Macbeth Education Resource a Timeless Tale of Betrayal, Power, Ambition and Greed Macbeth

Total Page:16

File Type:pdf, Size:1020Kb

Macbeth Education Resource a Timeless Tale of Betrayal, Power, Ambition and Greed Macbeth A TIMELESS TALE OF BETRAYAL, POWER, AMBITION AND GREED MACBETH EDUCATION RESOURCE A TIMELESS TALE OF BETRAYAL, POWER, AMBITION AND GREED MACBETH CAST PRODUCTION TEAM Macbeth Director Ross Gumbley Mark Hadlow Assistant Director Melanie Luckman Lady Macbeth Set Designer Harold Moot Lara Macgregor Costume Designer Tina Hutchison-Thomas Banquo / Seyton Tom Peters Lighting Designer Giles Tanner Sound Designer Henri Kerr Macduff Owen Black Properties Co-ordinator Christy Lassen Duncan / Doctor Stage Manager Ashlyn Smith Michael Keir-Morrissey Operators Sean Hawkins & Darren McKane Malcolm / Third Murderer Costume Manager Sarah Douglas Tola Newbery Workshop Manager Nigel Kerr Ross Production Manager Charlotte Lloyd Barry de Lore Education Manager Rachel Sears Lennox / Second Murderer / Siward Costume Construction Deborah Moor, Adam Brookfield Sarah Douglas, Louise Galloway Lady Macduff / Gentlewoman & Tina Hutchison-Thomas Kim Garrett Wig & Hair Stylist Sarah Greenwood Angus / First Murderer / Porter / Lord Set Construction Maurice Kidd, Richard Jared Corbin Daem, Henri Kerr, Richard van den Berg & Fleance / Young Siward / Rob Hood Macduff’s Son / Servant Properties Assistants Lydia Foate & Tom Worthington Danielle Ferreira Beckner Donalbain / Menteith / Servant Marketing & Communications Jack Marshall Rob Wiley & Wendy Riley First Witch Raewyn Lippert RUNNING TIME Second Witch Kathleen Burns 2 hours 17 minutes Third Witch including 20 minute interval Brylee Lockhart Acknowledgements Julie Ross, Rae Manson, Log Recording Ltd, Nathan Hall, Long Plastics, Lonely Peak Productions, Danielle Colvin Photography, Allison Horsley, Keren Oertly Ryan, Hester Lees-Jeffries, Jane Godfrey, Carpet King, Graham & Yukino Irving, the team at Fabric Store. MACBETH EDUCATION PACK | 2 MACBETH SYNOPSIS Following their success in battle, Macbeth objections and persuades him to kill the and Banquo meet the witches as they king that night. cross a moor. The witches prophesy While Duncan is asleep, Macbeth stabs that Macbeth will be made thane (a rank him, despite his doubts and a terrifying of nobility) of Cawdor and eventually vision of a bloody dagger. When Duncan’s King of Scotland. They also prophesy death is discovered the next morning that Banquo’s children will be kings. Macbeth easily assumes the kingship. The witches vanish, and Macbeth and Banquo are not sure what to think about King Duncan’s sons Malcolm and the witches’ prophecies. Some of King Donalbain flee, fearing that whoever killed Duncan’s men arrive and thank the two Duncan will want to kill them also. generals for their victories in battle, they Aware of the witches’ prophecy that tell Macbeth that he has been named Banquo’s children will be kings, Macbeth thane of Cawdor. Macbeth is intrigued by hires a group of murderers to kill Banquo the possibility that the remainder of the and his son Fleance. They ambush and witches’ prophecy—that he will be crowned slaughter Banquo but they fail to kill king—might be true. Fleance, who escapes into the night. Macbeth visits with King Duncan, and they Macbeth is furious: as long as Fleance is plan to eat together at Macbeth’s castle alive, he fears that his position as king is that night. Macbeth writes ahead to his insecure. wife, Lady Macbeth, telling her all that has That night at a royal feast, Banquo’s ghost happened. appears to Macbeth. When he sees the Lady Macbeth is excited by the news, ghost, Macbeth is terrified, despite Lady she strongly desires the kingship for her Macbeth trying to calm him Macbeth husband and wants him to murder King appears mad and unstable to his subjects Duncan in order to ensure the prophecy and they start to doubt his abilities as king. comes true. When Macbeth arrives Macbeth goes to visit the witches home, she overrides all of her husband’s hoping for reassurance. They show him MACBETH EDUCATION PACK | 3 MACBETH SYNOPSIS a sequence of demons and spirits who Meanwhile Lady Macbeth becomes present him with further prophecies: troubled with fits of sleepwalking in which she obsessively washes blood from her He must beware of Macduff, a Scottish hands. Before Macbeth’s opponents arrive, nobleman who opposed Macbeth’s Macbeth receives news that she has killed accession to the throne. herself, causing him to sink into a deep He is incapable of being harmed by any despair. man born of woman Macbeth is struck with fear when he learns He will be safe until Birnam Wood comes to that the opposing army is advancing on Dunsinane Castle. Dunsinane camouflaged as Birnam Wood, Macbeth is relieved because he knows the wood is indeed coming to Dunsinane, that all men are born of women and that this fulfills half of the witches’ prophecy. forests cannot move. When he learns On the battlefield, Macbeth meets Macduff, that Macduff has fled to England to join who declares that he was not “of woman Malcolm (King Duncan’s son), Macbeth born” but was instead “untimely ripped” orders that Macduff’s home be seized and from his mother’s womb (what we now that Lady Macduff and her children are call birth by caesarean section). Macbeth murdered. realises he is doomed and Macduff kills When Macduff finds out about this attack, him. he is angry and vows revenge. Prince Malcolm, now the King of Scotland, Malcolm has raised an army and Macduff declares his good intentions for the joins him to challenge Macbeth’s forces. country and invites all to see him crowned. MACBETH EDUCATION PACK | 4 Direction An interview with Ross Gumbley, the Watch Video: What is it about? Director of The Court Theatre’s production of Macbeth. For videos visit www. DISCUSS: How well do you think The Court Theatre’s CourtTheatre.org.nz/education/resources. production of Macbeth evokes the idea of Fair is Foul and Foul is Fair? Watch Video: A Brief History – Social, Cultural and Historical DISCUSS: Context In the play soliloquies are used to share DISCUSS: with the audiences the deepest desires 1: What do you think about the choices and internal conflicts of the characters. made in staging this production of Imagine we took away all the soliloquies. Macbeth? What difference would this make to the production? 2 How does a contemporary audience differ to an Elizabethan audience? ACTIVITY: Watch Video: The Cast In groups do some research into the reign of King James I of England with each DISCUSS: group focusing on one area of his reign Imagine Macbeth was being played by an actor who was school aged? How does this 1: Witch Craft impact on your reading of the character? 2: Religion 3: The Divine rights of Kings 4: The gunpowder plot Watch Video: What is it about? Create a presentation to your class sharing DISCUSS: your findings about this time period. What How are Theatre Technologies used in does your research tell you about how The Court Theatre’s production to help the the play might have been received in its audience understand the context of the historical context? play? MACBETH EDUCATION PACK | 5 CONTEXT: ACTIVITY: Working in small groups, using the timeline and your knowledge of the play, find 5 key points from the timeline that are most relevant to the content of the play. Share these with the rest of your class and compare the similarities and differences in your answers. 1040-1057 1542 1564 24 July 1567 August 1582 1583 The reign of Henry VII’s William Shakespeare Mary, Queen of Ruthven Raid: Throckmorton Macbeth, King Witchcraft Act 1542: was born to tanner Scots forced Protestant Plot: attempt to of Scotland - first Act to define John and Mary to abdicate earls lured murder Elizabeth nicknamed witchcraft as a Shakespeare in in favour of James VI into I and replace her ’The Red King’. crime punishable by Stratford-upon- her infant son Ruthven Castle & with Mary, Queen death. Avon. James. imprisoned him. of Scots. 1000s 1500s 1563 19 June 1566 29 July 1567 27 November 1585-1592 The Scottish Charles James 13 month old 1582 Shakespeare Witchcraft Act 1563: Stuart born to Charles James 18 year old William left his family in practice of witchcraft Mary, Queen of Stuart became Shakespeare Stratford to join a & consulting with Scots. King James VI of married 26 year old company of actors witches declared Scotland. Anne Hathaway. as playwright & capital offences. performer. MACBETH EDUCATION PACK | 6 1586 1589-1590 1597 1600-1601 July 1603 1605 3 May 1606 Babington Shakespeare James VI wrote Shakespeare Main Plot: Gunpowder The Plot: attempt believed to Daemonologie, is thought Conspiracy by Plot: Failed ‘equivocator’, to murder have written a book to have English courtiers assassination Father Henry Elizabeth I and his very first endorsing the composed to remove attempt on Garnett, replace her with play, Henry VI, practice of Hamlet, James I from the James I by executed. Mary, Queen of Part One. witch hunting. arguably his English throne & provincial Scots. greatest play. replace him with English his cousin. Catholics. 1600s 6 July 1586 1590 24 March 1604 1606 7 August 1606 Treaty of Great Scottish Witch 1603 Witchcraft Macbeth Macbeth was first Berwick: peace Hunt: ran for two years Elizabeth I died Act 1604: believed to performed for agreement & implicated 70 people and James VI death penalty have been King James I in signed between including James VI’s of Scotland for anyone written. the Great Hall at Elizabeth I & first cousin. crowned James who invoked Hampton Court James VI. I of England. evil spirits or Palace. communed with familiar spirits. MACBETH EDUCATION PACK | 7 TEXTURAL Appropriation: How Shakespeare Twisted History in Macbeth The gripping story of Macbeth has been adapted across entertainment mediums throughout the world because of its seemingly evergreen warning of the dangers of political greed. Among the most successful and best known cultural adaptations of Macbeth are Akira Kurosawa’s 1957 film Throne of Blood and Tom Stoppard’s play Cahoot’s Macbeth.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • (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
    [Show full text]
  • 1 Shakespeare and Film
    Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon.
    [Show full text]
  • The Tragedy of Macbeth, Act 3.3 and 3.4, Lines 1-41
    Name: __________________________________Date: _______________________________ Period: ______________ The Tragedy of Macbeth, Act 3.3 and 3.4, lines 1-41 Directions: Read the scene in the first column. Answer the questions in the second column. Consult the third column and explanatory notes in your text for vocabulary and other assistance. Macbeth Act 3.3 Questions Vocabulary Enter three Murderers First Murderer But who did bid thee join with us? Third Murderer Macbeth. Second Murderer, to the First Murderer He needs not our mistrust, since he delivers Our offices and what we have to do To the direction just. 5 First Murderer Then stand with us.— The west yet glimmers with some streaks of day. What time of day is glimmers (v.) – shines Now spurs the lated traveller apace it? How do you faintly To gain the timely inn, and near approaches know? The subject of our watch. 10 Student responses may include: Third Murderer Hark! I hear horses. It is sunset, or near dark Banquo, within because “the Give us a light there, ho! west yet glimmers with Second Murderer Then 'tis he. The rest some streaks of That are within the note of expectation / day” (lines 7– Already are i' th’ court. 15 8). It is night First Murderer His horses go about. because Banquo asks for Third Murderer Almost a mile: but he does usually, a light (line 20). So all men do, from hence to the palace gate Make it their walk. Enter Banquo, and Fleance with a torch. Second Murderer A light, a light! 20 Third Murderer 'Tis he.
    [Show full text]
  • 1 Name___KEY___Date___Macbeth: Act III Reading and Study Guide I. Vocabulary
    Name______KEY_________ Date_____________ Macbeth: Act III 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. posterity: future generations cide: kill (Shakespeare uses parricide, which means the act of killing one’s parents.) Also, think about regicide, patricide, matricide naught: nothing jovial: jolly; cheerful muse: to think about in silence mirth: joy ruby: red blanch: turn pale white wayward: turned away (perverted) from what is the expected norm; resistant to guidance or discipline II. Background Info: Mark Antony & Octavius (Augustus) Caesar: after Julius Caesar was assassinated, Antony and Octavius joined forces to defeat Cassius and Brutus (co-conspirators in the assassination of Julius Caesar). The two joined forces with a third man (Lepidus) to rule Rome. Accounts have Antony and Octavius being friends early on, but later Octavius turns on Antony and defeats him to take supreme rule of Rome. Acheron: a river in Hades (underworld) over which the souls of the dead were ferried. Similar to Styx. The word often comes to represent Hades altogether. The dictionary defines it as hell. In Dante’s Inferno, the river borders hell. III. Literary Terms: these will be the terms that we use to discuss this act. Please know them for our discussion and your tests and quizzes. apostrophe: (Etymology = apo [away] + strophe [turn]) When a character makes an apostrophe, or apostrophizes, that character turns away and speaks to nothing. They may speak to someone who is absent, dead, or something that is not human, e.g., Fate.
    [Show full text]
  • A Bard for the Ages
    Part 2 A Bard for the Ages Detail of a Portrait of William Shakespeare, 1623. Martin Droeshout. Engraving. “O! for a Muse of fire, that would ascend The brightest heaven of invention.” —William Shakespeare, Henry V 291 Nathan Benn/CORBIS 00291291 U2P2-845482.inddU2P2-845482.indd 291291 11/29/07/29/07 10:17:3910:17:39 AMAM BEFORE YOU READ Shakespeare’s Poetry MEET WILLIAM SHAKESPEARE illiam Shakespeare is the most cele- brated English poet and dramatist of all Wtime. Nearly four centuries after his death, his works continue to delight readers and audiences around the world. In fact, Shakespeare’s writings are more widely read and more often quoted than any other works ever written, except the Bible. Yet, while Shakespeare’s literature endures, we know very little about the man him- self. The meager information we do have about At the age of eighteen, Shakespeare married Shakespeare’s life has been pieced together from a twenty-six-year-old local woman named anecdotes, gossip, clues found in his poems and Anne Hathaway and began a family of his own. plays, legal documents, entries in the public The couple had a daughter, Susanna, and twins, record, and the memorials and reminiscences by Hamnet and Judith. Sadly, Hamnet died at the age his fellow writers. of eleven. Early Life Shakespeare was born in the small The London Theater Scene Shakespeare town of Stratford-upon-Avon. His father, John moved to London to pursue a career in the theater, Shakespeare, was a prosperous glove maker, but, according to poet William Davenant, he butcher, and tradesman who also filled several arrived without friends or money.
    [Show full text]
  • Macbeth : the True Story Pdf, Epub, Ebook
    MACBETH : THE TRUE STORY PDF, EPUB, EBOOK Fiona Watson | 352 pages | 01 Nov 2011 | Quercus Publishing | 9780857381606 | English | London, United Kingdom Macbeth : The True Story PDF Book Here's a quick overview of what happens in the play. Dec 14, Stacey rated it it was ok Shelves: history-monarchs , history-english. At the end of the play, Malcolm and Macduff comes with an army and defeats Macbeth. We use cookies on this website to deliver content to you, personalise content and ads, provide social media features, and analyse our traffic. Much of the book is about shifting political alliances and explaining a model of hereditary k I know the play, of course, and the opera. David Livingstone was a Scottish missionary, abolitionist and physician known for his explorations of Africa, having crossed the continent during the midth century. However, the Macbeth thus conjured up bears almost no resemblance whatsoever to the king w Thanks to William Shakespeare, the name Macbeth has become byword for political ambition realised by bloody violence. He set about removing all the rival claimants to the throne in a very direct way — by killing them. Third Murderer Hark! If you have any more questions please visit our FAQs If you would like to complete your booking on the phone instead, please call the Box Office on Doctor A great perturbation in nature, to receive at once the benefit of sleep, and do the effects of watching! Laura rated it it was amazing Sep 15, Later that month, Macbeth led his forces to Scone, the Scottish capital, and, at age 35, he was crowned king of Scotland.
    [Show full text]
  • MAKIBEFO a Film by Alexander Abela Based on William Shakespeare’S Macbeth
    MAKIBEFO A film by ALEXANDER ABELA based on William Shakespeare’s Macbeth MAKIBEFO A film by Alexander Abela based on William Shakespeare’s Macbeth Malagasy and English | 73 minutes | black & white | PAL 4:3 (1:1,66) Director, producer, script and cinematography: Alexander Abela Production: Blue Eye Films Sound: Jeppe Jungersen Editor: Douglas Bryson Original music: Bien Rasoanan Tenaina & Donald Cast: Martin (Makibefo) Noeliny (Valy Makibefo) Gilbert Laumord (The narrator) Randina Arthur (Bakoua) Jean-Félix (Danikany) Boniface (Kidoure) Jean-Noël (Makidofy) Bien Rasoanan Tenaina (Malikomy) Victor (The witch doctor) and the people of Faux-Cap, Madagascar Subtitles: Swantje Hartmann (Español) Philipp Hinz (Deutsch) Miguel Ramalhete Gomes (Português) “In a land washed by the ocean, a tribe of people lived in sight of sands and crashing waves. Their king was a noble king, who gave his people peace and harmony. And amongst his subjects many were good and true. But none more so than Makibefo. Indeed, it was the king who entrusted Makibefo to capture a fugitive and bring him back to the village. On the way, Makibefo, in the company of a trusted friend, met a witch doctor, who told him that though the king was merciful he was also weak. He prophesied that a time would come, as surely as the tides, when peace and harmony would no longer sweeten the lives of the peo- ple. The witch doctor looked deep into the eyes of Makibefo and saw that the gods had singled him out as a future leader. Makibefo’s wife, too, had understood the ancient symbol: Her husband had been blessed by the gods.
    [Show full text]
  • The Tragedy of Macbeth, Act 3.3 and 3.4, Lines 1-41
    Name: __________________________________Date: _______________________________ Period: ______________ The Tragedy of Macbeth, Act 3.3 and 3.4, lines 1-41 Directions: Read the scene in the first column. Answer the questions in the second column. Consult the third column and explanatory notes in your text for vocabulary and other assistance. Macbeth Act 3.3 Questions Vocabulary Enter three Murderers First Murderer But who did bid thee join with us? Third Murderer Macbeth. Second Murderer, to the First Murderer He needs not our mistrust, since he delivers Our offices and what we have to do To the direction just. 5 First Murderer Then stand with us.— The west yet glimmers with some streaks of day. What time of day is glimmers (v.) – shines Now spurs the lated traveller apace it? How do you faintly To gain the timely inn, and near approaches know? The subject of our watch. 10 Third Murderer Hark! I hear horses. Banquo, within Give us a light there, ho! Second Murderer Then 'tis he. The rest That are within the note of expectation Already are i' th’ court. 15 First Murderer His horses go about. Third Murderer Almost a mile: but he does usually, So all men do, from hence to the palace gate Make it their walk. Enter Banquo, and Fleance with a torch. Second Murderer A light, a light! 20 Third Murderer 'Tis he. First Murderer Stand to 't. Banquo To Fleance It will be rain tonight. First Murderer Let it come down. The three MURDERERS attack. Banquo O, treachery! Fly, good Fleance, fly, fly, fly! 25 Whom do the Thou mayst revenge.
    [Show full text]
  • Macbeth. William Shakespeare
    Coradella Collegiate Bookshelf Editions. Macbeth. William Shakespeare. Open Purchase the entire Coradella Collegiate Contents Bookshelf on CD at http://collegebookshelf.net Purchase the entire Coradella Collegiate Bookshelf on CD at William Shakespeare. Macbeth. http://collegebookshelf.net About the author William Shakespeare (National Portrait Gallery) William Shakespeare Shakespeare's influence on the English-speaking world is (born April 1564, baptised reflected in the ready recognition afforded many quotations April 26, 1564, died April from Shakespearean plays (http://en.wikiquote.org/wiki/ 23, 1616 Julian calendar, Shakespeare), the titles of works based on Shakespearean May 3, 1616 Gregorian phrases, and the many adaptations of his plays. Other calendar) is widely consid- indicators of contemporary influence are his inclusion in ered to have been the the top 10 of the "100 Greatest Britons" poll sponsored by greatest writer the English the BBC, the frequent productions based on his work, such language has ever known. as the BBC Television Shakespeare, and the success of the As a playwright, he wrote fictional account of his life in the 1998 film Shakespeare in not only some of the most Love. powerful tragedies, but also many comedies. He also wrote 154 sonnets and several major poems, some of which are considered to be the most brilliant pieces of English literature ever written, because of Shakespeare's ability to rise beyond the narrative and describe the inner- most and the most profound aspects of human nature. He is believed to have written most of his works between 1585 and 1613, although the exact dates and chronology of the plays attributed to him are not accurately known.
    [Show full text]
  • Shakespeare in Orson Welles "Voodoo" Macbeth and Kurosawa's Throne of Blood
    Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Adaptation as Transmutation: Shakespeare in Orson Welles "Voodoo" Macbeth and Kurosawa's Throne of Blood Ruby Elizabeth Smyth Meyers-McEnroe Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Dramatic Literature, Criticism and Theory Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Smyth Meyers-McEnroe, Ruby Elizabeth, "Adaptation as Transmutation: Shakespeare in Orson Welles "Voodoo" Macbeth and Kurosawa's Throne of Blood" (2016). Senior Projects Spring 2016. 106. https://digitalcommons.bard.edu/senproj_s2016/106 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Adaptation as Transmutation: Shakespeare in Orson Welles’ “Voodoo” Macbeth and Akira Kurosawa’s Throne of Blood Throne of Blood, 1957 Toho Company Senior Project Submitted to The Division of Theatre and Performance of Bard College by Ruby Smyth Meyers-McEnroe Annandale-on-Hudson, NY May 2016 1 Table of Contents: Introduction: The Adaptation Debate 2-5 Chapter One: Critical Interpretations of Macbeth 6-10 Chapter Two: Orson Welles “Voodoo” Macbeth 11-23 Chapter Three: Akira Kurosawa’s Throne of Blood 24-40 Conclusion: The importance of Adaptive Freedom 41-43 Bibliography 44-46 1 2 Introduction: The Adaptation Debate It would be difficult to define the term “adaptation” in a way that could be mutually agreed upon throughout the world of art and literary criticism.
    [Show full text]