Question: The character Igor Dmitriev played in "Hamlet" was summoned by what king to distract the prince from his apparent madness?

<P0-S0> Igor Borisovich Dmitriev (Russian: И́горь Бори́сович Дми́триев ) (May 29, 1927 – January 26, 2008) was a Russian film and theater actor who specialized in playing aristocratic characters in costume productions (e.g., Rosencrantz in Grigori Kozintsev's "Hamlet"). <SEP> <P1-S0> Hamlet, S.104, is a symphonic poem by Franz Liszt, written in 1858 and published as No. 10. <P1-S1>  It was not performed until 2 July 1876. <P1-S2>  Like all but one of Liszt's 13 symphonic poems, "Hamlet" was written while Liszt was working in Weimar and is dedicated to Carolyne zu Sayn-Wittgenstein. <P1-S3>  After viewing Bogumil Dawison play Hamlet in Weimar (1856), Liszt wrote: "He does not make him into an indecisive dreamer who collapses under the power of his mission, as he is regarded since Goethe's theory in "Wilhelm Meister", but much more as a gifted, enterprising prince with important political views who is waiting for the right moment to complete his work of revenge and come to the aim of his ambition, that is, to be crowned king in place of his uncle. <P1-S4>  This goal can naturally not be reached in twenty-four hours and the clever anticipation which Shakespeare has put into the role of Hamlet and the negotiations with England which come clearly to the light of day at the end of the drama according to my view justify Dawson's interpretation, which Herr von Goethe and the aesthetes should not take too badly. <P1-S5>  Regarding Ophelia, Liszt wrote: "She is loved by Hamlet, but Hamlet, like every exceptional person, imperiously demands the wine of life and will not content himself with the buttermilk. <P1-S6>  He wishes to be understood by her without the obligation of explaining himself to her. <P1-S7>  She collapses under her mission, because she is incapable of loving him in the way that he must be loved, and her madness is only the decrescendo of her feeling, whose lack of sureness has not allowed her to remain on the level of Hamlet." <P1-S8>  Liszt's "Hamlet" is meant as a psychological study of the title character; only two brief references are made to Ophelia, both marked as "to be played as quietly as possible and sound like a shadowy picture." <SEP> <P2-S0> Rosencrantz and Guildenstern are characters in William Shakespeare's tragedy "Hamlet". <P2-S1>  They are childhood friends of Hamlet, summoned by King Claudius to distract the prince from his apparent madness and if possible to ascertain the cause of it. <P2-S2>  The characters were revived in W. S. Gilbert's satire, "Rosencrantz and Guildenstern", and as the alienated heroes of Tom Stoppard's absurdist play, "Rosencrantz and Guildenstern Are Dead", which was adapted into a film. <SEP> <P3-S0> "The Madness of King Scar" is a song written by composer Elton John and lyricist Tim Rice, which premiered in the musical "The Lion King", a stage adaptation of Disney's 1994 animated film of the same name. <P3-S1>  Originally recorded and storyboarded for the movie, it was removed from the final version. <P3-S2>  Media outlets believed the decision to exclude the song was based on its explicit references to sexuality. <P3-S3>  "The Madness of King Scar" had been added to the musical along with two other songs. <P3-S4>  It is one of two tracks that more prominently features vocals from the character Nala. <P3-S5>  The title is a reference to the 1994 film "The Madness of King George".