespeares story and the names remained the same, save the titles and Turkey instead of Denmark, as well as cultural references. Damjana Cerne is Gertrude, valid sultan, the most powerful woman in the Ottoman Empire, gracious, sultan Claudius, played by Frano Maskovic, is handsome and perfidious - almost Hamlet’s age. Miodrag Krivokapic is poignant as profoundly unhappy Ghost, mysterious Player, zana Marjanovic plays rebellious erotic Ophelia, oppressed by her father. Horatio, played by Damir Markovina is sexy and smart, much more than Hamlet’s shadow, slaven Knezovic plays both manipulative Polonius and selfish Laertes. Armin Catic and Aldin Omerovic play soft and unscrupulous Rosencrantz and Guildenstern, fortinbras is a woman, a contemplative princess played by Sabina Bambur. Costume design was created by the trio of designers known as Kao Pao Shu. Production is accompanied by Bosnian musicians Dino Sukalo, Atilla Aksoy, Amar Cesljar, robin Holmes is dramaturge, Toni Cots dance choreographer, Ragib Karamehmedović and Krešimir Brajković stage-combat choreograpohers, while Lejla Jusic is a singing coach
