Application and Interpretation of Semiotics in Movie Posters -- the Poster of Macbeth in 2015 As an Example
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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. -
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. -
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. -
Lady Macbeth, the Ill-Fated Queen
LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI BY 2015 Andrea Lynn Garritano ANDREA LYNN GARRITANO Submitted to the graduate degree program in Music and the Graduate Faculty of The University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson, Dr. Roberta Freund Schwartz ________________________________ Prof. Joyce Castle ________________________________ Dr. John Stephens ________________________________ Dr. Kip Haaheim ________________________________ Dr. Martin Bergee Date Defended: December 19, 2014 ii The Dissertation Committee for ANDREA LYNN GARRITANO Certifies that this is the approved version of the following dissertation: LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI ______________________________ Chairperson, Dr. Roberta Freund Schwartz Date approved: January 31, 2015 iii Abstract This exploration of three vocal portrayals of Shakespeare’s Lady Macbeth investigates the transference of themes associated with the character is intended as a study guide for the singer preparing these roles. The earliest version of the character occurs in the setting of Verdi’s Macbeth, the second is the archetypical setting of Lady Macbeth found in the character Katerina Ismailova from -
Lady Macbeth and Performing Femininity in the Early 1600S – Late 1900S Phyllis Lebert University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2019 “A Woman’s Story”: Lady Macbeth and Performing Femininity in the Early 1600s – Late 1900s Phyllis LeBert University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Literature in English, British Isles Commons, and the Women's Studies Commons Recommended Citation LeBert, Phyllis, "“A Woman’s Story”: Lady Macbeth and Performing Femininity in the Early 1600s – Late 1900s" (2019). Theses and Dissertations. 3164. https://scholarworks.uark.edu/etd/3164 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. “A Woman’s Story”: Lady Macbeth and Performing Femininity in the Early 1600s – Late 1900s A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English by Phyllis Kay LeBert University of Arkansas Bachelor of Arts in English, 2010 May 2019 University of Arkansas This thesis is approved for recommendation to the Graduate Council. ___________________________________ Joseph Candido, Ph.D. Thesis Director ____________________________________ ____________________________________ John DuVal, Ph.D. Robert Cochran II, Ph.D. Committee Member Committee Member Abstract This paper uses gender studies to understand the themes of gender performance further, and more specifically, femininity, in Shakespeare’s Macbeth. It also explores the many ways feminine gender performance has changed as society has changed. Thus, proving gender is performative rather than innate. It does this by examining first the text within the context of Elizabethan society. -
Furious: Myth, Gender, and the Origins of Lady Macbeth
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual. -
The Historical Context of Macbeth
The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan. -
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. -
Modes of Adaptation and Appropriation in the Hogarth Shakespeare Series
Trabajo de Fin de Máster en Estudios Literarios y Culturales Ingleses y su Proyección Social Modes of Adaptation and Appropriation in the Hogarth Shakespeare Series Autor: Mario Giménez Yuste Tutora: Dra. Marta Cerezo Moreno Facultad de Filología UNED Convocatoria general: junio 2019 Curso: 2018-19 Modes of Adaptation and Appropriation in the Hogarth Shakespeare Series Contents 1. Introduction ..................................................................................................................... 2 2. Theoretical Framework .................................................................................................. 4 2.1. Adaptation and Appropriation ................................................................................... 4 3. The Hogarth Series .................................................................................................... 14 3.1. Critical Reception ..................................................................................................... 14 3.2. A Brief Consideration of the Seven Novels ............................................................... 16 3.3. Selection Criteria ...................................................................................................... 20 4. The Chosen Novels ........................................................................................................ 21 4.1. Dunbar ...................................................................................................................... 21 4.1.1. Critical Reception ............................................................................................. -
What If Lady Macbeth Were Pregnant?: Amativeness, Procreation, and Future Dynasty in Maqbool
Asian Shakespeares on Screen: Two Films in Perspective, special issue, edited by Alexa Huang, Borrowers and Lenders 4.2 (Spring/Summer 2009). What If Lady Macbeth Were Pregnant?: Amativeness, Procreation, and Future Dynasty in Maqbool William C. Ferleman, Oklahoma State University Abstract In Maqbool, Vishal Bhardwaj's unusually perceptive rewriting of Macbeth, an emphasis on Macbeth's future dynasty is rather conspicuously developed and reinforced (Trivedi 2007, 153). Murder and betrayal are not of much consequence in the modern Mumbai criminal underworld; these acts are quite simply part of the Mafia trade, and Macbeth/Maqbool is from the start an ignoble, cold-blooded murderer. It is love (or rather, sexual desire) and not treacherous murder that is the predominant transgression in Maqbool. The transgressive love affair between Macbeth/Maqbool and Lady Macbeth/ Nimmi (including Nimmi's scandalous pregnancy) is developed as a key motif in the film. Maqbool seeks to combat the policemen's prophecy that Kaka's (Banquo's) children will attain political rule in the future. Maqbool fights for his own future dynasty and is not seriously concerned about his personal political rule within the Mumbai gang. The film concerns forbidden sexuality, procreation, and Maqbool's desperate but determined hope for a future dynasty. Freud claimed that in Shakespeare's Macbeth, Macbeth is not grossly concerned about his personal political ambition; Macbeth is perhaps primarily preoccupied with his future dynasty. "Macbeth is incensed by this decree of destiny," Freud writes. "He is not content with the satisfaction of his own ambition, he desires to found a dynasty and not to have murdered for the benefit of strangers" (Freud 1991, 32). -
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.