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Theater at Monmouth 2014 Shakespeare in Maine Communities Tour Teacher Resource Guide

Inside This Guide

1 From the Page to the Stage 11 On 2 Double Trouble Synopsis… 12 On Elizabethan England 3 Who’s Who in the Play 13 Performance in Shakespeare’s Time 4 About the Play 14 Verse and Prose 5 Don’t Know Much About History 15 Before the Performance 7 Something Wicked This Way Comes 16 After the Performance 9 Cause and Effect 17 Resources for Teachers & Students 10 Collaborating on Concept

Theater at Monmouth's production of is part of Shakespeare in American Communities, a program of the National Endowment for the Arts in partnership with Arts Midwest.

FROM THE PAGE TO THE STAGE

This season, Theater at Monmouth’s Shakespeare in Maine Communities Tour brings classic literature to students across Maine with a 90-minute version of Macbeth. The text was adapted to streamline the plot and help students connect more strongly to Shakespeare’s verse, themes, and relevance to a modern audience. Shakespeare in Maine Communities’ workshops and extended residencies offer students the opportunity to study, explore, and view classic literature through performance.

TAM’s Education Tours and complimentary programming challenge learners of all ages to explore the ideas, emotions, and principles contained in classic texts and to discover the connection between classic theatre and our modern world.

Teacher Resource Guide articles and activities were developed to help students form a personal connection to the play before attending the production; Common Core-aligned activities are included to explore the plays in the classroom before and after the performance.

The best way to appreciate Shakespeare is to do Shakespeare. That means getting students up on their feet and physically, expressively, and vocally exploring his words. The kinesthetic memory is the most powerful—using performance-based activities will help students with a range of learning styles to build a richer understanding of the text and identify with the characters and conflicts of the plays.

Thank you for taking some of your classroom time to teach your students about Macbeth! If you need more information to support your preparation for the production, please call 207.933.2952 or email [email protected]. Portrait of Ellen Terry as by John Singer Sargent Enjoy the show!

Dawn McAndrews Producing Artistic Director Theater at Monmouth

1 DOUBLE, DOUBLE, TOIL AND TROUBLE! A synopsis of what happens in the play

Returning from victory on the battlefield where they have crushed a rebellion against and invasion from abroad, his generals Macbeth and are accosted by three mysterious women. These “weird sisters” greet Macbeth as —a title belonging to one of the vanquished rebels—and predict he will become king. But the future successors to the throne, they say, will be Banquo’s descendants, not his. Part of this prophecy seems to be fulfilled shortly afterwards, when Duncan rewards Macbeth by bestowing on him the newly executed Cawdor’s title; Macbeth’s prospect of becoming king, however, seems dimmed when Duncan names his son as his successor.

Urged on by his wife, Macbeth decides to take matters into his own hands. He murders Duncan as he sleeps, while Lady Macbeth contrives to throw suspicion on the king’s own attendants. Fearing for their safety, Malcolm and his brother flee, and Macbeth assumes the throne. Fearing Banquo’s suspicions, Macbeth orders his murder and that of his son, —but that deed, far from bringing him peace, has consequences as terrifying as they are unexpected. Haunted by the specter of his guilt, Macbeth consults the sisters, who assure him that he need fear no man born of woman and that his position will be secure until a nearby wood is seen to move.

Meanwhile, as Macbeth’s rule degenerates further into a reign of terror, the exiled Malcolm returns with English troops to claim the throne. Too late, Macbeth realizes that the sisters’ prophecies are riddled with deadly ambiguity, and that the destiny he has pursued is a double-edged sword, forged by his own murderous hand.

Engraving by John Raphael Smith after the painting by Henry Fuseli of The from Macbeth.

2 WHO’S WHO IN THE PLAY There are seven actors in TAM’s 90-minute production of Macbeth. To play all the roles written by Shakespeare, some of the actors will need to double—a convention also used in Shakespeare’s time. Here’s how the doubling works in our production:

Drew Johnson: Macbeth A hero, beloved warrior, champion of the nation. Noble, reliable, honorable. In private, he’s a good friend to his friends, a patient and dedicated partner to his wife. Never takes more than his due. Winds up crossing all of his own boundaries, betraying himself, and everyone he loves. Nobody would have seen this coming.

Greg Boover: Banquo/ Messenger/ Charismatic, warm, has a good sense of humor. The kind of friend who takes you out for coffee when you’re having a bad day. A bit of a live wire, fun at parties. Has a jealous streak. Deep inside, he wants to do the right thing. It would be a shame for anything bad to happen to his guy. Your friends would all miss him.

Wendy Way: Duncan/ Porter/ Old Man/ Murderer/ Doctor The kind of guy who has received more “#1 DAD” mugs from the boys he has spiritually adopted than from his own kids. Charismatic, noble, and fair. Beloved authority figure. Reminds you of your favorite memories of your father.

Pamela Mae Davis: Lady Macbeth/ Seyton Just adores entertaining! The greatest, most charming hostess you have ever seen. Radiant, sparkles, lights up every room. Conceals her deep-rooted ambition, her opportunism, and her fascination with black magic.

Michael Dix Thomas: Witch 1/ Angus/ Murderer/ Power purveyor of the Dark Arts. Knows ancient secrets and old ways, works with pleasure and good humor. You can’t ever be sure whether you can trust him or not.

Marjolaine Whittlesey: Witch 2/ Donalbain/ Rosse/ Learning the ancient secrets and ways of magic, eager to please and wreak havoc. Testing the boundaries of her power. Feisty and treacherous in equal measure.

Lillian Meredith: Witch 3/ Lenox/ Murderer/ Malcolm/ Gentlewoman Professional manipulator of nature. Possesses a deep connection to the earth and the spiritual world. Feeds on the chaos of war, political intrigue, and self-doubt.

3 ABOUT THE PLAY

Sources for Macbeth Shakespeare’s principal source was ’s Chronicles of England, Scotland, and Ireland (1587), the Scottish part of which was derived from the Scotorum Historiae of Hector Boece (1526). Shakespeare picked incidents from various reigns and altered the events for dramatic purposes. Holinshed’s Chronicles gave him much of his information on witchcraft, including the scene in which the weird sisters prophesy to Macbeth and Banquo. Shakespeare would have been familiar with the many books on Scottish history that appeared after the accession of James I (formerly James VI of Scotland) to the throne of England. He would also have read James’s (1599) and A Counterblast to Tobacco (1604). A 1605 Latin play by Matthew Gwinne, Tres Sibyllae, performed before King James at Oxford, may also have inspired Shakespeare. At the performance, James was saluted with the words, “Hail, thou who rulest Scotland! Hail, thou who rulest England! Hail, thou who rulest Ireland!”—lines that resemble the weird sisters’ first words to Macbeth.

The Real Macbeth The historical Macbeth (c.1005-1057) was king of Scotland from 1040 to 1057. His wife was Lady , a granddaughter of Scottish king Kenneth III and formerly the wife of Gilcomgain, Thane of Moray. After Gilcomgain’s death in battle, Gruoch fled County Ross with her son, Lulach. Macbeth, Thane of Ross, became her protector and, in 1035, her second husband. Although Shakespeare portrays Duncan as an elderly man, he was actually under 40 when he was killed—in battle, not in bed—by Macbeth. His sons Malcolm and DonaldBane were no more than 10 at the time. Macbeth, who reigned for 17 years, was by all reports a good king. In 1057, Duncan’s son Malcolm returned to Scotland and killed Macbeth in a battle in Aberdeenshire—nowhere near .

Macbeth in Performance One of the first performances of Macbeth took place before King James I at Hampton Court on August 6, 1606, in honor of the state visit of the Danish king Christian IV. The earliest known eyewitness account of the play comes from Simon Forman, who saw it in April of 1611, in which Richard Burbage is believed to have played the title role. In 1663, William Davenant produced an adaptation in which much of the original text was omitted or changed and to which musical numbers were added. The text was partially restored in 1744 by David Garrick, who played the title role for many years. Kilts and tartan plaids were introduced in Charles Macklin’s production in 1773. Besides David Garrick, notable have included Charles Macklin, John Philip Kemble, Edmund Kean, Edwin Booth, Henry Irving, John Gielgud, Laurence Olivier, Ian McKellen, and Patrick Stewart. The director, actor, and filmmaker presented a celebrated “voodoo” version of Macbeth in 1936.

The Macbeth Curse Macbeth has been considered unlucky since its very first production—perhaps because the text supposedly contains an actual witches’ incantation: the famous “Double, double, toil and trouble.” The play is notorious for the superstitions surrounding it. It is true that some productions of the play have been marred by fatal or near-fatal incidents. In 1937, a 30-year-old Laurence Olivier was almost killed during a rehearsal of Macbeth at the Old Vic, when a heavy stage weight fell from the flies and missed his head by inches. In 1942, four people associated with John Gielgud’s production died—including two of the actresses playing witches. It is considered bad luck to mention the title or quote from the play inside a theatre. Actors and staff call it “,” or “Mackers.” If you break these rules, you must leave the building, turn around three times, swear, and ask for permission to reenter in order to placate the curse.

4 DON’T KNOW MUCH ABOUT HISTORY

Scotland is a land of geographic variety, from the marshy lowlands of southern Scotland to the craggy highlands of the north. Despite its lack of agricultural viability, battles have been waged over this territory since the first century AD. At that time, the clan-ruled Picts, descended from Scandinavian tribes to the northeast, inhabited the highlands. The name Pict is derived from the Latin piclus, meaning “painted people,” because the Picts painted their bodies and faces. Their Celtic neighbors to the south, the Scots, were mostly descended from Irish settlers. The Romans invaded and conquered the area now known as England in the first century AD. As they made their way north, the Romans were met with fierce resistance, particularly from the “barbaric” Picts. They were eventually forced to abandon their advance northward. To keep the warlike tribes from invading Britannia (as the Romans named their newly conquered land), the Emperor Hadrian had a massive wall erected from the east coast to the west, close to the border of present-day Scotland. The ruins of Hadrian’s Wall are a modern-day tourist attraction.

In the 9th century, Scottish king Kenneth MacAlpine united the Picts and Scots under his reign, and he and his descendants began to battle England for land near their shared border. By the time Duncan ascended to the Scottish throne, eight generations later, Scottish territory had grown tremendously and included major portions of northern England. Duncan is the reigning king at the start of Shakespeare’s Macbeth, though Shakespeare’s dramatization strays from documented Scottish history in a Hadrian’s Wall as it looks today. number of ways.

Ascendancy to the Scottish throne in the 11th century was less formal than the strictly regulated rules of succession of its neighbor England, where the doctrine of Divine Right of Kings stated that the current ruler was appointed by God, and anyone who removed the king from power was defying God’s will. In Scotland, which had a history of family-based clan rule, succession was loosely based on bloodlines; any man descended from a former king through his father or mother could conceivably claim the throne. In one of Shakespeare’s sources for Macbeth, Raphael Holinshed’s The Historie of Scotland, King Duncan is described as “soft and gentle of nature.” Most historians agree that this was Holinshed’s diplomatic way of describing a weak king, and in Medieval Scotland a weak king was not tolerated for very long. Macbeth had a decent claim to the Scottish throne: his mother was the daughter of King Kenneth II, and his wife, Gruoch (Lady Macbeth), was descended from Kenneth III. It was only natural that a great warrior with a royal heritage like Macbeth should usurp the throne from the weak Duncan. “The Crowning of Macbeth” from Holinshed’s Chronicles of England, Ireland, and Scotland. In Macbeth, as in most of his plays derived from historical sources, Shakespeare takes creative liberties with historical truth to “dramatize” the story. In many ways, Shakespeare does a disservice to the real Macbeth, who was a distinguished warrior and a competent ruler. Unlike their dramatic counterparts, Macbeth and King Duncan were pretty close in age, and Macbeth ruled for 17 fairly peaceful years, until Duncan’s son Malcolm I returned from exile in England and defeated Macbeth. In 1070, Malcolm married the English Princess Margaret, further strengthening ties with England. Margaret was very influential on her husband’s reign, helping him to develop an English-style parliament in Scotland, as

5 well as forging strong ties between the Scottish church and the Roman Catholic Church. Margaret’s good deeds were recognized when she was canonized in 1250.

Conflict with England began to build during Malcolm’s reign; his marriage to Margaret gave him a fragile claim to the English throne, and he invaded Northern England with the hope of one day conquering the entire country. For 23 years Malcolm vacillated between invading England and making peace agreements with their king, William the Conqueror. Malcolm was finally killed in battle in 1093, but the wars between Scottish and English forces did not The Marriage of St. Margaret (to Malcolm I). end. Malcolm’s ninth of ten children, David I, continued his father’s crusades into England, claiming practically all of Northern England for Scotland by 1139. This land was soon lost by David’s young grandson Malcolm IV.

Control of Scotland and Northern England fluctuated for over a century, until Scottish King Alexander III died and left as his heir the infant Margaret. Taking advantage of this obviously precarious situation, King Edward I of England suggested Margaret marry his son. The infant died before the marriage was made official, and the Scottish throne was left without an heir. Thirteen different men claimed the crown, which went to John de Balliol, who was supported by King Edward. Later, when Edward asked for de Balliol’s assistance and was refused, the English King invaded Scotland. He stole the Stone of Scone, a sacred 340-pound rock on which all Scottish kings were crowned. England now had control of Scotland, though Edward met much resistance, particularly from two famous Scottish nationalists: William Wallace and Robert the Bruce. Wallace led the first strike against English forces, but was captured and executed in 1297 (these events are dramatized in the film Braveheart). Robert the Bruce was more successful, gaining independence for Scotland in 1328.

Small skirmishes with England continued to plague Scotland’s border until 1603, when Scottish King James VI inherited the English throne from Elizabeth I, who died childless. England and Scotland were now indefinitely tied to the same monarch, and in 1707 the Act of Union joined them officially as Great Britain. In 1801, Ireland became part of what was now called the United Kingdom.

Though Scotland is now a part of the larger nation Great Britain, it retains a sense of separate cultural identity, and a Scottish Parliament was created in 1999 for a limited amount of self-rule. Centuries of border conflict have not left Scotland unscathed, however: the gradual adoption of many English customs and traditions has practically obliterated remnants of Pictish culture and history. As evidenced by the recent national vote in September 2014 there remains a band of Scottish nationalists vying for an independent kingdom

6 Something Wicked This Way Comes

Before the advent of modern medicine to explain the diseases of the body, witchcraft controlled the daily lives of many of the people of London. As population increased so did new outbreaks of disease. Insanity and hypochondria were believed to be afflictions of the devil; the city was abuzz with stories of men who believed they were wolves and fled into the mountains, of nuns who imagined they were cats, of maidens who vomited pins, and of men who believed they had snakes From Tractatus de confessionibus maleficorum (1592) in their intestines. The fanatical and fantastical remedies for such illnesses included rubbing "magic ointment" on the skin to produce dreams or drinking water out of a murdered man's skull. In the midst of all this confusion and superstition Elizabethans struggled to find something substantial to blame for these mysteries. Witchcraft quickly became the primary target as a practice believed to be capable of ruling the fates of men. The witches in Macbeth are referred to as the "weird" sisters, from the Anglo-Saxon word "wyrd" meaning "fate." Having been familiar with witches and their powers all their lives, Shakespeare's audience would have understood and perhaps believed that these three women could shape and decide Macbeth's fate.

In Shakespeare's time witches were real and seen on the streets every day. Often men and women who lived on the fringes of society, "witches" became easy scapegoats for any accident, illness, or death in their towns or villages. Midwives, who then as now Depictions of everyday devils and demons from the Malleus Malificarum delivered babies, were often considered witches because of their natural remedies and understandings of the female body. In fact, as early as 1487, the practices and beliefs of witchcraft were associated almost entirely with women and recorded in Malleus Malificarum, a document accepted by the church claiming that "all witchcraft comes from carnal lust, which in women is insatiable." In 1508, Maximilian Johannes produced Antiphonus Maleficiorum, which established witchcraft as fact and taught Christians how to defend themselves against it. The "black magic" activities of witches ranged from the silly to horrific. They were believed to sometimes keep beer from fermenting or butter from hardening; sometimes they forced men and women to commit adultery; they had the power to prevent women from getting pregnant as well as cause miscarriages or stillbirths.

Witches were believed to have sold their souls to the devil and, in return, to have received animal companions or "familiars," (named for the Latin word "famulus" meaning servant) who would do their bidding and carry out some of their nastier tricks. In Macbeth, the "Graymalkin" and "Paddock" referred to by the witches in the first scene are believed to be a cat and toad. Ironically, the continual persecution and destruction of witches and their cats during Shakespeare's time helped

7 to speed the spread of diseases like the Black Plague. Jacobeans did not realize rats carried the majority of these diseases and undervalued the presence of cats to destroy the rats.

Although some people may have practiced the "black arts" and believed they could curse and disease others, many accused witches were helpless innocents. Most “witches” were wise women (and men) who knew a great deal about holistic medicine and were called upon instead of doctors to cure physical ailments. Their tonics or potions, similar to the ones in Macbeth, contained herbs and other plant life that were used as early medicines. As long as their patients were cured, they were considered "white" witches or wizards. If a patient died, however, they were persecuted as "black" witches and therefore evil. Obviously, in an age before modern medicines, the guarantee that witches could cure someone of a disease was shaky at best, the fate of being associated with someone who died was guaranteed. Ironically, their success at curing patients with herbs and natural remedies helped lead to their demise, as the male-dominated English society sought to purge this female- dominated practice. In 1541 Henry VIII passed the first act against sorcery and magic; in 1562 the law was revived and by the Elizabethan period the active persecution of witches was a part of daily life. When James I became king, witches faced a new and Macbeth and Banquo Encounter the Witches, by powerfully paranoid opponent. Theodore Chasseriau.

During the reign of James I, witch-hunts became more and more popular. A self-proclaimed expert on witchcraft, James was notoriously fearful of women and especially afraid of witches. Women in London during James' reign began behaving and dressing more "male," wearing their hair shorter, their doublets pointed, and their hats with broader brims. These changes were in part a reaction to the more feminine dress of the men, inspired by James himself, and to the strong and still echoing image of their late Queen Elizabeth, who often appeared in portraits dressed in armor or other traditionally "male" clothes. James ordered the clergy of London to include sermons chastising women to wear more feminine fashions. James feared that witches were plotting to kill him and, indeed, several assassination North Berwick witches tried by James VI attempts during his reign involved witchcraft.

In 1597, James published Daemonologie, in which he described his belief in witches and their practices, advocating for the swift destruction of any discovered witches. Women and men accused of witchcraft were therefore put through ridiculous trials to test if they were truly witches, resulting in the deaths of thousands of innocent people. One common practice was to tie a stone to and throw her in the river. If she floated to the top she was a witch; if she sank to the bottom she was innocent. The only true way to kill a witch was burning, leading to many public burnings of innocent women and men. After James' death, the persecution of witches slowly died out in England. The belief in witches, however, would ultimately travel to the New World, leading to the Salem Witch Hunts in Massachusetts and resulting in many more deaths in America before this fanatical fear of witchcraft finally came to an end in the 18th century. In Macbeth, Shakespeare reminds us of times both in medieval Scotland and Jacobean England when witches inspired terror in a powerful king and helped to guide the decisions of an entire nation.

8 Cause and Effect Macbeth and Newton’s Law

A body at rest tends to stay at rest unless acted on by an outside force. Once in motion that body will continue moving until it is acted upon again to cease. The laws of physical science can be applied to the title character’s actions and the bloody chain of events in Shakespeare’s tragedy. Many scholars and artists release Macbeth from the responsibility for the results of his actions by labeling his behavior as “fated.” The Bard’s inclusion of the Weird Sisters and Macbeth’s consultation of their psychic powers provide support for this conclusion—the title character’s tragedy results from his inability to break free from his destiny. A more modern look at the play’s structure also reveals an equally plausible demonstration of ambition overwhelming reason, resulting in action without consideration of consequences.

“…you stop our way with such prophetic greeting…” The audience first encounters Macbeth through reports of his strength and bravery in battle, fighting in the name of his king and country. This is Macbeth “at rest,” a loyal servant to the Scottish crown. His actions on the battlefield are rewarded when Duncan bestows upon Macbeth a second title—in addition to Glamis, he becomes Thane of Cawdor. Macbeth learns of his appointment not from Duncan but from the Weird Sisters. They greet him with his current title, his soon-to-be title, and “king hereafter.” Macbeth considers this information as visionary and fated and begins to ponder his future. His ambitions toward the throne are piqued and the plot set in motion as a result of the encounter.

“…shalt be thou art promised…” While the witches foretell the throne for Macbeth, it is he who places it in the realm of the possible. He sends word to his wife of the encounter, informing her of the promised “greatness” and asks her to “lay it to her heart” or think it over closely. Lady Macbeth’s imagination is sparked and instantly she too sees kingship as a real possibility. It is she who proposes the action to make the prophecy real— murder Duncan. Macbeth briefly reasons himself away from the action. His ambition is checked, only to be rekindled by an outside force—his wife. The Scottish Thane chooses regicide.

“…the very firstlings of my heart shall be the firstlings of my hand…” Once Macbeth grabs the dagger he sees before him, he is “in motion.” He ascends the throne but is not at peace in this position for long. Plagued by the witches’ words that the “seed of Banquo” will be king, Macbeth acts again—this time to prevent the witches’ prophecy. He orders Banquo and Fleance murdered. Shortly after Banquo is slain, Macbeth is visited by his ghost at a royal feast. Rather than sway Macbeth from further atrocities, the haunting pushes him onward. He is so far steeped in blood that he must continue eliminating those he perceives to be a threat to his position. When word comes of Macduff’s escape to join Malcolm in England, Macbeth orders the murder of his wife and children.

“…my soul is too much charged with blood of thine already…” The ultimate effect of Macbeth’s actions is not his preservation but his demise; he is killed in battle by Macduff. Once in motion, the only way to stop Macbeth is an outside force. Shakespeare provides the Scotsman only one moment for words of remorse. When Macduff confronts him on the battlefield, Macbeth tells his foe he is “charged” or burdened by the blood of Macduff’s own—the needlessly shed blood of his wife and children. These few words demonstrate that, despite all his other evils, Macbeth holds himself responsible for his actions and rejects that he was fated or compelled by an outside force to betray and murder.

Is Macbeth a dramatic example of the laws of physical science? He seems “at rest” in his political and social place until acted on by the suggestion of future greatness. His own ambitions—rather than a predetermined destiny—drive him forward, motivating one bloody action after another. Once in motion, Macbeth continues on his path of massacre until Macduff’s sword ceases him, ending his motion, his life, and the play.

9 COLLABORATING ON DESIGN CONCEPT

This activity will provide your students with insight into theatrical design and practical experience in the creative process that stage designers use when establishing the world of a play.

Essential Question: How can we communicate the specific world of a play to an audience using characterization and analysis of the text?

Objectives:  Examine the plot, characters, and themes of the play  Explore what happens in the play and what the play is about to inform design choices  Analyze design choices based on playwright’s intentions and relevancy to a modern audience

Overview: The job of theatrical designers is to support the director’s vision and interpret the playwright’s intentions by using costumes, sets, lights, and sound to create the world of the play for a modern audience. Each designer’s work should:  Evoke the mood and tone of the production  Specify the time and place  Clarify relationships between characters Designers read the play many times searching for clues contained in the text about the look and feel of the play. They research the period in which the play was written as well as analyzing the plot and characters for visual motifs. The design team meets with the director to brainstorm a specific concept or approach to the play. The designers collaborate to ensure that all of the elements come together in a cohesive manner.

Activity: 1. Divide students into teams of five with each member assuming the role of one of the artistic team for the production: director, sets, costumes, lights, and sound. Ask students to discuss the plot, character, time and place, and overall concept for the production. a. Determine the mood of the production from beginning to end. How might it influence the design? b. Decide where to set Macbeth to make it the most relevant for your audience? (Coaching) Remind students that the concept must work for the entire play—not just certain scenes. c. What images or motifs occur repeatedly throughout the play? How would you show these onstage? What are the different locations of the play? 2. Once a setting is decided, ask each group to research the time period in order to be as authentic as possible in creating the world of the play. 3. Each member of the team should produce a creative representation of their design (a poster, sound clips, a collage, fabric swatches, and so on). 4. Ask each group member to write a design/director statement in support of the concept, including the historical research that supports their decisions. 5. Display the concept boards as a team and have each team present their concept to the class.

Reflection: After students see the production, ask them to reflect on the design choices made by the TAM team. Compare and contrast TAM’s production concept with the students’ vision for the play. How were the designer choices similar or different? How did they serve the play?

10 ON SHAKESPEARE

No man’s life has been the subject of more speculation than William Shakespeare’s. For all his fame and celebrity, Shakespeare’s personal history remains a mystery. We know a man named William Shakespeare was baptized at Stratford upon Avon on April 26, 1564, and was buried at Holy Trinity Church in Stratford on April 25, 1616. Tradition holds that he was born three days earlier, and that he died on his birthday—April 23—but this is perhaps more romantic myth than fact.

Scholars assume that Shakespeare went to grammar school, since his father was first a member of the Stratford Council and later high bailiff. A grammar school education would have meant that Shakespeare was exposed to the rudiments of Latin rhetoric, logic, and literature.

Church records tell us that banns (announcements) were published for the marriage of a William Shakespeare to an Ann Whatley in 1582. On November 27 of the same year a William Shakespeare marriage license was granted to 18 year old William and 26 year old Anne Hathaway. A daughter, Susanna, was born to the couple six months later. Twins, Hamnet and Judith, were born soon after. We know that Hamnet died in childhood on August 11, 1596. We don’t know how the young Shakespeare came to travel to London or how he first came to the stage.

Whatever the facts may be, it is clear that in the years between 1582 and 1592, William Shakespeare became involved in the London theatre scene as an actor and playwright. By 1594, Shakespeare was listed as a shareholder in the Lord Chamberlain’s Men, one of the most popular acting companies in London. He was a member of this company for the rest of his career, which lasted until 1611. When James I came to the throne in 1603, he issued a royal license to Shakespeare and his fellow players, inviting them to call themselves the King’s Men. In 1608, the King’s Men leased the Blackfriar’s Theatre in London. This theatre, which had artificial lighting and was probably heated, served as their winter playhouse. The famous Globe Theatre was their summer performance space.

In 1616 Shakespeare’s daughter Judith married Thomas Quiney, the son of a neighbor in Stratford. Her father revised his will six weeks later; within a month he had died. The revised version of William Shakespeare’s will bequeathed his house and all the goods to his daughter Susanna and her husband Dr. John Hall, leaving Judith and Thomas only a small sum of money; his wife, who survived him, received the couple’s second best bed.

In the years since Shakespeare’s death, he has risen from obscurity to the most read, adapted, and translated writer of all time. In the 1800s, his plays were so popular that many refused to believe that an actor from Stratford had written them. To this day some believe that Sir Francis Bacon or Edward DeVere, the Earl of Oxford, was the author. Still others prefer to believe that Walter Raleigh or Christopher Marlowe penned the lines attributed to Shakespeare. While most people are content to believe that genius can spring up in any social class or setting, the gap between the known facts and the myths that surround Shakespeare’s life leaves ample room for speculation.

11 ON ELIZABETHAN ENGLAND

The age of Shakespeare was a great time in English history. During the reign of Elizabeth I (1558—1603), England emerged as the leading naval and commercial power of the Western world, consolidating this position with the defeat of the Spanish Armada in 1588. During this time, Elizabeth I firmly established the Church of England (begun by her father Henry VIII after a dispute with the Pope). London in the 16th century underwent a dramatic transformation; the population grew 400% between 1500 and 1600, swelling to nearly 200,000 people in the city proper and outlying region by the time an emerging artist from Stratford came to town. A rising merchant middle class was carving out a productive Portrait of Queen Elizabeth by George Gower livelihood, and the economy was booming.

During Shakespeare's lifetime, England also experienced a tremendous cultural revival. This so-called English Renaissance found expression in architecture, music, literature, and drama. Shakespeare both drew inspiration from high and popular culture of the English Renaissance. Popular entertainment during the 16th century tended to be boisterous and often violent. Many men, women, and children attended public executions of criminals that took place on a regular basis, and persons of all social classes and genders attended theatre performances. The trade of bookmaking flourished during the period as public education fueled the appetite for great works in print.

During the years 1590-1593, England suffered from an outbreak of terrible proportions; the bubonic plague or “Black Death” claimed so many lives that English society stood on the verge of collapse. Many businesses, including theatres, closed, in part to keep people from spreading the disease and in part because of the labor shortage that resulted from such widespread illness and death. Once the epidemic subsided, the theatres reopened and quickly regained their former popularity.

This explosion of commerce and culture lasted throughout Elizabeth’s reign and into that of her successor, James I. James’ rule brought many changes to English life; the two most pivotal were a bankrupt economy and an intense dissatisfaction from a minority religious group—the Puritans. In September 1642, the Puritan Parliament issued an edict that forbade all stage plays and closed the theatres; an act that effectively brought to a close the Elizabethan Renaissance. Theatres rapidly fell into disrepair and neglect until the Restoration in 1660.

In writing his plays and sonnets, William Shakespeare drew ideas from many different sources. His eye for detail and his understanding of human nature enabled him to create some of the most enduring works of drama and poetry ever produced. But his work also provides an insightful commentary on 16th-century English values, life, history, and thought.

12 PERFORMANCES IN SHAKESPEARE’S TIME

In Shakespeare’s day theatre was the most popular form of entertainment. The theatre district was located in Bankside, just outside of London across the Thames. Bankside was a seedy part of town known for its taverns, brothels, gambling houses, and bear baiting arenas. Playhouses were built to accommodate an audience of almost 3,000 people sitting in boxes, benches on the stage, or standing in the pit directly in front of the actors. As there was no electricity for lighting, performances started at 2:00pm to make the most of daylight.

All classes came to the theatre; in one audience you could see nobleman, court dandies, and young apprentices. To pack the audiences, playhouses undersold all other popular entertainment—which included bear baiting arenas. A day at the Elizabethan theatre cost just one penny— equivalent to the price of a movie ticket today. For twopence or threepence more a patron could purchase a seat in the gallery and rent a cushion.

In a typical season a theatre company might play six days a week, forty-nine weeks a year, and perform more than forty plays, over half of them brand new. Shakespeare’s company, The Lord Chamberlain’s Men (renamed The King’s Men after James I took the throne), was considered the most talented company of the time. Acting was not a well-respected profession at this time, and women were not allowed to perform on stage; boys performed all female parts, including Juliet and the Nurse in Romeo and Juliet. In a day when acting paid enough for the average actor to just get by, the Lord Chamberlain’s Men did so well one or two company members became prosperous middle-class citizens. Shakespeare was writing for the stage in an exciting time where theatre was a fast paced popular form of entertainment attended by courtiers and whores, lawyers and cutpurses, tradesmen, and servants.

13 VERSE AND PROSE

Iambic Pentameter Shakespeare wrote much of his dialogue in a form of poetry, following the rules regarding rhythm and meter that were commonly used in his time. The form he used is called iambic pentameter [call out]. “Iambic” means a line of iambs; iambs are two syllables together, the first one is unstressed and the second is stressed. For instance, say the word ‘today’—notice how the ‘day’ seems stronger than the ‘to’? Try reversing the stresses and see how it sounds. “Pentameter” refers to the number of iambs in the line. Penta is the Greek word for five—think about the Pentagon and how many sides it has—so there are five iambs in each line.

So iambic pentameter feels like a heartbeat: Short, Long; Short, Long; Short, Long; Short, Long; Short, Long. An actor uses scansion to interpret the meter of a piece of verse. It can tell the reader, the actor, and the audience important information about the character.

ROMEO But soft, what light through yonder window breaks?

Actors use the notation “∪” for unstressed syllables and “ / “ for stressed:

∪ / ∪ / ∪ / ∪ / ∪ / But soft, what light through yonder window breaks?

Actors use the meter as a clue to discover what Shakespeare's characters are feeling. The stressed words are usually the most important (or “operative”) words in a verse line. But sometimes the iambic pentameter lines are “irregular” (meaning they don’t have 10 unstressed and stressed syllables) giving the actor another clue. For example, from Hamlet:

HAMLET To be, or not to be: that is the question,

∪ / ∪ / ∪ / ∪ / ∪ / ∪ To be, or not to be: that is the question,

Shakespeare could easily have had the line end with “quest” instead of “question” making it a regular line of verse. However, to show Hamlet’s state of questioning and imbalance Shakespeare gives the actor a line with an extra beat—11 syllables—to emphasize how he is feeling. This is called a feminine ending (because it ends unstressed and is therefore weaker). An actor might also choose to flip the stresses after the full stop in the center of the line (called a caesura), creating a trochee (a stressed/unstressed foot).

Prose Shakespeare wrote his plays using two styles—verse and prose. Verse, the style used most by Shakespeare, is text written with a meter or rhythm. Prose is text written without meter or rhythm. Prose is a more common form of speech, sounds more natural, and does not follow the rules or form of poetry. Prose is most often found in the comedies where servants or lower classes (or character's talking about “lewd” subjects) speak in prose. Shakespeare often uses the switch from verse to prose (or back) to indicate a change in emotion or mood within a scene. In Romeo and Juliet Mercutio switches from verse to prose and back again in the scene where he is killed. Shakespeare’s shift from verse to prose provides a new and different way to convey not only wit and humor but also great depth of feeling and character.

14 BEFORE THE PERFORMANCE

1. Line at a Time Using a section of the text, type each line on a separate slip of paper and distribute so each students has one line. Working independently students walk around the room reading their line aloud, experimenting with different inflections or ways of speaking. Regroup in a circle and ask each student to read her/his line aloud. Discuss questions about language or word choice. Ask students:  What might this play be about, based on the lines you heard?  What images came to mind when reading or hearing the line(s)?  What type of person do you imagine spoke the line(s)?

2. (Re)Making History Show scenes from the 1995 film Braveheart in class. Ask half the class to research the history of Macbeth, using the article Don’t Know Much About History from this Guide. Ask the other half of the class to use Internet resources to find information on the real William Wallace and Robert the Bruce. Ask students to write an edited treatment of the play/movie that would portray the assigned character in a more historically correct light. Ask each group to compare their treatments and list major changes to the play/ movie agreed on by all members of the group.

3. Dramatizing Violence On StageThen and Now Shakespeare’s actors were trained in swordplay and could perform rapier and dagger or broadsword battles on stage. In today’s theatre, violence is safely staged through techniques of modern stage combat; actors create physical storytelling that simulates violence without putting them at risk. Search the text of Macbeth for instances of violence. Then discuss each, how it might have been staged during Shakespeare’s time, and how it might be staged today. What is different or the same about how we view violence today as compared to Shakespeare’s time? How do we handle violence in the media today?

4. Language in Macbeth In Macbeth several different styles of language coexist, with the witches’ rhyming poetry contrasting the abrasive, jarring, and unsure quality of Macbeth’s language or the firm, forward rhythm of Lady Macbeth. Many scholars have argued that another playwright, Thomas Middleton, actually wrote the witches’ scenes, explaining the very different writing styles between these scenes and the rest of the play. First, with students, track some of the changes in Macbeth’s language, from Act I, Scene iii to Act II, Scene ii to Act V, Scene v. How does his language become more frantic in Act II and more resolved in Act V? Then divide the class into groups and have students track Lady Macbeth’s language, from Act I, Scene v to Act II, Scene ii to Act V, Scene i. How does she change through the course of the play? Ask students to explain why she often switches from prose to verse and why she begins and ends the play in prose?

5. Eye of Newt In Macbeth, the witches concoct a potion of nasty-sounding ingredients including “eye of newt” and “wool of bat.” Several of these ingredients are in fact plants rather than the pieces of animals they seem to describe. Ask students to research the definitions for each of the ingredients, list them on the board, and discuss what exactly is in the cauldron. Then ask students to create an antidote for the witches’ potion. What would they throw into their own cauldron to counteract the spell? Why?

15 AFTER THE PERFORMANCE

1. Luck be a Lady Many productions portray Lady Macbeth as evil and heartless because she’s the one who convinces her husband to go through with the murder. Ask students to write responses to the following questions: Have you ever been convinced by a friend to do something that you knew was wrong? How did that make you feel? Who do you feel is more at fault for Duncan’s murder—Macbeth or Lady Macbeth? Do you think Lady Macbeth is evil and heartless or a woman who makes a bad choice? Ask students to draw a costume sketch for Lady Macbeth using their responses to the above questions. What does she look like? How does she fit into the world around her? In relation to her husband?

2. Cause and Effect Read aloud I.iii.38-149 and discuss Macbeth’s reaction. Compare his reaction to Lady Macbeth’s when she receives the letter from her husband (I.v.1-30). The second half of the witches’ prediction comes true because Macbeth and Lady Macbeth conspire to murder the king. Discuss whether Macbeth would have become king if they had not taken matters into their own hands. Ask students to find a recent horoscope online and write a scene in which they take action based on the horoscope which makes it come true. Lead students in a discussion about fate and free will. What purpose do predictions and horoscopes serve in our society?

3. Casting Macbeth Divide students into small groups and ask them to develop a description of the main characters in the play. Discuss the quality and functions of each role. Ask students to make the decisions of a casting director for a new big-budget Hollywood remake of Macbeth. Casting only living actors, and including a cast that reflects the make-up of our society, who would play each role? Are the casting choices justified, logical, or bizarre? What attributes do the actors share with the role? What guides a casting director’s selections? Have the students prepare a character collage from magazines and write a short explanation. How would they handle casting the witches? Would they make similar choices in casting females in male roles as in the TAM production? Did they cast any actors of color?

4. Cut…That’s a Wrap After the class has seen the play, discuss genres and modern cinematic treatments it lends itself to (examples include Wild West; crime drama; modern political thriller). Divide the class into groups of five or six and have each group pick a genre or treatment for their cinematic version of the play. Each group will storyboard a trailer for their movie (or film the trailer if video equipment is available). The trailer should include voiceovers and lines from the play to entice an audience of their peers to see the movie. Have each group pitch its trailer to the class. The students should then act out the trailer or show their video.

5. Suit the Action to the Word The director and design team for TAM’s Macbeth had a concept, or artistic vision, for this production. Have students write a review of Macbeth describing what they thought the story of the play was, and how the set and costumes helped to tell the story. In their reviews, students should select a particular scene that exemplifies their opinions. Share the reviews in class and discuss the similarities or differences of opinion. Collect all the reviews and send to the Theater at Monmouth Education Department.

16 RESOURCES FOR TEACHERS AND STUDENTS

Books on Shakespeare and Macbeth  Asimov, Isaac. Asimov’s Guide to Shakespeare. Doubleday, 1978  Cahn, Victor L. The Plays of Shakespeare: A Thematic Guide. Greenwood Press, 2001  Gibson, Janet and Rex Gibson. Discovering Shakespeare’s Language. Cambridge University Press, 1999  Greenblatt, Stephen. Will in the World. W.W. Norton, 2004  Holmes, Martin. Shakespeare and His Players. Charles Scribner's Sons, 1972  McDonald, Russ. The Bedford Companion to Shakespeare, St. Martin’s Press, 1996  Pritchard, R. E. Shakespeare’s England. Sutton Publishing Limited, 1999  Aitchison, N.B. Macbeth: Man and Myth. Sutton, 2000.  Wills, Garry. Witches and Jesuits: Shakespeare’s Macbeth. Oxford Univ. Press, 1995.

Macbeth on DVD  1948 Directed by Orson Wells. Starring Orson Wells, Jeanette Nolan, & Dan O’Herlihy  1957 Throne of Blood. Directed by . Starring Toshiro Mifune  1971 Directed by . Starring Jon Finch & Francesca Annis  1976 Directed by Trevor Nunn. Starring Sir Ian McKellen & Dame Judi Dench  1997 Directed by Michael Bogdanov. Starring Greta Scacchi & Sean Pertvee.

Books on Teaching Shakespeare  Gibson, Rex. Teaching Shakespeare. Cambridge University Press, 1998  Reynolds, P. Teaching Shakespeare. Oxford University Press, 1992  Rosenblum, Joseph. A Reader's Guide to Shakespeare. Salem Press, Inc., 1998

Websites  PBS’s In Search of Shakespeare http://www.pbs.org/shakespeare/educators/  Folger Shakespeare Library http://www.folger.edu  MIT Shakespeare: Complete Works, http://the-tech.mit.edu/Shakespeare/  Enjoying Macbeth, http://pathguy.com/macbeth.htm

Common Core Standards for English Language Arts & Literacy addressed in the Guide: Anchor Standards for Speaking and Listening  Comprehension and Collaboration o Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas, and expressing their own clearly and persuasively. o Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. o Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.

 Presentation of Knowledge and Ideas

o Present information, findings, and supporting evidence such that listeners can

follow the line of reasoning and the organization, development, and style are

appropriate to task, purpose, and audience.

o Make strategic use of digital media and visual displays of data to express

information and enhance understanding of presentations.

o Adapt speech to a variety of contexts and communicative tasks, demonstrating

command of formal English when indicated or appropriate.

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