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STUDY GUIDE 2 SUMMARY OF CURRICULUM STANDARDS
The exercises and information in this study guide are geared towards fulfilling the Common Core State Standards for En- Table of Contents glish Language Arts and Literacy for Grades 11-12. Summary of Curriculum Standards...... 2 Writing About National Players ...... 3 • Write informative/explanatory texts to examine and con- vey complex ideas, concepts, and information clearly and Background: About William Shakespeare ...... 4 accurately through the effective selection, organization, and analysis of content. • Write narratives to develop real or imagined experiences Background: Hearing Shakespeare ...... 4 or events using effective technique, well-chosen details, and well-structured event sequences. Background: The Performance ...... 5 • Produce clear and coherent writing in which the devel- opment, organization, and style are appropriate to task, Background: The Theatre ...... 5 purpose, and audience. • Develop and strengthen writing as needed by planning, Macbeth: Synopsis ...... 6 revising, editing, rewriting, or trying a new approach, -fo cusing on addressing what is most significant for a specific Meet the Characters ...... 7 purpose and audience. • Conduct short as well as more sustained research proj- Shakespeare’s World: Sources ...... 8 ects to answer a question (including a self-generated ques- tion) or solve a problem; narrow or broaden the inquiry Shakespeare’s World: Witchcraft...... 8 when appropriate; synthesize multiple sources on the sub- ject, demonstrating understanding of the subject under Production History...... 9 investigation. Speaking and Listening National Players’ Production...... 10 • Prepare and participate effectively in a range of conver- sations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and per- Character Study: Lady Macbeth ...... 11 suasively. • Respond thoughtfully to diverse perspectives; synthesize Glossary ...... 12 comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and deter- Key Words and Names...... 13 mine what additional information or research is required to deepen the investigation or complete the task. Further reading...... 14 • Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and es- Bibliography...... 15 tablish individual roles as needed.
Getting the Most from this Guide Our study guides are designed with you and your classroom in mind, with information and activities that can be implemented in your curriculum. National Players has a strong belief in the relationship between actor and audience. Without either participant, there is no theatre. We hope this study guide will help bring a better understanding of the plot, themes, and characters in the play so that you can more fully enjoy Macbeth.Feel free to copy the study guide for students and other teachers and to use any essay, exercise, or discussion question as you see fit. 3 ABOUT NATIONAL PLAYERS National Players is proud to continue collaborating History with audiences around the world today. Committed to Now celebrating its 65th season, National Players is excellence on and off the stage, over 700 artists have been America’s longest-running touring company, and has proud Players, and continue to promote good work in earned a distinctive place in American theatre by bringing New York, Hollywood, and other communities across the innovative and accessible productions to audiences across country. the country. Founded in 1949 by Father Gilbert Hartke, a prominent arts educator and Catholic priest, National Players has performed in theatres, gymnasiums, opera houses, and TOUR 65 National Players offers an exemplary lesson in outdoor playing spaces all around the country. Hartke’s collaboration and teamwork-in-action: the actors not mission—to stimulate young people’s higher thinking skills only play multiple roles onstage, but also serve as stage and imaginations by presenting classic plays in surprisingly managers, teaching artists, and technicians. This year, the accessible ways—is as urgent and vital today as it was over Players consist of 10 actors, traveling across the country, 60 years ago. visiting schools and art centers. A self-contained company, Since 1952, Olney Theatre Center has been the National Players carries its own sets, lights, costumes, and artistic home of National Players and has broadened its sound; that means that the actors you see rebuild the set engagement to stimulate all learners, regardless of age, and hang lights for more than 70 performances. They also background, or location. Through the years, Players has memorize lines for three different plays— , been privileged to perform on 10 USO tours, at five White Macbeth The and often performing House visits, in the Arctic Circle, and throughout 42 states Comedy of Errors The Odyssey— more than one a day. It is a lot of work, but the Players and territories. are dedicated to celebrating and teaching literature and Having performed for over 2.8 million audience members, performance to as many audiences as possible.
Tour2 2, 1950-51 Tour 31, 1979-80 Tour 11, 1959-60
Above, you can see images from three National Play- er productions of Macbeth. In each restaging of the play, the director and actors bring something new, through costumes, setting, and more.
What do you notice about the pictures above? What mood do they invoke? What kind of story do they ap- pear to be telling? 4 BACKGROUND About William Shakespeare Despite being history’s most pro- bawdy comedies, and the occasional Most early modern playwrights did duced and studied English play- tragedy. Later in life, his plays became not publish their work, but 18 of wright, little is known of William more structurally complex, featuring Shakespeare’s plays were printed Shakespeare’s life. One of six sib- his iconic Hamlet and Macbeth and before he died. Luckily, his plays sur- lings, Shakespeare was born in Strat- the curious tragicomedies Cymbeline vived because friends and colleagues ford-upon-Avon on or about April 23, and The Tempest. commemorated his life in a publica- 1564. He married Anne Hathaway in William Shakespeare died on or tion known as theFirst Folio. 1582 and had three children. For the about April 23rd, 1616, and is interred A century after his death, questions seven years after, Shakespeare fell at a chapel in Stratford-upon-Avon. began to arise; his birthdate, death- off all record. Eventually, he arose in date, and even the spelling of his London and joined The Lord Cham- name are in question. No definitive berlain’s Men acting troupe. In 1603, portrait exists of the man, and no when the troupe came into King government record lists his theatric James’ favor, they officially became profession. The King’s Men. Many scholars have questioned the Shakespeare’s professional days are ability of a minimally educated man to a mixture of fact and legend. In 1601, create such challenging writing. Some he and his business partners pur- theorists have long held that “Shake- chased property on the south bank of speare” was a nom de plume for an- London’s Thames River, where they es- other playwright, nobleman, or even tablished The Globe Theatre. There, collection of writers. However, the the acting company performed many vast majority of scholars believe that of Shakespeare’s 37 plays. Famed for unofficial documentation provides using the iambic pentameter writing proof of Shakespeare’s existence and style, Shakespeare’s works are deep A copper engraving of Shakespeare prolific abilities. Regardless, Shake- in metaphor, illusion, and character; by Martin Droeshout, published on speare’s plays have been translated sometimes even taking precedence the title page of the First Folio in to 118 languages and are now in con- over plot. A diverse playwright, he be- 1623. stant production around the world. gan his career writing historical plays,
Hearing Shakespeare Words, Words, Words Sometimes Shakespeare’s -lan • Although he uses prose as well, Shakespeare coined more than guage can be difficult to under- Shakespeare often uses verse in 1,700 words, many of which we stand, but once you get it, it is really his plays, a form called iambic pen- fun. Here are some tips to help you tameter. This rhythm, which uses still use today. Here are some of enjoy and appreciate the onstage stressed and unstressed syllables, his most famous: action: makes it easier to both understand • Compromise • You do not have to understand ev- and to learn Shakespeare. The ery word in order to understand the rhythm guides the ear to the im- • Cold-blooded play. Try to grasp the gist of what portant parts of each phrase. • Puking each character is saying. After a • The plays aren’t meant to scare or • Eyeball while, you won’t even have to think confuse you. Shakespeare wrote to • Blanket about it. entertain, and he was pretty good • Watch body language, gestures, at it (he was one of the most pop- • Torture and facial expressions. Actors com- ular playwrights of his time, after • Bloodstained municate what they are saying all).Even his tragedies have comedic • Amazement through their body. You can un- moments, so feel free to laugh and • Deafening derstand much of the play without react to the actors’ jokes and antics. hearing a word. • Elbow 5 BACKGROUND The Performance The Theatre During Shakespeare’s day, new The Globe Theatre was a circu- plays were written and performed lar wooden structure constructed continuously. A company of actors of three stories of galleries (seats) might receive a new play, prepare surrounding an open courtyard. it, and perform it every week. It was an open-air building, and Because of this, each actor in a rectangular platform projected the company had a specific type into the middle of the courtyard of role that he normally played served as a stage. The perfor- and could perform with little re- mance space had no front curtain, hearsal. This role was known as a but was backed by a large wall with stock character. Such characters one to three doors out of which might include romantic lovers, actors entered and exited. In front tragic soldiers, fools and clowns, of the wall stood a roofed house- and women characters. Because like structure supported by two women were not allowed to per- large pillars, designed to provide a place for actors to “hide” when not form on the stage at the time, in a scene. The roof of this struc- young boys whose voices had yet ture was referred to as the “Heav- to change played the female char- ens” and could be used for actor acters in the shows. entrances. Other than a few pieces of The theatre itself housed up to , like forest and stock scenery 3,000 spectators, mainly because palace backdrops, set pieces Although there are no surviving illus- a great number had to stand. were very minimal. There was trations of the original Globe Theatre, The seats in the galleries were no artificial lighting to convey historians think it looked something reserved for people from the up- time and place, so it was up to like the Rose Theatre. The Rose was per classes who primarily came audience to imagine what the right down the road from the Globe, to the theatre to be prominently full scene would look like. Be- and some of Shakespeare’s early plays were performed there. seen. Sometimes, wealthy patrons cause of this, the playwright was were even allowed to sit on or forced to describe the setting in above the stage itself. These seats, greater detail than would normally Did You Know? known as the “Lord’s Rooms,” were con- be heard today. For example, in order sidered the best in the house despite The original Globe Theatre to establish weather in one scene in the poor view of the back of the actors. burned down in 1613 during a Macbeth, Macbeth says, “So foul and The lower-class spectators stood in the performance of when fair a day I have not seen,” referencing Henry VIII open courtyard and watched the play a prop cannon caught fire, forc- the stormy evening. on their feet. These audience mem- ing 3,000 visitors to scurry out- The costumes of this period, by bers became known as groundlings and side for safety. Miraculously, contrast, were far from minimal. Rich gained admission to the playhouse for everyone survived. According and luxurious, Elizabethan costumes prices as low as one penny. The ground- to an eyewitness account by Sir were a source of great pride for the lings were often very loud and -ram Henry Wotton, the only serious bunctious during the performances and performers who personally provided recorded injury was sustained Son would eat, drink, shout at the actors, them. However, they were rarely his- by a poor fellow “breeches set and socialize during the performance. torically accurate, which again forced on fire, that would perhaps have Playwrights were therefore forced to in- the audience to use their imaginations broyled him, if he had not...put corporate lots of action and bawdy hu- to envision the play’s time and place. it out with a bottle of ale” (Per- mor in their plays in order to keep the cy, Timbs 195). audience’s attention. 6 MACBETH: SYNOPSIS On the heaths of Scotland, in the after- As king, Macbeth becomes obsessed with the prophecy math of a bloody battle, three Weird Sis- that Banquo’s children will succeed him, so he dispatches murderers to kill Banquo and his son, Fleance. The father ters appear on the stormy moor: “When and son are ambushed and Banquo is killed, but Fleance shall we three meet again, in thunder, manages to escape unharmed. lightening or in rain?” That night, Macbeth holds a banquet, and during the Macbeth, Thane of Glamis, has just defeated a rebel fac- feast the ghost of Banquo appears before the new King tion led by the Thane of Cawdor. Withdrawing from the Macbeth. Desperate for more knowledge of the future, battlefield, Macbeth and his fellow soldier, Banquo,- en Macbeth seeks out the Weird Sisters again. The first tells counter the Weird Sisters. The mysterious creatures pre- Macbeth to beware Macduff, he second assures him that dict that Macbeth will become both Thane of Cawdor and “none of woman born” can harm him, and the third pre- King of Scotland and that dicts that Macbeth will never be defeated until Banquo’s children will Birnam Wood comes to his castle at Dunsinane. also be kings. The Sisters The Weird Sisters then show Macbeth a line of vanish, and Scottish lords eight kings, descended from Banquo, who will arrive to announce that succeed him. Duncan, King of Scotland, Realizing that Macbeth’s rule has become a has sentenced the Thane reign of terror, Macduff flees to England to raise of Cawdor to death and an army against him. In response, Macbeth awarded Macbeth his ti- sends murderers to Macduff’s castle to slay his tle. wife, children and all members of his house- Duncan proclaims his hold. Tortured with guilt, Lady Macbeth sleep- son, Malcolm, heir to the walks, reliving the night of Duncan’s murder Scottish throne and - an and revealing the nounces his intention to This is costume designer Pei scheme to a doctor visit Macbeth’s castle at Lee’s rendering of Macbeth’s and gentlewoman. Inverness. costume. Consider: Accompanied by Later, at Inverness cas- • What does this picture re- Macduff and an tle, Lady Macbeth reads veal to you about the charac- army from England, a letter from Macbeth ter? Duncan’s son, Mal- describing how the Weird • What impact does how a colm, returns to Sisters predicted his new character dress have on an win back his fa- title. She calls upon spirits audience? ther’s kingdom. The to empower her and en- • What do you imagine Mac- soldiers break off sure that Macbeth ascends the throne—even if it means beth looking like? Lady Mac- branches from trees murdering King Duncan. When Macbeth returns home, he beth? Banquo’s Ghost? in Birnam Wood to agrees to the plot. As the evening progresses, however, he use as camouflage seems more reluctant to proceed. Sensing his hesitation, as they march to- Lady Macbeth challenges her husband’s manhood and wards Dunsinane. courage, and he commits the murder. She explains to him At the castle, Macbeth learns from a servant that his wife the strategy she has devised to frame the King’s guards for is dead. A messenger tells him that many of his followers the murder. are deserting him and that “the wood began to move.” Macduff, Thane of Fife, arrives at Inverness early the Confident that he cannot be harmed by anyone born of next morning to wake King Duncan. After being let in by woman, Macbeth arms himself and confronts the ap- a drunken Porter, Macduff discovers the body of the mur- proaching army. Macduff reveals that he was not born, but dered King. In the ensuing chaos, the King’s sons Malcolm “untimely ripped” from his mother’s womb. He kills Mac- and Donalbain flee. Suspicion falls upon them for the mur- beth and pronounces Malcolm the new King of Scotland. der, leaving Macbeth as successor to the throne. 7 MEET THE CHARACTERS Follow Along Just like Shakespeare’s players, the National Players have to play multiple roles. The text calls for more than 20 characters, so in addition to each actor playing multiple roles, some characters were combined. Use this chart to keep track of who’s who and how they relate to each other.
Married to
Macduff, Thane of Fife Duncan, King of Scotland Danny Cackley Alexander Korman Lady Macduff Theresa Bucchler Son
Married to
Lady Macbeth Macbeth, Thane of Glamis Leah Filley Jacob Mundell Malcom Christopher Richardson
Employs
The Weird Sisters
Banquo Porter Antonia Lache Adam Turck
Employs Son
Doctor Fleance Drew Feldman Eliza Rose 8 SHAKESPEARE’S WORLD Sources Witchcraft Queen Elizabeth died in 1603, leav- Although many intellectuals studied ing behind no children or heirs. Her witchcraft in the sixteenth and seven- cousin, James IV of Scotland, was of- teenth centuries, witch hunts were fered the throne and crowned James uncommon during Queen Elizabeth’s I of Britain. Shakespeare’s company reign. Her successory, on the other often staged plays with James’- in hand, was obsessed with necroman- terests in mind, just as they had for cy. There were more than 250 witch- Queen Elizabeth before him. craft trials during his reign as King of James believed in Divine Right of Scotland, in fact, many of which he Kings, the philosophy that monarchs personally attended or assisted with. were appointed by God and there- One of his first acts as King of England fore above earthly authority. He was to reprint his book on sorcery. wrote about this doctrine in numer- The eighty-page publication, Dae- ous publications, and even voiced mononlogie, provides information on his opinion to Parliament in 1609: A portrait of King James I of magic and advocates the importance “Kings are justly called gods, for that England and VI of Scotland, by of witch hunts: they exercise a manner or resem- blence of divine power on earth.” Daniel Mytens, 1621 The fearefull aboundinge at James believed in The Great Chain Gunpowder Plot, the conspirators this time in this countrie, of of Being, a dictate that God has an these detestable slaves of the ordered system for both nature and planned to blow up the Houses of humankind, within which every crea- Parliament and assassinate the king. Devile, the Witches or en- ture has an allotted place. According They were tried and executed for “ chaunters, hath moved me treason. to this belief, attempts to change (beloved reader) to dispatch one’s station in life, or remove- an It was probably within this context other from his or her station, is an that Shakespeare turned to Raphael in post, this following treatist offense against God. Holinshed’s Historie of Scotland for of mine...to resolve the doubt- Not everyone agreed with James’ material for a tragedy. He took many “ liberties with the resulting play: the ing...both that such assaults of doctrines about monarchy. Thirteen Satan are most certainly prac- men defied the Great Chain of- Be real Macbeth was an eleventh cen- ing on November 5, 1605 when they tury Scottish king, but he inherited tised, and that the instrument attempted one of the first acts of the throne by defeating King Duncan thereof merits most severely in battle. Macbeth was succeeded by modern state terrorism. In what be- to be punished. came known across England as the his stepson, and Banquo probably never existed. - Preface to Deamonologie The “Scottish Play” It is bad luck to speak the name of Shakespeare’s bloody tragedy in a theatre, so much so that actors call it “Mackers,” “The Scottish Play,” or “That Play.” According to legend, real witches cursed the play because the Bard stole lines from their black-magic book to create the Weird Sisters’ spells. Here’s a history of some of the curse’s most famous “victims”: 1611: The boy playing Lady Macbeth was struck 1865: Macbeth was Abraham Lincoln’s favorite play. with a sudden fever and died before the opening While traveling along the Potomac River, he read pas- performance of the play’s very first production. sages about Duncan’s murder aloud to friends—and 1672: In an Amsterdam performance, the actor within a week, he was assassinated himself. playing Macbeth used a real dagger and accidentally 1928: During the first modern-dress production of killed the actor playing Duncan. the play, a large set piece fell down, injuring mem- 1849: A rivalry between English actor William bers of the cast, and a fire broke out in the dress cir- Charles Macready and American actor Edwin Forrest cle. resulted in a riot in New York City. More than 10,000 1954: Laurence Olivier almost blinded the actor Forrest supporters gathered outside the Astor Place playing Macduff during a fight scene. Opera House to protest Macready’s performance of 1998: Alec Baldwin sliced open his hand in an Macbeth, resulting in a riot that killed 23 people and off-Broadway production. injured hundreds. 9 PRODUCTION HISTORY Acting Macbeth Little is known about how Shakespeare’s plays looked when they were originally staged, but scholars and historians have found firsthand spectator accounts to fill in some of the blanks. The original Macbeth was played by Richard Burbage, one of the most renowned actors of his day, and the star of the King’s Men. The earliest recorded performance of the play was in 1611, about which playgoer Simon Forman wrote this detailed account: “In Macbeth at the Globe 1611, the 20 of April, Satur- day, there was to be observed, first how Macbeth and Banquo, two noble men of Scotland, riding through a wood, there stood before them three women fairies or nymphs, and saluted Mac- Image 1 beth.” In 1642, the new Puritan government banned all forms of the- Image 2 Image 3 atre. When the monarchy was restored 18 years later, Macbeth was one of the more popular Shakespeare plays. Productions changed to accomodate modern staging practices, so the late seventeenth century saw Macbeths with flying witches, danc- ing, and even puppets. William Davenant, a popular actor, drastically restructured and altered Shakespeare’s text. He fea- tured Macduff as the hero, emphasized Lady Macduff’s role, eliminated the Porter and some of the Weird Sisters’ scenes, and added musical numbers for the witches. This adaptation dominated the English stage for nearly a century. Although he took some liberties with his script by adding new lines, actor David Garrick (Image 1, right) mostly revived Shakespeare’s original text in 1744. He was considered one of the greatest Macbeths of his day. The 1900s introduced new, more realistic styles of acting, Image 4 which made Shakespeare’s characters more complex and nu- anced. The twentieth century allowed for more experimenta- tion onstage, in terms of design, direction and theme. In 1936, Orson Welles directed what became known as The Voodoo Macbeth for the Lafayette Theatre in Harlem, using black actors and setting the action in Haiti as a political statement. The play has been adapted successfully worldwide. Yukio Nigawa’s 1980 production, for example, set the story in the sixteenth century Japanese Civil War. In 2011, a British theatre company called Punchdrunk staged a version of the play called Sleep No More. Their chilling adaptation lead audiences through three ware- houses, transformed into nightmarish hotels, on an interactive tour through the play. Many great contemporary actors have tackled the famous title role, including Orson Welles (1948, Image 2), Laurence Olivier Directors have to make many choices when (1955), Ian McKellan (1976), Patrick Stewart (2010), and Alan planning a production, from set and cos- Cumming (2013, Image 3). tume design to blocking and casting. Imag- Macbeth has made forays in film, TV and literaryadaptations , ine directing your own version of Macbeth: providing creative minds the chance to interpret the play from 1. Come up with a dream cast of characters different perspectives. Books, such as Lady Macbeth of the 2. Decide on a time and place for yourMac - Mtsensk District, by Russian author Nikolai Leskov, look at the beth plot from the point of view of different characters. Film adapta- 3. Sketch basic costume designs for Mac- tions, such as Akira Kurosawa’sThrone of Blood, (Image 4) have beth and Lady Macbeth been especially successful as bringing the story to new places and times, from the back alleys of New York City to a fast food restaurant. 10 NATIONAL PLAYERS’ PRODUCTION Influences This production ofMacbeth was heavily in- fluenced by themes of violence and blood- shed. This play is often called Shakespeare’s “bloodiest tragedy,” not because it has the most deaths (with eight murders, it is the fourth deadliest of Shakespeare’s plays) but because it examines notions of villainy, mur- der and corruption more profoundly than any of his other work. The play was certainly relevant for contem- porary audiences. The story mirrors that of the Gunpowder Plot, leading some scholars to argue that Shakespeare wrote the play as Engraving of Guy Fawkes and fellow conspirators, 1605 a political allegory. According to this theory, Malcom embodies the concept of an ideal king: courageous, selfless, and God-fearing. Macbeth usurps the throne from a lawful monarch, but is ultimately defeated by the rightful king. The public and King James I were still reeling from the foiled Gunpow- der Plot when Macbeth was performed, and Shakespeare was probably aware of how strongly his story would reverberate with audiences. Casey Kaleba, director of this production, wanted to explore these themes, not only as they appear in Shakespeare’s text, but with how they connect to the modern world. Al- though it was written 400 years ago, many Protesters in Egypt, The Guardian 2013 of the events and themes that occur in the play—greed, rebellion, uprisings, tyranny, innocence and guilt—are particularly rele- vant today. To emphasize these ideas, the director modernized this production. The costumes and setting are militaristic and distinctly- con temporary. Weapons feature prominently in this staging; in fact, the play opens with the image of riot shields. These particular props were late in delivery, in fact, because the manufacturing compa- ny had recieved a backlog of demands from conflict zones including Syria, Turkey and Egypt. Syrian Army soldiers, The Guardian 2013 Think about it... 1. Make a list of themes and motifs in the play. Are they still relevant today? 2. What political implications might this play have had in the early 17th century? 3. What political implications doesMacbeth have today? Can you make any modern-day connections, exam- ples of dictatorships, protests, violence or war? 4. How might a director politicize a production (use of crowd scenes, uniforms, national flags, etc). Post show: How did this production ofMacbeth examine the story from a political perspective? What design elements and directorial choices bring the play into a modern context? 11 CHARACTER STUDY Lady Macbeth Gender Roles Lady Macbeth is one of Shakespeare’s most striking and fearsome Witchcraft characters. She is a coveted role for actresses, who relish the opportu- Unmarried women in the early modern pe- nity to embody such a powerful, complex character. Some of the most riod were expected to strive for three virtues: chastity, silence, and obedience. Once they famous portrayals include , Vivien Leigh, and Judi Dench. Sarah Siddons married, their entire world revolved around When Lady Macbeth first appears, she seems conscience-less, deter- the home; literature for women at the time mined, and consumed by ambition. As she reads Macbeth’s letter, she consisted mostly of “how-to” books on mid- is instantly struck by the possibility of power, determined to chastise wifery, cooking, needlework, gardening, mar- Macbeth and counteract his weakness. She even seeks to shed her riage, cleaning, parenting, and other skills womanhood in favor of a a more masculine, violent role, someone ca- required of an “ideal” wife. pable of murder: “Come, you spirits/ That tend on mortal thoughts, Many of Shakespeare’s female heroines are unsex me here...Come to my woman’s breasts,/ And take my milk for notable because they defy gender roles (Kate gall, you murd’ring ministers” (I.v.9-16). in Taming of the Shrew, Cordelia in King Lear, Scholars and actors have inter- Rosalind in As You Like It, to name a few). preted the role in various ways. Lady Macbeth is particularly interesting to She has been seen and portrayed examine in this context. as a symbol of anti-motherhood, an overpowering wife, a sexual Consider: deviant, even a witch. 1. List Lady Macbeth’s character traits. Which of these are traditionally feminine? As the play progresses, Lady Which traits defy gender roles? Macbeth’s attitudes toward sin 2. How might Lady Macduff be considered a and ambition change. The famous foil to Lady Macbeth? Compare and contrast sleepwalking scene at the opening the two women. How are they each defined of Act V is one of the most iconic by motherhood? and celebrated moments in the 3. What is the relationship like between Shakespearean canon. In it, Lady Macbeth and Lady Macbeth? How do they Macbeth reveals a tormented conform to and challenge traditional notions consience as she attempts to of husband and wife? How does their rela- tionship change throughout the play? Sarah Siddons, the first ac- wash the imagined blood of her tress to reach wide acclaim victims from her hands. “What, 4. Before she dies, Lady Macduff complains for her portrayal of Lady Mac- will these hands ne’er be clean?” of her husband’s “unnatural” behavior in abandoning wife and children (IV.ii.9). Is her beth, in a portrait by George she cries, desperate to cleanse anger justified? Henry Harlow, 1814. her soul (V.i.43).
Kate Fleetwood as Lady Macbeth as her husband in the 2010 PBS Consider: film version of director Rupert Goold’s 2007 London staging. 1 Are there any historic or modern compar- isons that can be drawn between Lady Mac- beth and other notable female figures? 2. Compare the image of Sarah Siddons’ Lady Macbeth with that of Kate Fleetwood. Theirs are two dramatically different inter- pretations of the character. How do the two compare? How does the character transform over the course of the play, from earlier as she and Macbeth murder the King (Fleet- wood) to her sleepwalking scene (Siddons)? Post-show: Carefully read what Lady Mac- beth is saying and doing in the sleepwalking scene. In the context of the play, decide what she is writing, and to whom. Write the letter that Lady Macbeth works on, and perform the scene. 12 GLOSSARY Below are some of the more challenging words in Shakespeare’s vocabulary. Knowing what they mean will help you follow the plot more easily. Shakespeare’s Word Meaning Thou and You Alack An expression of dismay Because “thee” and “thou” are so antiquated today, they sound Anon Soon more formal to the modern ear. Bane Ruin However in Shakespeare’s day, it was quite the opposite. Bedlams Old hags “Thou” and “thee” indicat- Blood-boltered Clotted ed a special intimacy, used for addressing God, among close Chaudron Entrails friends and relations, or with the Eternal jewel Soul lower class. “You,” on the other hand, was more formal. It was Foisions Goods, resources used to address superiors—chil- dren to parents, servants to mas- Hereafter In the future ters, people of the upper class. Hie Hurry These two forms of address were social indicators of respect Husbandry Thrift and status. Using “thou” inappro- Incarnadine Make red priately would have been a seri- ous breach of social standards. Kerns Foot soldiers Shakespeare took advantage of Kite Bird of prey these words’ connotations in his plays to establish character and Lily-Livered Cowardly class. When a form of address Luxurious Lusftul shifts in dialogue, therefore, it conveys a contrast in meaning— Minion Darling an altered attitude or relation- Mouth Honor Lip service ship. Murky Dark, cloudy Listen for how characters use these two forms of address, and Palter Trifle consider: Perturbation Disturbance 1. What does a character’s choice in words say about his or Scotched Wounded her status? What does it indicate Sear (Sere) Dry, withered about the relationship between two characters? Seeling Eyes sewn shut 3. In Act I, scene iii, the Weird A military nobleman Sisters address Banquo and Thane Macbeth as “thou,” but the two The traveling lamp The sun soldiers address the Sisters and each other as “you.” What does Trammel up Entangle this indicate to you about rela- Weird Of the fates tionships and mood? Wherefore Why 13 KEY WORDS AND NAMES Adaptation: To modify from one version to another. In the case of literature, books and plays are often adapt- ed into other forms of media, including TV and film. Allegory: The representation of abstract ideas by characters, figures or events in a narrative form. Burbage, Richard (1567-1619): A prolific modern English actor and member of The Lord Chamberlain’s Men, later the King’s Men. He played many of Shakespeare’s title roles, including Richard III, Hamlet, Othello and Macbeth. Costumes: Anything actors wear--pants, skirts, shirts, accessories--that dilineate character. Costumes in early modern England were elaborate and helped indicate status, gender and relationships. Davenant, William (1606-1668): A major theatrical figure and writer in the English Renaissance. He altered the text of Macbeth significantly, eliminating the Porter and various scenes, emphasizing Lady Macduff’s char- acter, and inserting song and dance numbers for the witches. His version of the play dominated the English stage for almost a century. Divine Right of Kings: A political and religious doctrine that asserts that a monarch derives the right to rule directly from the will of God. Any attempt to usurp a monarch’s power is a sin against God. Foil: A character who contrasts with another in a significant way. By providing a significant and overt contrast with another character, an author can use a foil to demonstrate or emphasize certain qualities or character- istics. Garrick, David (1717-1779): A prominent English actor, playwright, manager and producer. In his 1744 revival of Macbeth, he mostly used Shakespeare’s original text. His performance of Macbeth was widely acclaimed. Gender roles: Social and behavioral expectations used to define gender. Globe Theatre: Built by Shakespeare’s company in 1599 and rebuilt after a fire in 1619, one of the most pop- ular early modern theaters in London. Great Chain of Being: A belief that God has an ordered system for nature and humankind. Attempting to change one’s station is an offense against God. Groundlings: Frequenters of the Globe Theatre who paid one penny to stand in the pit before the stage. Seats were reserved for higher-paying audience members. Gunpowder Plot: A 1605 conspiracy against King James I, considered one of the first acts of modern state terrorism. After their plot to blow up the houses of Parliament and assasinate the King was discovered, all 13 conspirators were tried and executed. Holinshed’s Historie of Scotland: Part of Raphael Holinsheds Chronicles of England, Scotland and Ireland, published in the 16th century. Shakespeare used the documented histories as the basis for most of his history plays, as well as King Lear, Cymbeline and Macbeth. Iambic Pentameter: A metrical line used in traditional verse. The rhythm has ten syllables per line, alternating between unstressed and stressed syllables. It sounds something like this: de-DUM de-DUM de-DUM de-DUM de-DUM. For example: “good THINGS of DAY beGIN to DROOP and DROWSE.” King’s Men: The name Shakespeare’s acting company selected after King James I was crowned in 1603. Lord Chamberlain’s Men: Shakespeare’s acting company, which worked at the Globe Theatre in London. Non de plum: A pseudonym adopted by an author. Prose: Natural flow of speech. Siddons, Sarah (1755-1831): A Welsh actress, best known for her tragic roles. She was the first woman to popularize Lady Macbeth with her chilling, naunced performance. Stock character: A specific type of role that frequently appears in plays. Examples from Shakespeare’s day include fools and clowns, romantic lovers, tragic soldiers, and women. Stock scenery: Generic set pieces used for to indicate place. These might include backdrops and basic furni- ture, and might represent anything from a forest to a grand palance. Stratford-upon-Avon: William Shakespeare’s birthplace, located in south Warwickshire, England. Theme: The central topic or idea of a text. Essentially, “what the work is about.” Verse: Poetic composition. Often used in early modern plays. Compare with prose. Witch Hunts: The persecution of people suspected of witchcraft and devil-worship. 14 FURTHER READING Reading Companions • Garber, Marjorie. Shakespeare After All. A unique guide through all of Shakespeare’s plays, this is an accessible and comprehensive text for both beginners and scholars. • Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. A descriptive, engaging biography of William Shakespeare, Greenblatt includes information on Elizabe- than life and culture, entertaining anecdotes, and clever storytelling to paint an entertaining and educa- tion picture of the playwright’s life. • Holzknecht, Karl J. and Ross, Raymond. Outlines of Shakespeare’s Plays Act-by-act synopses of each play with helpful character descriptions and relationship information, this collection also includes relevant background material. • Kott, Jan. Shakespeare our Contemporary. One of the most influential Shakespeare criticism works of all time, Kott’s selection of essays includes insightful, provocative analyses on all of Shakespeare’s plays. • Sarrazin, George and Scmidt, Alexander. Shakespeare Lexicon and Quotation Dictionary: A Complete Dictionary of All the English Words, Phrases, and Constructions in the Works of the Poet, Vol. 1 (and Vol. 2). A comprehensive collection of definitions, phrases, terms, and locations, as well as more than 50,000 exact quotations. • Van Doren, Mark. Shakespeare A selection of perceptive, entertaining essays on Shakespeare’s plays and poems by one of the world’s most renowned Shakespeare experts. • Wells, Stanley. Shakespeare: A Life in Drama. Along with a concise biography of the playwright, Wells provides an intriguing portrayal of Shakespeare’s character. • The Riverside Shakespeare by William Shakespeare et al. Houghton Mifflin; 2nd edition; 1997. One of the most trusted Shakespeare companions, this collection of the playwrights work includes exten- sive footnotes and relevant background material. Online Resources • www.shakespeare-literature.com and www.absoluteshakespeare.com The complete texts of Shakespeare’s plays (for free viewing) as well as many links to study resources. • www.shakespeare-online.com An excellent repository of information on Shakespeare and it is updated frequently. • www.bardweb.net Another large repository of Shakespearean information and information on Elizabethan England • www.shakespeareauthorship.com A website dedicated to the proposition that Shakespeare wrote Shakespeare. • www.folger.edu/Home_02B.html The website of the Folger Shakespeare Library. • http://www.globelink.org/ A website maintained by Shakespeare’s Globe in London with links to resources, archives, and informa- tion about the Globe’s current season. • http://shakespeare.palomar.edu/Default.html An annotated list of scholarly resources available on the internet. 15 BIBLIOGRAPHY
• Adams, Joseph Quincy (1917). Shakespearean Playhouses. Houghton Mifflin. Back- ground of Macbeth, 12 Sept, 2013.
This study guide was compiled and edited by Maegan Clearwood, Olney Theatre Center Dramaturgy Apprentice, 2013