Macbeth. William Shakespeare
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Shakespeare Macbeth
Synopsis Macbeth, set primarily in Scotland, mixes witchcraft, prophecy, and murder. Three “Weïrd Sisters” appear to Macbeth and his comrade Banquo after a battle and prophesy that Macbeth will be king and that the descendants of Banquo will also reign. When Macbeth arrives at his castle, he and Lady Macbeth plot to assassinate King Duncan, soon to be their guest, so that Macbeth can become king. After Macbeth murders Duncan, the king’s two sons flee, and Macbeth is crowned. Fearing that Banquo’s descendants will, according to the Weïrd Sisters’ predictions, take over the kingdom, Macbeth has Banquo killed. At a royal banquet that evening, Macbeth sees Banquo’s ghost appear covered in blood. Macbeth determines to consult the Weïrd Sisters again. They comfort him with ambiguous promises. Another nobleman, Macduff, rides to England to join Duncan’s older son, Malcolm. Macbeth has Macduff’s wife and children murdered. Malcolm and Macduff lead an army against Macbeth, as Lady Macbeth goes mad and commits suicide. Macbeth confronts Malcolm’s army, trusting in the Weïrd Sisters’ comforting promises. He learns that the promises are tricks, but continues to fight. Macduff kills Macbeth and Malcolm becomes Scotland’s king. Characters in the Play Three Witches, the Weïrd Sisters Scottish Nobles DUNCAN, king of Scotland LENNOX MALCOLM, his elder son ROSS DONALBAIN, Duncan’s younger son ANGUS MACBETH, thane of Glamis MENTEITH LADY MACBETH CAITHNESS SEYTON, attendant to Macbeth Three Murderers in Macbeth’s service SIWARD, commander of the English -
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 -
1 Name___KEY___Date___Macbeth: Act
Name_____KEY_____ Date_____________ Macbeth: Act V Reading and Study Guide I. Vocabulary: Be able to define the following words and understand them when they appear in the play. Also, be prepared to be quizzed on these words. perturb: disturb, bother taper: candle note: our word taper that means to make gradually smaller (e.g., to taper someone off a medicine) probably comes from the sense of a taper (candle) gradually diminishing in size as it burns. guise: outward appearance note: think of the word disguise fortify: to strengthen pester: to annoy hew: to cut down abhor: hate, detest; to reject something very strongly Etymology: ab (away) + horror (to tremble; shudder) The word literally means to shrink back (away) in horror (trembling). Word is stronger than hate. II. Background Info: Moirai (3 Fates): In Greek Mythology, these are the three sisters who have the power to decide man’s destiny. The first of the sisters (Clotho) spun the thread of a person’s life and decided what the life would be like. The second (Lachesis) measured the thread of life. She decided how long it would be. The third (Atropos) is the one who cut the thread of life. Essentially, these three sisters determined the length of each person’s life as well as how much suffering. Their names in Roman Mythology are Nona, Decuma, and Morta. And Norse Mythology also has three goddesses of destiny. The exact details of these three goddesses differ in different stories and pieces of art. Most of our information comes from Hesiod’s Theogeny, although there are references in Homer’s Iliad and Plato’s Republic. -
James Thurber
James Thurber The Macbeth murder mystery “It was a stupid mistake to make," said the American woman I had met at my hotel in the English lake country, “but it was on the counter with the other Penguin books - the little sixpenny ones, you know; with the paper covers - and 1 supposed of. course it was a detective story All the others were detective stories. I‟d read all the others, .So I bought this one without really looking at it carefully. You can imagine how mad I was when I found it was Shakespeare." I murmured something sympathetically." 1 don't see why the Penguin-books people had to get out Shakespeare plays in the sane size and everything as the detective stories," went on my companion. “I think they have different colored jackets," I said. "Well, I didn't notice that," she said. "Anyway, I got real comfy in bed that night and all ready to read a good mystery story and here I had 'The Tragedy of Macbeth” – a book for high school students. Like „Ivanhoe,‟” “Or „Lorne Doone.‟” I said.. "Exactly," said the American lady. "And I was just crazy for a good Agatha Christie, or something. Hercule Poirot is my favorite detective." “Is he the rabbity one?" I asked. "Oh, no," said my crime- fiction expert. "He's the Belgian one. You're thinking of Mr. Pinkerton, the one that helps Inspector Bull. He's good, too." Over her second cup of tea my companion began to tell the plot of a detective story that had fooled her completely - it seems it was the old family doctor all the time. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
(Non-)Sense in King Lear by Carolin Roder
Wissenschaftliches Seminar Online Deutsche Shakespeare-Gesellschaft Ausgabe 5 (2007) Shakespearean Soundscapes: Music – Voices – Noises – Silence www.shakespeare-gesellschaft.de/publikationen/seminar/ausgabe2007 Wissenschaftliches Seminar Online 5 (2007) HERAUSGEBER Das Wissenschaftliche Seminar Online wird im Auftrag der Deutschen Shakespeare-Gesellschaft, Sitz Weimar, herausgegeben von: Dr. Susanne Rupp, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) Prof. Dr. Tobias Döring, Institut für Englische Philologie, Schellingstraße 3 RG, D-80799 München ([email protected]) Dr. Jens Mittelbach, Staats- und Universitätsbibliothek Göttingen, Platz der Göttinger Sieben 1, 37073 Göttingen ([email protected]) ERSCHEINUNGSWEISE Das Wissenschaftliche Seminar Online erscheint im Jahresrhythmus nach den Shakespeare-Tagen der Deutschen Shakespeare-Gesellschaft und enthält Beiträge der Wissenschaftler, die das Wissenschaftli- che Seminar zum Tagungsthema bestreiten. HINWEISE FÜR BEITRÄGER Beiträge für das Wissenschaftliche Seminar Online sollten nach den Richtlinien unseres Stilblattes formatiert sein. Bitte laden sie sich das Stilblatt als PDF-Datei von unserer Webseite herunter: http://www.shakespeare-gesellschaft.de/uploads/media/stilblatt_manuskripte.pdf Bitte senden Sie Ihren Beitrag in einem gebräuchlichen Textverarbeitungsformat an einen der drei Herausgeber. INTERNATIONAL STANDARD SERIAL NUMBER ISSN 1612-8362 © Copyright 2008 Deutsche -
Chicago Shakespeare in the Parks Tour Into Their Neighborhoods Across the Far North, West, and South Sides of the City
ANNOUNCING OUR 2018/2019 SEASON —The Merry Wives of Windsor Explosive, Pulitzer Prize-winning drama. Shakespeare’s tale of magic and mayhem—reimagined. The “76-trombone,” Tony-winning musical The Music Man. And so much more! 5-play Memberships start at just $100. We’re Only Alive For A Short Amount Of Time | How To Catch Creation | Sweat The Winter’s Tale | The Music Man | Lady In Denmark | Twilight Bowl | Lottery Day GoodmanTheatre.org/1819Season 312.443.3800 2018/2019 Season Sponsors MACBETH Contents Chicago Shakespeare Theater 800 E. Grand on Navy Pier On the Boards 10 Chicago, Illinois 60611 A selection of notable CST events, plays, and players 312.595.5600 www.chicagoshakes.com Conversation with the Directors 14 ©2018 Chicago Shakespeare Theater All rights reserved. Cast 23 ARTISTIC DIRECTOR CARL AND MARILYNN THOMA ENDOWED CHAIR: Barbara Gaines EXECUTIVE DIRECTOR: Playgoer's Guide 24 Criss Henderson PICTURED: Ian Merrill Peakes Profiles 26 and Chaon Cross COVER PHOTO BY: Jeff Sciortino ABOVE PHOTO BY: joe mazza A Scholar’s Perspective 40 The Basic Program of Liberal Education for Adults is a rigorous, non- Part of the John W. and Jeanne M. Rowe credit liberal arts program that draws on the strong Socratic tradition Inquiry and Exploration Series at the University of Chicago. There are no tests, papers, or grades; you will instead delve into the foundations of Western political and social thought through instructor-led discussions at our downtown campus and online. EXPLORE MORE AT: graham.uchicago.edu/basicprogram www.chicagoshakes.com 5 Welcome DEAR FRIENDS, When we first imagined The Yard at Chicago Shakespeare and the artistic capacity inherent in its flexible design, we hoped that this new venue would invite artists to dream big as they approached Shakespeare’s work. -
Macbeth and Lady Macbeth Page 14 What Is It to Be a Man? Page 15
MACBETH Introduction WILLIAM SHAKESPEARE The activities in this pack are inspired by the rehearsal room process and have been created around Michael Boyd's 2011 production of Macbeth. The activities can work in a classroom (or hall or studio space), either as stand-alone practical approaches to the text or as supporting activities for students seeing the production They have been designed with KS3 and KS4 students in mind, but can be adapted for other age groups. More activities on Macbeth are available in The RSC Shakespeare Toolkit for Teachers, available online in the RSC Shop These symbols are used CONTENTS throughout the pack: Macbeth's ambition Page 2 Making a start Page 3 READ - contextual notes from the rehearsal room Malcolm – The young king Page 6 Banquo's ambition for his son Page 9 ACTIVITY – Get on your feet for a classroom activity Fleance flash forward Page 11 Macduff and his family Page 12 WATCH - video Macbeth and Lady Macbeth Page 14 What is it to be a man? Page 15 ABOUT RSC EDUCATION We want children and young people to enjoy the challenge of Shakespeare and achieve more as a result of connecting with his work. Central to our education work is our manifesto for Shakespeare in schools; Stand up for Shakespeare. We know that children and young people can experience Shakespeare in ways that excite, engage and inspire them. We believe that young people get the most out of Shakespeare when they: Do Shakespeare on their feet – exploring the plays actively as actors do See it Live – participate as members of a live audience Start it Earlier – work on the plays from a younger age As an organisation, the RSC has four values. -
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. -
Rina Mahoney
www.hamiltonhodell.co.uk Rina Mahoney Talent Representation Telephone Elizabeth Fieldhouse +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer HAMLET Gertrude Damian Cruden Shakespeares Rose Theatre, York TWELFTH NIGHT Maria Joyce Branagh Shakespeares Rose Theatre, York DEATH OF A SALESMAN The Woman Sarah Frankcom Royal Exchange Theatre Shakespeare's Rose MACBETH Lady Macduff/Young Siward Damian Cruden Theatre/Lunchbox Productions Shakespeare's Rose A MIDSUMMER NIGHT'S DREAM Peter Quince Juliet Forster Theatre/Lunchbox Productions THE PETAL AND THE ORCHID Kathryn Cat Robey Underexposed Theatre THE SECRET GARDEN Ayah/Dr Bres Liz Stevenson Theatre by the Lake ROMEO AND JULIET Nurse Justin Audibert RSC (BBC Live) MACBETH Witch 2 Justin Audibert RSC (BBC Live) ZILLA Rumani Joyce Branagh The Gap Project Duke of Venice/Portia's THE MERCHANT OF VENICE Polly Findlay RSC Servant OTHELLO Ensemble/Emillia Understudy Iqbal Khan RSC Birmingham Repertory FADES, BRAIDS AND KEEPING IT REAL Eva Antionette Lecester Theatre/Sharon Foster Productions CALCUTTA KOSHER Maki Janet Steel Arcola/Kali ARE WE NEARLY THERE YET? Various Matthew Lloyd Wilton's Music Hall FLINT STREET NATIVITY The Angel Matthew Lloyd Hull Truck Theatre MATCH Jasmin Jenny Stephens Hearth UNWRAPPED FESTIVAL Various Gwenda Hughes Birmingham Repertory Theatre HAPPY NOW Bea Matthew Lloyd Hull Truck Theatre Company MIRIAM ON 34TH STREET Kathy Jenny Stephens Something & Nothing -
Chicago Shakespeare Theater Is Chicago’S Professional Theater Dedicated Timeline 12 to the Works of William Shakespeare
TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 3 The First Folio 4 Shakespeare’s England 4 The English Renaissance Theater 6 Barbara Gaines Criss Henderson Courtyard-style Theater 8 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 9 Chicago Shakespeare Theater is Chicago’s professional theater dedicated Timeline 12 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. Shakespeare’s “Macbeth” In its Elizabethan-style courtyard theater, 500 seats on three levels wrap around a deep thrust stage—with only nine rows separating the farthest Dramatis Personae 14 seat from the stage. Chicago Shakespeare also features a flexible 180-seat The Story 15 black box studio theater, a Teacher Resource Center, and a Shakespeare Act-by-Act Synopsis 15 specialty bookstall. Something Borrowed, Something New: Shakespeare’s Sources 17 Now in its twenty-eighth season, the Theater has produced nearly the entire 1606 and All That 18 Shakespeare canon: All’s Well That Ends Well, Antony and Cleopatra, Shakespeare, Tragedy and Us 20 As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry IV A Scholar’s Perspective: Hereafter 21 Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius What the Critics Say 23 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Why Teach Macbeth? 34 for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, A Play Comes to Life Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, A Look Back at Macbeth in Performance 38 The Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, Dueling Macbeths Erupt in Riots! 42 The Two Gentlemen of Verona, The Two Noble Kinsmen, and The A Conversation with the Director 43 Winter’s Tale. -
The Tragedy of Macbeth William Shakespeare 1564–1616
3HAKESPEARean DrAMA The TRAGedy of Macbeth Drama by William ShakESPEARE READING 2B COMPARe and CONTRAST the similarities and VIDEO TRAILER KEYWORD: HML12-346A DIFFERENCes in classical plaYs with their modern day noVel, plaY, or film versions. 4 EVALUAte how THE STRUCTURe and elements of drAMA -EET the AUTHOR CHANGe in the wORKs of British DRAMAtists across literARy periods. William ShakESPEARe 1564–1616 In 1592—the first time William TOAST of the TOwn In 1594, Shakespeare Shakespeare was recognized as an actor, joined the Lord Chamberlain’s Men, the poet, and playwright—rival dramatist most prestigious theater company in Robert Greene referred to him as an England. A measure of their success was DId You know? “upstart crow.” Greene was probably that the theater company frequently jealous. Audiences had already begun to performed before Queen Elizabeth I and William ShakESPEARe . notice the young Shakespeare’s promise. her court. In 1599, they were also able to • is oFten rEFERRed To as Of course, they couldn’t have foreseen purchase and rebuild a theater across the “the Bard”—an ancienT Celtic term for a poet that in time he would be considered the Thames called the Globe. greatest writer in the English language. who composed songs The company’s domination of the ABOUT heroes. Stage-Struck Shakespeare probably London theater scene continued • INTRODUCed more than arrived in London and began his career after Elizabeth’s Scottish cousin 1,700 new wORds inTo in the late 1580s. He left his wife, Anne James succeeded her in 1603. James the English languagE. Hathaway, and their three children behind became the patron, or chief sponsor, • has had his work in Stratford.