Director's features revealed in the creative process of <Hamlet Walking Man>

This work is a thesis that studied the researcher’s problem awareness as a theater director through “empirical knowledge” in the process of creating the script ≪Hamlet, a Man Walking≫ adapted from Shakespeare’s ≪Hamlet≫. Therefore, this thesis is a study that shows how a theater director interpreted and staged Shakespeare’s ≪Hamlet≫. This thesis is about the researcher’s internal creative process regarding the adaptation of the play ≪Hamlet, a Man Walking≫ with the modifier “a man walking” from an existentialist perspective and its stage practice.The ‘existentialist perspective’ is based on the researcher’s understanding and synthesis of thinkers such as Kierkegaard, Heidegger, Goethe, Giacometti, and Sartre. In other words, it is summarized as a being of thought that acts and thoroughly recognizes the despair that cannot help ending in death as a human being, an essentially finite being, and defines its own existence in the midst of despair.This existentialist perspective of this researcher does not define Hamlet as an simple indecisive human being, but as a walking human being, that is, a being of thought that acts. This also means that the researcher actively adapted the play ≪Hamlet≫ through his perspective and understanding, recognizing it as a symbolic system for stage imagination, breaking away from the empire of literary meaning called a play in theater studies.In addition, this adapted script attempts to adapt it with various humanistic approaches such as John Millais's painting, ≪Ophelia≫, or Homer's ≪Odyssey≫, and it is also a text that allows us to examine how the series of humanistic reflections that this researcher has in theater art is created as a work.