The Women and Witches of Macbeth

Total Page:16

File Type:pdf, Size:1020Kb

The Women and Witches of Macbeth ABSTRACT WARNING, FAMILIARITY, AND RIDICULE: TRACING THE THEATRICAL REPRESENTATION OF THE WITCH IN EARLY MODERN ENGLAND By Melissa Rynn Porterfield This work traces the theatrical representation of the witch on the Early Modern English stage. I examine the ways in which the witch was constructed as a binary opposite against which dominant society could define itself. This work provides close readings of three representative plays from the era: Macbeth, The Witch of Edmonton, and The Witches of Edmonton. I also investigate the significance of the personal involvement of King James I in real-life witch trials. This work breaks the progression of the witch into three stages - fear, familiarity, and ridicule – each of which served to allay the anxieties of dominant culture. Situating the texts within the specific historical cosmology of their original productions, I suggest one possible mapping of the intersections of the intersections of gender, class, nation, politics, and economics which they depict. WARNING, FAMILIARITY, AND RIDICULE: TRACING THE THEATRICAL REPRESENTATION OF THE WITCH IN EARLY MODERN ENGLAND A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Theatre By Melissa Rynn Porterfield Miami University Oxford, Ohio 2005 Advisor: _____________________________________ Dr. Ann Elizabeth Armstrong Reader_______________________________________ Dr. William Doan Reader_______________________________________ Dr. Sally Harrison-Pepper Table of Contents Chapter One: Introduction p.1 Chapter Two: Danger and Warning: The Women and Witches of Macbeth p.19 Chapter Three: Gaining Familiarity in The Witch of Edmonton: Identifying and Enclosing p.45 Chapter Four: Ridicule and Parody in The Witches of Lancashire p.68 Chapter Five: Conclusion p.85 Appendix A: Synopsis of Macbeth p.90 Appendix B: Synopsis of The Witch of Edmonton p.93 Appendix C: Synopsis of The Witches of Lancashire p.97 Works Cited p.100 ii Chapter One- Introduction The fearful abounding at this time in this country, of these detestable slaves of the Devil, the witches and enchanters, hath moved me (beloved reader) to dispatch in post, this following treatise of mine. – King James, Daemonologie1 She laughs, and it’s frightening – like Medusa’s laugh – petrifying and shattering constraint. There she is, facing us. Women-witches often laugh…. – Catherine Clement, The Newly Born Woman The Sixteenth and Seventeenth centuries saw a dramatic rise in witchcraft prosecution across Western Europe. In England, this witch-mania reached its historical height near the end of Queen Elizabeth’s reign, roughly from 1580 to 1600; that is to say, the greatest number of recorded cases of witchcraft prosecutions and executions occurred during this relatively small period of time, in comparison to the long- running pervasiveness of witchcraft prosecutions in the rest of Europe (Macfarlane 26-28). Yet despite these historical circumstances, the cultural witch-craze in England did not reach its true height until later, primarily during the reign of King James. This social fad manifested itself in a number of ways, including its enormous popularity as a subject for theatre of the day. Montague Summers chronicles the appearance of witches in plays from 1500-1800 and counts twenty-four plays depicting accused witches performed on the English stage from approximately 1595-1635 - more than twice that of the combined total remaining witchcraft plays he discusses.2 These productions capitalized on the supernatural aspects of witchcraft and were performed with great frequency throughout both the Jacobean and Carolinian eras, until the closing of the theatres in London in 1642. The image of the witch and the vehicle of the theatre seem to be a natural fit. The spectacle inherent in the supernatural aspects of the witch provided a wealth of vivid opportunities for the employing the latest in scenic and technical advances and for experimenting with the possibilities for new special effects. The Jacobean stage was flooded with images of cauldrons boiling over with body parts, witches raising storms 1 I have modernized the spelling in the passage for ease of reading. 2 Specific dates of performances are unclear in certain cases. See Summers, The History of Witchcraft and Demonology - Chapter 7: The Witch in Dramatic Literature for specific titles and dates. 1 and the dead, orgiastic sex rituals including animals and devils, imps suckling blood from hidden, unnatural teats, and the transformation of humans into animals. These opportunities to stage spectacle were even more enticing to companies that had begun to transition from open-air spaces to either indoor theatres or to more well- funded privately owned venues. For the first time, England’s theatres, which had previously been a relatively egalitarian social site, began to see the first signs of the growing divide between the classes. Wealthy patrons, who had once attended the theatre alongside merchants and peasants, began to channel more funds into private performances. As in the elaborate court masques made popular by Queen Anna, nobles began to back lavish private productions with a seemingly endless budget for the development of scenic technology and special effects which would inevitably make their way onto the public stages of London. By capitalizing on the audience’s growing thirst for spectacle, theatre remained one of the most popular forms of organized entertainment in Early Modern England. The Jacobean theatrical witch vogue can also be seen as a natural progression from the streets to the stage. The widespread accusations of witchcraft during the Elizabethan era were revived due in part to advances in printing. This technology allowed for the mass-publication of pamphlets detailing the events of the trials and interrogations of alleged witches, often before the verdicts in the cases had been rendered. The result was a veritable pamphlet war in which authors battled over the control of public opinion; the winning interpretations of these real-life events were often regarded in popular opinion as truth. This pamphlet war made its way onto the stages of London as they became the basis for a new kind of documentary drama, one “ripped from the headlines.” Witchcraft plays capitalized on the public’s thirst for sensational current events and provided the audience with an escape from everyday reality that was firmly grounded in popular culture. By depicting the actions and characteristics of real-life witches, these plays provided a kind of cultural primer that presented the population at large with the necessary knowledge and tools to identify and enclose the witch. Yet, the most significant result of these witchcraft plays was their reinforcement of the social agenda of asserting the legitimacy of the patriarchal hegemony championed by King James. As a new ruler with a less than direct claim to the English throne, James 2 went to great lengths to establish himself as a right and powerful ruler and to differentiate his rule from the previous, successful rule of Queen Elizabeth.3 By capitalizing on notions as divine right and the supremacy of new intellectual, scientific knowledge, James sought to create a new national identity deeply rooted in patriarchal order that stressed the supremacy of a kingship (not “queenship”). James went to great lengths to depict himself as a kind of father figure to the English population, invested in both their material and spiritual well-being. By investigating three witchcraft plays from the Early Modern period, this thesis seeks to point out the way in which the witch, as a representative of nature, evolved over the first half of the seventeenth century. First, the representation of the witch is vilified in order to provide a negative against which a new, masculine national identity could be defined. The witch is then constructed as a familiar and pervasive threat which must be identified and enclosed in order to maintain a successful social order. Lastly, this highly recognizable identity is ridiculed in order to perpetuate the discourse of patriarchal power. In my reading of three representative plays, I trace the construction of the theatrical representation of the witch. Situating the text within the specific historical cosmology of their original productions, I suggest a possible mapping of the intersections of gender, class, nation, politics and economics which they depict. By exploring their combination of theatricality and historisticity, I seek to examine the ways in which these plays disturb the boundaries of the continuum between life and art and reveal themselves as agents of knowledge production. This examination will focus on the way in which the theatrical witch was constructed both as a binary opposite against which dominant society could define itself. By creating the witch as the other, the power of the spectator is reaffirmed. The act of displaying the dangerous other, encloses that which was previously unknown and mysterious within the realm of dominant society. The naming or identifying of the witch fixes her within the social hierarchy, labeling her as less than human. Within the voyeuristic context of the theatre, presenting the witch as object/other erases the individuality of the spectator, and thereby secures his identity as an unmarked member of 3 For a closer look at James’ attempts to define his reign see McIlwain’s The Political Works of James I, and Perry’s The Making of Jacobean Culture. 3 the dominant culture. Further, by representing the dangerous witch within the controlled framework of entertainment, theatre had the power to either encourage or alleviate anxieties in order to promote the agenda of Early Modern England’s new, rational patriarchy. Three Faces of the Witch In my search for the roots of the witch archetype in Early Modern dramas, I found a number of different texts that might have served as examples of the theatrical literature of the witch craze. As my thesis concentrates on theatre as a tool in the formation of a masculine national identity for England, I chose plays set in the United Kingdom.
Recommended publications
  • 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]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne Mcclelland University of Mississippi
    University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne McClelland University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the English Language and Literature Commons Recommended Citation McClelland, Kellie Suzanne, "Macbeth in Film: Directorial Choices and Their mpI act on the Audience" (2017). Honors Theses. 534. https://egrove.olemiss.edu/hon_thesis/534 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. MACBETH IN FILM: DIRECTORIAL CHOICES AND THEIR IMPACT ON THE AUDIENCE by Kellie Suzanne McClelland A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by ____________________________________ Adviser: Professor Ivo Kamps ____________________________________ Reader: Senior Lecturer Peter Wirth ____________________________________ Reader: Professor Karen Raber © 2017 Kellie Suzanne McClelland ALL RIGHTS RESERVED ii To Dr. Ben McClelland for believing in me and encouraging me and supporting me on this, his Retirement Year, as well as every other time of my life. Thanks for it all. I love you, Daddy. iii ACKNOWLEDGEMENTS First and foremost, I owe my family, friends, and Him from whom all blessings flow my deepest gratitude for providing comfort and encouragement throughout this arduous journey that has become my thesis.
    [Show full text]
  • 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
    [Show full text]
  • William Shakespeare As a Psychologist: a Study of the Supernatural Agency in Macbeth
    © 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) William Shakespeare As A Psychologist: A Study of The Supernatural Agency in Macbeth Written By: - Prithvi Raj, Lecturer in English, Govt. Sr. Sec. School, Gurera Distt Bhiwani (Haryana) Macbeth: The Tragedy of Macbeth is a play by William Shakespeare. It is the tragedy about a regicide and its aftermath. It is Shakespeare's shortest tragedy. The first act opens in thunder and lightning with the three witches. They decide that their next meeting shall be with Macbeth. The three Witches appear to greet them with prophecies. Both Macbeth and Banquo are surprised and horrified to see them. The first witch hails Macbeth as "Thane of Glamis,” the second as "Thane of Cawdor,” and the third proclaims that he shall "be King hereafter.” Instantly, Ross, a messenger of the King, arrives and informs Macbeth about his new title: Thane of Cawdor. The first prophecy has thus fulfilled. It gives thought to Macbeth for getting position of king. Macbeth writes to his wife and informs about three witches with prophecies. Coincidently Duncan decides to spend one night in the Macbeth's castle. Lady Macbeth makes a plan to murder the king. Since, she wants to secure the throne of the king for her husband, Macbeth. Although, Macbeth does not like to murder the king, however Lady Macbeth agrees him for this cruelty. On the night of the king's visit, Macbeth kills Duncan. The audiences do not see the misdeed of murder. In accordance with her plan, “Lady Macbeth frames ………..Thane of Fife, arrives.”[1] In a feigned fit of anger, Macbeth also murders the guards before they can protest their innocence.
    [Show full text]
  • 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.
    [Show full text]
  • Sensory Witchcraft in Shakespeare's <I>Antony and Cleopatra</I>
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of Spring 4-20-2020 "You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth Hannah Kanninen University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Kanninen, Hannah, ""You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth" (2020). Dissertations, Theses, and Student Research: Department of English. 162. https://digitalcommons.unl.edu/englishdiss/162 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH by Hannah Kanninen A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: English Under the Supervision of Professor Julia Schleck Lincoln, Nebraska May, 2020 “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH Hannah Kanninen, M.A. University of Nebraska, 2020 Advisor: Julia Schleck Scholarship on witches and witchcraft within Shakespeare’s plays has been a popular subject for many scholars. But one of Shakespeare’s most famous characters has not yet been integrated into this scholarship: Cleopatra from Antony and Cleopatra.
    [Show full text]
  • King James's Daemonologie: the Evolution of the Concept Of
    Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea King James’s Daemonologie: the evolution of the concept of witchcraft in Scotland Relatore Laureando Prof. Alessandra Petrina Stefano Melta n° matr.1038982 / LMLCC Anno Accademico 2018 / 2019 1 Table of Contents FOREWORD ...................................................................................................................... 5 CHAPTER I: The Scottish social and political situation in the second half of the sixteenth century............................................................................................................................... 13 I.I. A social geography of the Reformation in Scotland .......................................... 13 I.II. Witchcraft as an enemy of the State ................................................................... 17 I.III. The shaping of the new Kirk and the concept of authority ................................ 21 CHAPTER II: Biographical background .......................................................................... 25 II.I The political situation in the 70s and 80s ........................................................... 28 II.II Marriage and witches ......................................................................................... 35 CHAPTER III: The books behind Daemonologie ............................................................ 41 CHAPTER IV: Daemonologie
    [Show full text]
  • 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.
    [Show full text]
  • (Mtyp) Manitoba Theatre for Young People
    Running head: (MTYP) MANITOBA THEATRE FOR YOUNG PEOPLE An Inquiry into the History of the Manitoba Theatre for Young People: Its Role and Impact on Education in Manitoba Joy Beauchamp A Thesis Submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of Master of Education Department of Curriculum, Teaching and Leaming University of Manitoba December 2004 @ Copyright by Joy Beauchamp 2004 THE UM\iERSITY OF MA,NITOBA FACULTY OF GRÄDUATE STUDMS COPYRIGHT PERMISSION PAGE An Inquiry into the History of the Manitoba Theatre for Young Peoplel Its Role and Impact on Education in Manitoba BY Joy Beauchamp A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfiIlment of the requirements of the degree of MASTER OF EDUCATION JOY BEAUCIIÄMP @2004 Permission has been granted to the Library ofThe University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfìlm Inc, to publish an âbstract 0f this thesis/practicum. The author reserves other publication rights, and neither this thesis/practicum nor extensive extracts from it may be printed or otherwise reproduced \v¡thout the author's Ìyritten permission, Table of Contents List ofTables .......... vii Acknowledgnents ...... .........viii Abstract ........ ix Chapter 1: lntroduction and Overview ..........1 Setting the Context .........1 Purpose ofthe Study . 3 A Historical Inquiry Approach . ..........3 Delimitations ............4 Definitions .......6 Chapter 2: The Literature Review ... ..........8 Manitoba's 'Young' Theatre . .......13 The Changing View of the Child and Development in Children's Theatre .
    [Show full text]
  • 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.
    [Show full text]