The Real Macbeth
Total Page:16
File Type:pdf, Size:1020Kb
Load more
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. -
Macbeth 1. in the Realm of King Duncan of Scotland Two Royal
Macbeth 1. In the realm of King Duncan of Scotland two royal Thanes – Macbeth and Banquo - are returning from war. They meet three Witches who predict that Macbeth will become King and Banquo’s heirs will be Kings. 2. Macbeth writes to his wife telling her of the prediction, which she takes to mean they must kill Duncan, the current King. 3. Duncan and his train arrive at Macbeth’s Castle as Macbeth and Lady Macbeth wrangle over whether to kill him or not. 4. Macbeth kills Duncan as he sleeps. 5. Duncan’s sons are initially blamed for his murder and flee in fear, leaving Macbeth to be crowned King. 6. Macbeth has Banquo killed. He fears he is haunted by Banquo’s ghost and returns to the witches. They reassure him with more predictions of his power. 7. His friend Macduff flees to England to ask Duncan’s son – Malcolm – to return and fight Macbeth as Scotland is collapsing under his rule. Macbeth has Macduff’s wife and children killed for this disloyalty. 8. Lady Macbeth dies. 9. Macbeth comes under attack as the witches predictions come true one by one. 10. Macbeth is slain by Macduff and Malcolm is crowned King. Macbeth Character List DUNCAN The good king of Scotland murdered by Macbeth. Duncan is the model of a virtuous, benevolent and farsighted ruler. MALCOLM Duncan's eldest son, who flees in fear with his brother Donalbain after their father's murder. Malcolm becomes a serious challenge to Macbeth with Macduff’s aid (and the support of England). -
Gaelic Barbarity and Scottish Identity in the Later Middle Ages
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten MacGregor, Martin (2009) Gaelic barbarity and Scottish identity in the later Middle Ages. In: Broun, Dauvit and MacGregor, Martin(eds.) Mìorun mòr nan Gall, 'The great ill-will of the Lowlander'? Lowland perceptions of the Highlands, medieval and modern. Centre for Scottish and Celtic Studies, University of Glasgow, Glasgow, pp. 7-48. ISBN 978085261820X Copyright © 2009 University of Glasgow A copy can be downloaded for personal non-commercial research or study, without prior permission or charge Content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/91508/ Deposited on: 24 February 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk 1 Gaelic Barbarity and Scottish Identity in the Later Middle Ages MARTIN MACGREGOR One point of reasonably clear consensus among Scottish historians during the twentieth century was that a ‘Highland/Lowland divide’ came into being in the second half of the fourteenth century. The terminus post quem and lynchpin of their evidence was the following passage from the beginning of Book II chapter 9 in John of Fordun’s Chronica Gentis Scotorum, which they dated variously from the 1360s to the 1390s:1 The character of the Scots however varies according to the difference in language. For they have two languages, namely the Scottish language (lingua Scotica) and the Teutonic language (lingua Theutonica). -
The Cultural and Ideological Significance of Representations of Boudica During the Reigns of Elizabeth I and James I
EXETER UNIVERSITY AND UNIVERSITÉ D’ORLÉANS The Cultural and Ideological Significance Of Representations of Boudica During the reigns of Elizabeth I and James I. Submitted by Samantha FRENEE-HUTCHINS to the universities of Exeter and Orléans as a thesis for the degree of Doctor of Philosophy in English, June 2009. This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ..................................... (signature) 2 Abstract in English: This study follows the trail of Boudica from her rediscovery in Classical texts by the humanist scholars of the fifteenth century to her didactic and nationalist representations by Italian, English, Welsh and Scottish historians such as Polydore Virgil, Hector Boece, Humphrey Llwyd, Raphael Holinshed, John Stow, William Camden, John Speed and Edmund Bolton. In the literary domain her story was appropriated under Elizabeth I and James I by poets and playwrights who included James Aske, Edmund Spenser, Ben Jonson, William Shakespeare, A. Gent and John Fletcher. As a political, religious and military figure in the middle of the first century AD this Celtic and regional queen of Norfolk is placed at the beginning of British history. In a gesture of revenge and despair she had united a great number of British tribes and opposed the Roman Empire in a tragic effort to obtain liberty for her family and her people. -
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 -
Chap 2 Broun
222 Attitudes of Gall to Gaedhel in Scotland before John of Fordun DAUVIT BROUN It is generally held that the idea of Scotland’s division between Gaelic ‘Highlands’ and Scots or English ‘Lowlands’ can be traced no further back than the mid- to late fourteenth century. One example of the association of the Gaelic language with the highlands from this period is found in Scalacronica (‘Ladder Chronicle’), a chronicle in French by the Northumbrian knight, Sir Thomas Grey. Grey and his father had close associations with Scotland, and so he cannot be treated simply as representing an outsider’s point of view. 1 His Scottish material is likely to have been written sometime between October 1355 and October 1359.2 He described how the Picts had no wives and so acquired them from Ireland, ‘on condition that their offspring would speak Irish, which language remains to this day in the highlands among those who are called Scots’. 3 There is also an example from the ‘Highlands’ themselves. In January 1366 the papacy at Avignon issued a mandate to the bishop of Argyll granting Eoin Caimbeul a dispensation to marry his cousin, Mariota Chaimbeul. It was explained (in words which, it might be expected, 1See especially Alexander Grant, ‘The death of John Comyn: what was going on?’, SHR 86 (2007) 176–224, at 207–9. 2He began to work sometime in or after 1355 while he was a prisoner in Edinburgh Castle, and finished the text sometime after David II’s second marriage in April 1363 (the latest event noted in the work); but he had almost certainly finished this part of the chronicle before departing for France in 1359: see Sir Thomas Gray, Scalacronica, 1272–1363 , ed. -
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. -
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. -
Seven Ladies Macbeth
Seven Ladies Macbeth by Michael Bettencourt 67 Highwood Terrace #2, Weehawken NJ 07086 201-770-0770 • 347-564-9998 • [email protected] http://www.m-bettencourt.com Copyright © by Michael Bettencourt Offered under the Creative Commons Attribution-Share Alike License http://creativecommons.org/licenses/by-sa/3.0/ DESCRIPTION What came before Lady Macbeth became Lady Macbeth? CHARACTERS • GRUOCH (later, Lady Macbeth) • ELFRIDA (mother of Lady Macbeth)/DUNCAN/GENTLEWOMAN • SOLDIER/GILLACOMGAIN (first husband)/MACBETH’s SQUIRE/DOCTOR/MACDUFF • MACBETH • NURSE/BISHOP/SINT (can be played by a male or female) • CHORUS OF CROWS/GRUOCH’S ATTENDANTS/THE 3 WITCHES CHORUS will wear half-masks made to look like crows. There is nothing but interpretation. * * * * * Scene 1: First Lady Blackness. In the blackness, the sound of ELFRIDA, the queen, in carnal delight and distress—a rising wail halfway between pleasure and lamentation, with a final crescendo halfway between pleasure and a snarl. As this happens, a light up on young GRUOCH. When ELFRIDA is finished, a light up on ELFRIDA slipping on a simple rough cotton caftan. They sit apart, at some distance. They hold each other’s gaze, then GRUOCH looks away. ELFRIDA: Gruoch? We named you Gruoch—I don’t know why. I don’t think you can change it. The name sounds like it crawled out of the throats of crows. Would you like me to remember for you how your world began? Well? Not that you have many memories— GRUOCH: I heard—it—them—the screams—your screams—they—shook me—as I— SEVEN LADIES MACBETH • Page 1 GRUOCH makes a sliding motion with her hand: slipping out of the womb. -
Warrior Queens in Holinshed's Woodcuts
Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 23 | 2012 Pour une poétique de l'exemplum courtois Warrior Queens in Holinshed’s Woodcuts Samantha Frénée Electronic version URL: http://journals.openedition.org/crm/12859 DOI: 10.4000/crm.12859 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 June 2012 Number of pages: 417-433 ISSN: 2115-6360 Electronic reference Samantha Frénée, « Warrior Queens in Holinshed’s Woodcuts », Cahiers de recherches médiévales et humanistes [Online], 23 | 2012, Online since 30 June 2015, connection on 15 October 2020. URL : http://journals.openedition.org/crm/12859 ; DOI : https://doi.org/10.4000/crm.12859 © Cahiers de recherches médiévales et humanistes Warrior Queens in Holinshed’s Woodcuts Abstract: One of the most under-investigated aspects of Raphael Holinshed’s Chronicles must be the study of the visual representations of British history that we find in the first edition of 1577. This article focuses on the woodcuts used in Holinshed’s Chronicles to illustrate the representation of warrior queens in England and surprisingly we find only two: Cordeilla and Boudica, from Britain’s prehistory and ancient history. It describes and analyses these images in order to demonstrate the historiographical and political objective of such works. This article also reviews the information known about the artist and tries to understand why these pictures were removed from the second edition of 1587. Résumé: Un des aspects les plus négligés des Chronicles de Raphael Holinshed est certainement l’étude des représentations visuelles de l’histoire britannique que nous trouvons dans la première édition de 1577. -
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 -
Macbeth Character Card Sort
Macbeth Character Card Sort SORT OUT THE CARDS INTO TWO PILES AND USE THE DESCRIPTIONS TO MATCH UP THE CHARACTER AND THE CORRECT NAME THE THREE WITCHES MACBETH LADY MACBETH BANQUO DONALBAIN MALCOLM LENNOX THE PORTER ROSS LADY MACDUFF MACDUFF DUNCAN FLEANCE © 2003 www.teachit.co.uk m237char Page 1 of 5 Macbeth Character Card Sort These characters add an element of Thane of Glamis and Cawdor, a general supernatural and prophecy to the play. in the King's army and husband he is a They each have a familiar, such as basically good man who is troubled by Graymalkin and Paddock, and are his conscience and loyalty though at the commanded by Hecate, a Greek goddess same time ambitious and murderous. He of the moon and witchcraft. They can is led to evil initially by the witches' use sieves as boats, and they can predictions and then by his wife's become an animal. They are described goading, which he gives into because he as having beards but looking human. loves her so. This woman is a good wife who loves her Thane of Lochaber, a general in the husband. She is also ambitious but lacks King's army. This man is the opposite the morals of her husband. To achieve of Macbeth, showing an alternate her ambition, she rids of herself of any reaction to prophecy. He keeps his kindness that might stand in the way. morals and allegiances, but ends up However, she runs out of energy to dying. He is brave and ambitious, but suppress her conscience and kills this is tempered by intelligence.