Shakespeare Retold: Macbeth

Total Page：16

File Type：pdf, Size：1020Kb

Shakespeare Retold: Macbeth In the Shakespeare Retold series put on the BBC, Shakespeare’s plays are modernized and retold in an imaginative manner. 1. The play starts with three garbage collectors (called “binmen” for garbage bins). They are mystical in some ways. They are the three witches of the story. They are able to tell the future. Joe Macbeth 2. James Mcavoy plays Macbeth. But, in this version, he is Joe Macbeth and is often referred to as Joe. Duncan 3. The man on the TV hosting a cooking show is Duncan, the “king” of the restaurant. He owns the restaurant that Joe works at. Ella Macbeth 4. Joe Macbeth’s wife is named Ella. In Shakespeare’s version, she is Lady Macbeth (of course). 1 5. In really high class restaurant’s, they take enormous pride in the food they prepare and serve. This is just a little background information on why Macbeth is so obsessed with his job. Malcolm 6. Bandana boy is Malcolm. He is the son of Duncan. He should inherit the restaurant. 7. “Like Gordon Ramsay?” “We like to call him the Scottish chef.” This is a sly reference to the superstition that surrounds the play Macbeth. Many actors believe that if you say the name “Macbeth” something seriously bad will happen. So, even famous actors like Ian McKellen (who played Macbeth, Gandalf in Lord of the Rings, and Magneto in X-Men) refuses to say the name. They instead refer to the play as the “Scottish play.” 8. Duncan arrives just in time to meet some high profile guests. Apparently, although Joe does all the hard work, he gets the public credit for the cooking. Billy Banquo 9. Joe’s drinking buddy and fellow chef is Billy Banquo. In Shakespeare’s version, he’s simply Banquo. He’s Macbeth’s best friend and fellow fighter. Notice that Joe always dresses in white while Billy always dresses in black. 2 10. [Joe and Billy nearly get squished between a garbage truck and a garbage bin.] Joe: What are you doing? You could of killed us! Garbage Witch: That’s your job Macbeth. Joe: How do you know my name? Garbage Witches: We know everything. We’re bin-men. There’s nothing we don’t know. These Garbage Witches (binmen) make three prophecies. The first is that Joe’s restaurant will receive three stars (which in England is the best rating possible). The second is that the restaurant will be Joe’s in the future. The third is that Billy will be “less happier than Joe, but yet more happy.” The bin-men then specify that Billy won’t get anything, but Billy’s son will get everything. Peter Macduff 11. The head waiter is Peter Macduff. He will be Macbeth’s enemy. In Shakespeare’s play, he is simply called Macduff. 12. Ella Macbeth and Joe Macbeth talk about how it’s unfair that Duncan receives all the glory for Macbeth’s hard work and how Malcolm shouldn’t be the one who simply inherits the restaurant. Do you identify with their jealousy? Do you think they’re justified in feeling this way? 3 .

Copy Link

Recommended publications

A TASTE of SHAKESPEARE: MACBETH a 52 Minute Video Available for Purchase Or Rental from Bullfrog Films
A TASTE OF SHAKESPEARE MACBETH Produced by Eugenia Educational Foundation Teacher’s Guide The video with Teacher’s Guide A TASTE OF SHAKESPEARE: MACBETH a 52 minute video available for purchase or rental from Bullfrog Films Produced in Association with BRAVO! Canada: a division of CHUM Limited Produced with the Participation of the Canadian Independent Film & Video Fund; with the Assistance of The Department of Canadian Heritage Acknowledgements: We gratefully acknowledge the support of The Ontario Trillium Foundation: an agency of the Ministry of Culture The Catherine & Maxwell Meighen Foundation The Norman & Margaret Jewison Foundation George Lunan Foundation J.P. Bickell Foundation Sir Joseph Flavelle Foundation ©2003 Eugenia Educational Foundation A Taste of Shakespeare: Macbeth Program Description A Taste of Shakespeare is a series of thought-provoking videotapes of Shakespeare plays, in which actors play the great scenes in the language of 16th and 17th century England, but comment on the action in the English of today. Each video is under an hour in length and is designed to introduce the play to students in high school and college. The teacher’s guide that comes with each video gives – among other things – a brief analysis of the play, topics for discussion or essays, and a short list of recom- mended reading. Production Notes At the beginning and end of this blood- soaked tragic play Macbeth fights bravely: loyal to his King and true to himself. (It takes nothing away from his valour that in the final battle King and self are one.) But in between the first battle and the last Macbeth betrays and destroys King, country, and whatever is good in his own nature.
[Show full text]
Teaching Shakespeare: Text Clues 101
Teaching Romeo and Juliet Workshop Saturday, October 26, 2019 Instructor: Kevin Long Teaching Shakespeare: Text Clues 101 ...everyone according to his cue. A Midsummer Night’s Dream Definitions Know exactly what you are saying at all times. Use the Lexicons, Shakespeare’s Words, Shakespeare A to Z, Shakespeare’s Bawdy, and footnotes. Anoint two dueling “Lexicon Masters” each day. Make dictionary work COOL! Verse & Prose Shakespeare is about 75% verse (poetic line form) and 25% prose form. The form of writing might indicate a clue as to the type of character you are playing. Prose is sometimes an indication that the character might be of a lower class, comic or mad, while verse might indicate that your character is of higher class, intelligent, clever, etc. Pay particular attention to when a character switches from poetry to prose and visa versa. This is a major clue from Shakespeare. Verse PRINCE And for that offence Immediately we do exile him hence. I have an interest in your hearts’ proceeding: My blood for your rude brawls doth lie a-bleeding; But I’ll amerce you with so strong a fine That you shall all repent the loss of mine. I will be deaf to pleading and excuses, Nor tears nor prayers shall purchase out abuses: Therefore use none. Let Romeo hence in haste, Else, when he is found, that hour is his last. Bear hence this body, and attend our will: Mercy but murders, pardoning those that kill. Romeo and Juliet, Act 3, scene 1 Prose NURSE Well, you have made a simple choice, you know not how to choose a man: Romeo? no, not he; though his face be better than any man’s, yet his leg excels all men’s, and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare.
[Show full text]
THE WEIRD SISTERS an EDITED SCRIPT COMPRISING EXTRACTS from MACBETH Notes
THE WEIRD SISTERS AN EDITED SCRIPT COMPRISING EXTRACTS FROM MACBETH Notes 1 RSC Associate Schools Playmaking Festival 2018. THE WEIRD SISTERS AN EDITED SCRIPT COMPRISING EXTRACTS FROM MACBETH 1 Thunder. Enter the three Witches. FIRST WITCH Round about the cauldron go; In the poisoned entrails throw. Toad, that under cold stone Days and nights has thirty-one Sweltered venom sleeping got, Boil thou first i’the charmèd pot. ALL Double, double toil and trouble: Fire burn, and cauldron bubble. Drum within THIRD WITCH A drum, a drum! Macbeth doth come. ALL The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine And thrice again, to make up nine. Peace! The charm’s wound up. Enter MACBETH and BANQUO MACBETH So foul and fair a day I have not seen. BANQUO What are these So withered and so wild in their attire, That look not like the inhabitants o’ the earth, And yet are on’t? Live you? You seem to understand me, By each at once her choppy finger laying Upon her skinny lips. MACBETH Speak, if you can: what are you? FIRST WITCH All hail, Macbeth! Hail to thee, thane of Glamis! SECOND WITCH All hail, Macbeth, hail to thee, thane of Cawdor! THIRD WITCH 1 All hail, Macbeth, thou shalt be king hereafter! 2 BANQUO Good sir, why do you start; and seem to fear Things that do sound so fair? MACBETH Stay, you imperfect speakers, tell me more: The thane of Cawdor lives, and to be king Stands not within the prospect of belief, Say from whence You owe this strange intelligence? Speak! Witches vanish BANQUO The earth hath bubbles, as the water has, And these are of them.
[Show full text]
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract
[Show full text]
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends
[Show full text]
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
[Show full text]
From 'Scottish' Play to Japanese Film: Kurosawa's Throne of Blood
arts Article From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood Dolores P. Martinez Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; [email protected] Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018 Abstract: Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jo¯ 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption. Keywords: Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt 1.
[Show full text]
Hamlet and Macbeth : to Be Or Not to Be a Procrastinator
Lakehead University Knowledge Commons,http://knowledgecommons.lakeheadu.ca Electronic Theses and Dissertations Retrospective theses 1984 Hamlet and Macbeth : to be or not to be a procrastinator Sato, Julie http://knowledgecommons.lakeheadu.ca/handle/2453/990 Downloaded from Lakehead University, KnowledgeCommons Hamlet and Macbeth: To be or not to be a Procrastinator by Julie Sato Submitted in Partial Fulfillment of the Requirements for the Degree of Master Of Arts liakehead University Spring 1984 ProQuest Number: 10611281 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProOuest ProQuest 10611281 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 The title of this dissertation is Hamlet and Macheth; To Be Or Not To Be a Procrastinatoro The characters of Hamlet and Macheth, and the influences of their female counterparts are analyzed hy looking at the plays themselves, with particular emphasis upon the soliloquieso Interpersonal interactions are also examined with emphasis placed on the dialogue scenes be- tween Hamlet, Gertrude, and Ophelia, and Macheth and Lac^Machetho The plays of Hamlet and Macheth were chosen because of the excellent characterizalaon and the contrast between the main characters, Shakespeare shows Hamlet to he a vacillating char- acter who procrastinates and, as a result, loses the power of action.
[Show full text]
Lady Macbeth
Lady Macbeth Critic: Anna Brownell Jameson, Mrs. Source: Shakespear's Heroines: Characteristics of Women, Moral, Poetical, & Historical, George Newnes, Limited, 1897, pp. 309–31. Reprinted in Shakespearean Criticism, Vol. 3 Criticism about: William Shakespeare (1564-1616) Genre(s): Plays; Comedies (Plays); Romantic comedies (Plays); Tragicomedy; Sonnets; Historical drama; Poetry; Tragedies [Jameson was a well-known nineteenth-century essayist. Her essays and criticism span the end of the Romantic age and the beginning of Victorian realism, reflecting elements from both periods. She is best remembered for her study Shakspeare's Heroines (1833), which was originally published in a slightly different form in 1832 as Characteristics of Women: Moral, Poetical, and Historical. This work demonstrates both her historical interests and her sympathetic appreciation of Shakespeare's female characters. In the excerpt below, Jameson presents the first full interpretation of Lady Macbeth, a character later analyzed by William Maginn, H. N. Hudson, and Isador H. Coriat. While Jameson admits that Lady Macbeth is "a terrible impersonation of evil passions," she contends that her character is "never so far removed from our own nature as to be cast beyond the pale of our sympathies." In defense of Lady Macbeth, Jameson points out that the idea to murder Duncan occurs first to Macbeth and that Lady Macbeth does not incite Macbeth to commit the subsequent "gratuitous murders." Jameson also attributes to Lady Macbeth an "amazing power of intellect," a "superhuman
[Show full text]
“Do Not Consider My Words As Affirmative
Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης Σχολή Καλών Τεχνών Τμήμα Θεάτρου Πρόγραμμα Μεταπτυχιακών Σπουδών Η Λαίδη Μακμπέθ στον κινηματογράφο Χριστίνα Καμμά Μάιος 2009 Υπεύθυνος καθηγητής: Ιωάννης Λεοντάρης Περιεχόμενα Ενότητες Σελίδες 1.Εισαγωγή 4 2. Η γυναίκα στην αναγεννησιακή Αγγλία 6 3. Θεωρητικές προσεγγίσεις της Λαίδης Μακμπέθ 9 3.1. Σκηνή του δείπνου και της υπνοβασίας της Λαίδης Μακμπέθ 19 4. O Μακμπέθ στον κινηματογράφο 20 4.1. Μελέτη των κινηματογραφικών αποδόσεων του Μακμπέθ κατά τον 20ο αιώνα 20 4.2. Macbeth του Orson Welles : Ένας διαχρονικός Μακμπέθ 26 4.2.1. Παγανιστική και χριστιανική ατμόσφαιρα στο έργο 29 4.2.2. Σκηνικός χώρος: Ανάμεσα σε κινηματογράφο και θέατρο 30 4.2.3. Σκηνοθετικές επιλογές: η χρήση της κάμερας 31 4.2.4. Η χριστιανική φιγούρα της Λαίδης Μακμπέθ του Welles 32 4.3. The Throne of Blood του Akira Kurosawa 34 4.3.1.Κάστρο και Δάσος : Δύο χώροι σε αλληλεπίδραση 36 4.3.2.Asaji: Η Λαίδη Μακμπέθ της Isuzu Yamanda 38 4.4. The Tragedy of Macbeth του Roman Polanski 41 4.4.1.Οι θεατές στη θέση των πρωταγωνιστών 43 4.4.2. Σκηνή της υπνοβασίας: Η γυμνή Λαίδη Μακμπέθ 45 5.Συμπεράσματα 47 6.Παράρτημα 50 6.1. Πίνακας Α : Κινηματογραφικές αποδόσεις του Μακμπέθ κατά τον 20ο αιώνα 50 2 6.2. Πίνακας Β : Κινηματογραφικές ταινίες εμπνευσμένες από το σεξπιρικό Μακμπέθ 52 7. Βιβλιογραφία 53 7.1.Μελέτες 53 7.2.Άρθρα – Συλλογικοί τόμοι 55 7.3.Υλικό από διαδίκτυο 56 7.4.Φιλμογραφία 56 3 1. Εισαγωγή Το έργο του Σέξπιρ υπήρξε -και εξακολουθεί να είναι- ισχυρότατο κίνητρο δημιουργίας για πολλούς σκηνοθέτες, παραγωγούς και ηθοποιούς του κινηματογράφου, από το τέλος του 19ου αιώνα.
[Show full text]
Macbeth in World Cinema: Selected Film and Tv Adaptations
International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences.
[Show full text]
Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne Mcclelland University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne McClelland University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the English Language and Literature Commons Recommended Citation McClelland, Kellie Suzanne, "Macbeth in Film: Directorial Choices and Their mpI act on the Audience" (2017). Honors Theses. 534. https://egrove.olemiss.edu/hon_thesis/534 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. MACBETH IN FILM: DIRECTORIAL CHOICES AND THEIR IMPACT ON THE AUDIENCE by Kellie Suzanne McClelland A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by ____________________________________ Adviser: Professor Ivo Kamps ____________________________________ Reader: Senior Lecturer Peter Wirth ____________________________________ Reader: Professor Karen Raber © 2017 Kellie Suzanne McClelland ALL RIGHTS RESERVED ii To Dr. Ben McClelland for believing in me and encouraging me and supporting me on this, his Retirement Year, as well as every other time of my life. Thanks for it all. I love you, Daddy. iii ACKNOWLEDGEMENTS First and foremost, I owe my family, friends, and Him from whom all blessings flow my deepest gratitude for providing comfort and encouragement throughout this arduous journey that has become my thesis.
[Show full text]