Shakespeare (Abridged) Study Guide
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Written by Jonathan Casey Cover Illustration by Ben Hennessy Www
Written by Jonathan Casey Cover Illustration by Ben Hennessy www.m-opus.com Overture The music begins and we hear clips from early space missions, Gagarin, Apollo, Voyager. The music continues and we transition to ‘clips’ from future missions, space stations, an advert for domestic superconductors, a news broadcast from Mars Two colony, docking sequences. Narrator Speaks: “The year was 2187. We had already established thriving colonies on the Moon and Mars, on space stations and orbiting facilities, when a new discovery revolutionised everything; consumer-level superconducting power. Call it free-flowing energy. A decade of huge progress and excess. Amongst the billions of users, three young scientists were trying to make their own breakthrough in Bournemouth Labs Mexico.” Then we hear Miller McKee’s voice. He’s an Irish scientist, late 20s, working on an American project to invent teleportation. His colleagues Dr. Violet Vicefield and Dr. Jonah Ephgrave, late 20s, are both American. He records a spoken word report: Miller: “OK, Ministry Of Off-World Developments Teleport Research program here at Bournemouth Labs, this is report number 416, present are team lead Dr. Violet Vicefield, engineer Dr Jonah Ephgrave, and me, designer Mr. Miller McKee. I also enjoy long walks and watching the sunset while masturbating. Today is Sequence 20, it’s the big one folks, it’s April Fool’s Day 2187, but this is no prank. This evening, we make our first attempt to teleport a live human test subject directly from one discrete point to another, in this case, from the Teleport Gate Platform to the parking lot. -
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 -
"I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S
CHAPTER 4 "I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S. Miola Though ancient playwrights believed in different deities and ethical sys- tems, they too depicted human beings struggling with the gods, with fate and free will, crime and punishment, guilt and suffering. Sophocles (5th c. BC) portrays Oedipus, solver of the Sphinx's riddle and King of Thebes, who discovers that all along he has been fulfilling, not fleeing, the curse of Apollo and its dread predictions: "Lead me away, O friends, the utterly lost (ton meg' olethrion), most accursed (ton kataratotaton), and the one among mortals most hated (exthrotaton) by the gods!" (1341-43). In several plays that provided models for Macbeth, Seneca (d. 65 AD) presents men and women saying the unsayable, doing the unthinkable and suffering the unimaginable. The witch Medea slays her own children in a horrifying act of revenge. In contrast to Euripides Medea, which ends in a choral affirmation of Zeus's justice and order, Seneca's play concludes with Medea's transformation into something inhuman: she leaves the scene of desolation in a chariot drawn by drag- ons, bearing witness, wherever she goes, that there are gods, testare nullos esse, qua veheris, deos (1027). Driven mad by the goddess Juno, Seneca's Hercules in Hercules Furens kills his children, then awakens to full recognition of his deed in suicidal grief and remorse. These tragic heroes struggle against the gods and themselves. Such classical archetypes inform tragedy in the West, with Seneca especially shaping Elizabethan tragedy. Medea and Hercules Furens partly account for the child-killing so prominent in Macbeth. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
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. -
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. -
Dunsinane Revisited: Medicine in Shakespeare's Macbeth Ralph F
The Linacre Quarterly Volume 29 | Number 4 Article 5 11-1-1962 Dunsinane Revisited: Medicine in Shakespeare's Macbeth Ralph F. Sett Follow this and additional works at: http://epublications.marquette.edu/lnq Part of the Ethics and Political Philosophy Commons, and the Medicine and Health Sciences Commons Recommended Citation Sett, Ralph F. (1962) "Dunsinane Revisited: Medicine in Shakespeare's Macbeth," The Linacre Quarterly: Vol. 29: No. 4, Article 5. Available at: http://epublications.marquette.edu/lnq/vol29/iss4/5 * HISTORY OF MEDICINE DUNSIN ANE REVISITED: Medicine in Shakespeare's Macbeth RALPH SETT, B.S. {, F. M ORE than four hundred med- suggested by Shakespeare's Mac ical allusions have been tal beth. lied from the works of William Knowledge of medicine was L2 Shakespeare. ,5 They range from sparse, and for the most part un pithy sayings that chide the pro scientific, in Shakespeare's Eng fession to poetic descriptions to land. It was expounded by num numerous diseases and their treat erous charlatans and quacks as ment. Some attribute these medi well as by honest physicians.5 ca! references to Shakespeare's friendship with his son-in-law, That there were dedicated men who was a physician, as well as of science in the profession is sub to Shakespeare's interest in the stantiated by the character of the medical literature of the period. Scottish doctor summoned to treat Others classify them merely as a Lady Macbeth. Shakespeare pre technique of the dramatic artist. sents him as a skilled historicist, In any case, Shakespeare's plays as he studies the patient and ques are important in the history of tions one of the Queen's maids: When was it she last walk'd? medicine because they contain a In this slumhery agitation, besides her vivid picture of the profession dur walking and other actual performances, ing one of the most ·colorful eras what at a ny time, have you heard her in England's history. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD
Bio information: JASON ROBINSON Title: TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ / AVANT-JAZZ Saxophonist/Composer Jason Robinson Takes a Mythic Journey with New Album: Tiresian Symmetry featuring Robinson with All-Star Band: George Schuller, Ches Smith, Marty Ehrlich, Liberty Ellman, Drew Gress, Marcus Rojas, Bill Lowe, JD Parran A ubiquitous and often pivotal figure in the stories and myths of ancient Greece, the blind prophet Tiresias was blessed and cursed by the gods, experiencing life as both a man and a woman while living for hundreds of years. In saxophonist/composer Jason Robinson’s polydirectional masterpiece Tiresian Symmetry, he doesn’t seek to tell the soothsayer’s story. Rather for his seventh album as a leader, he’s gathered an extraordinary cast of improvisers to investigate the nature of narrative itself in a jazz context. The music’s richly suggestive harmonic and metrical relationships elicit a wide array of responses, but ultimately listeners find their own sense of order and meaning amidst the sumptuous sounds. For Robinson, a capaciously inventive artist who has flourished in a boggling array of settings, from solo excursions with electronics and free jazz quartets to roots reggae ensembles and multimedia collectives, Tiresian Symmetry represents his most expansive project yet. “I was attracted to the myth of the soothsayer, who tells the future even when it’s not welcome information,” Robinson says. “But on a more technical level I was intrigued by the numerical relationships. -
Macbeth Macbeth (2015) Is an Adaptation of William Shakespeare’S Story of a Good and Potentially Great Man Brought Low by Ambition
© ATOM 2015 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-615-2 http://www.theeducationshop.com.au Macbeth Macbeth (2015) is an adaptation of William Shakespeare’s story of a good and potentially great man brought low by ambition. Directed by Justin Kurzel, from a screenplay by Jacob Koskoff, Todd Louiso and Michael Lesslie, Macbeth stars Michael Fassbender as Macbeth and Marion Cotillard as Lady Macbeth. The film premiered in official competition at Cannes 2015. Justin Kurzel Curriculum links DIRECTOR Macbeth is suitable viewing • analyse the representa- Justin Kurzel’s background as one of Australia’s best for students in Years 10 – 12. tion of ideas and atti- theatrical designers informs his strong visual storytell- It can be used as a resource tudes in Shakespeare’s ing as a director. in English, Literature and and Kurzel’s Macbeth to Media. consider how the texts Kurzel’s VCA graduating short, Blue Tongue, was represent the world and screened in over 13 international films festivals In English, Literature and human experience; including International Critic’s Week at the Cannes Media students are expected • develop the ability to Film Festival, New York Film Festival and won Best to discuss the meaning write analytic responses Short at Melbourne International Film Festival. His derived from texts, the to Kurzel’s Macbeth; first feature film Snowtown, produced by Warp Films relationship between texts, • hone their oral commu- Australia premiered at Adelaide Film Festival in 2011, the contexts in which texts nication skills through winning the Audience Award. Kurzel was awarded are produced and read, discussion of and debate Best Director at the AACTA Awards. -
Macbeth Production Notes
MACBETH PRODUCTION NOTES For UK Publicity Enquiries: [email protected] [email protected] [email protected] For International Publicity Enquiries: [email protected] [email protected] [email protected] Stills can be downloaded from: studiocanal.co.uk/press SHORT SYNOPSIS MACBETH is the story of a fearless warrior and inspiring leader brought low by ambition and desire. A thrilling interpretation of the dramatic realities of the times and a reimagining of what wartime must have been like for one of Shakespeare’s most famous and compelling characters, a story of all-consuming passion and ambition, set in war torn Scottish landscape. SYNOPSIS Ellon. Scotland. Following a fierce battle in which Macbeth, Thane of Glamis and loyal general of King Duncan’s forces, has finally killed Macdonwald, a traitor and leader of rebel forces, he and fellow soldier Banquo encounter three women scavenging among the fallen soldiers, who foretell that Macbeth will become Thane of Cawdor and King of Scotland, while Banquo will be the father of future kings. Both men are unnerved by the prophecies but for the moment appear not to believe them. At the battlefield campsite, Angus and Rosse arrive from the King’s court to pass on thanks from their royal master for the success in battle and to bestow Macbeth the title Thane of Cawdor. The previous holder of the title has been killed for treachery against the crown. When Macbeth goes to pay homage to the King, Duncan tells him that he has made arrangements to visit his home at Inverness to celebrate the victory. -
"Our Language Is the Forest": Landscapes of the Mother Tongue in David Greig's Dunsinane
Trinity University Digital Commons @ Trinity English Faculty Research English Department 2021 "Our Language is the Forest": Landscapes of the Mother Tongue in David Greig's Dunsinane Kathryn Vomero Santos Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_faculty Repository Citation Santos, K. V. (2021). "Our language is the forest": Landscapes of the mother tongue in David Greig's Dunsinane. Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 13(2), 1-18. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in English Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. "Our language is the forest": Landscapes of the Mother Tongue in David Greig's Dunsinane Kathryn Vomero Santos, Trinity University Abstract Tracing early visits to and excavations of Dunsinane Hill in Perthshire, Scotland, this essay argues that Shakespeare and the overpowering legacy of his "Scottish play" have left an imprint that is both ecological and ideological. Situated within broader conversations about cultural heritage, literary tourism, colonialism, and nationalism, my analysis of Shakespeare's indelible mark on Dunsinane Hill —as a place and an idea—provides a theoretical and literal groundwork for understanding how Scottish playwright David Greig activates the territorial lexicon of appropriation in his 2010 play Dunsinane. For Greig, the act of appropriation is not just about speaking back to Shakespeare but about doing so on land that was never his and in a language that he never understood in the first place.