Answer:
Answer for question 1: Re-enactors will never be able to completely replicate all of the situations and challenges of life in the past. Re-enactors, like historians, suffer limitations that cannot be ignored. A paucity of historical sources, for example, may mean that a recreated regiment can never be certain that its clothes are identical to those worn by troops serving in the regiment in the past. Furthermore, for the reasons of cleanliness and safety, certain characteristics cannot be replicated. Most re-enactment groups attempt to compensate for these inescapable modern effects (such as the use of modern toilets rather than digging a trench and food carried from home rather than scavenged in a nearby village) by striving for a realistic representation in every other manner.
Answer for question 2: In the absence of an audience, mainstream reenactors make an effort to appear real, yet they may fall out of character. Hidden stitches and undergarments may not be period-appropriate, but visible stitches are likely to be made in a period-correct manner. Food served in front of an audience is likely to be historically accurate, although it may not be seasonally or geographically appropriate. Modern things are occasionally utilized "after hours" or in a covert manner. The normal approach is to put on a nice show, but correctness is only required to the extent that others can see it.
Explanation:
Visitors to re-enactment activities obtain an understanding of a particular period. They gain an appreciation of how different life was in the past by simply asking questions, watching how food is prepared over a campfire, and looking at the tents that were used to sleep in. It's a true hands-on experience, since visitors are frequently allowed to sample food, touch uniforms to feel how heavy the cloth is, and learn about the steps involved in firing a musket. Through these contacts with the public, re-enactors pass on their expertise and perspective, making history very accessible. This is what distinguishes re-enactment from more traditional methods of teaching and learning history.
Answer to Question 1: Hamlet becomes increasingly furious with both himself and whoever harmed those who he cared about. A visceral sentiment of vengeance consumes him as he realizes his mind won't be at peace if he simply stands around fearfully inside his aristocratic eggshell, and the sentiment won't snuff out until the ones responsible for his anger are punished.
Answer to Question 2: Hamlet believes he will become a beast if he gives himself into an avenging wrath, but it does not matter to him as long as his grieving thoughts are cleansed. Ignoring the incident would simply preserve his plight.
Answer to Question 3: The audience should feel compasion for the man in duel, and be afraid that a good man who's well aware of his own thoughts and conclusions - a man that has lost nearly everything - gave into the rage.
Director's notes on Proper Soliloquies.
An actor who aims to perform a soliloquy must look around their environment, focus on a significant element of the scene, and procced to describe with detail how the sight makes them feel - repeat the process with the rest of the scene -. The actor should change the tone of their voice between the lines depending on the current feeling of their character; shouting it all should not be neccesary and might be considered exaggerated.
To deliver a theme to the audience
you didnt post a pic of the options to pick from
