About William Shakespeare
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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. -
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. -
Life Portraits Illian Si Ak Hart
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William S h ak e s p e ar e : an overview of his life, times, and work an NAC English Theatre company educational publication THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES Peter Hinton Artistic Director, English Theatre This backgrounder was written and researched by Jane Moore for the National Arts Centre, English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its educational materials. We would appreciate your comments or suggestions on ways to improve future materials. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. Made possible in part by the NAC Foundation Donors’ Circle Table of Contents page(s) Section I: Introduction to Shakespeare............................................................................................1 - 3 William Shakespeare: Who was he, and why do we study him? .................................................1 Shakespeare‘s biography................................................................................................... 1 œ 2 Shakespeare‘s plays .......................................................................................................... 2 œ 3 Section II: Shakespeare and the Sanders Portrait............................................................................ 4 œ 5 What did Shakespeare look like? ..............................................................................................4 -
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. -
2011 As You Like It
AS YOU LIKE IT Study Guide - 2011 Season Production E DIRECT AT SPEAK MACBETH THAISAGROW PROSPERO TOUCHSTONE JULIET CRE VIEW TEACH SEE CREATE HAMLET DISCUSS CLEOPATRA SEE LISTEN LAUGHROSALIND PLAY DIRECT SHYLOCKCRE LEARN CAESAR A AT ACT TEACH E OTHELLO OPHELI A Message from the Director are transformed by encountering what is “down the rabbit hole.” stark contrast to Hamlet, As IN You Like It is a play about The forest in Shakespeare’s plays is the metamorphosis of the self. always a place of transformation, a A young woman, Rosalind, is able freeing of the self from rigid societal to discover what love truly is by and parental bonds in order to pretending to be someone else, the find an authentic self. With that boy Ganymede. Through playing in mind, we have made our forest she becomes more and more into a whimsical playground where expansive, bolder and more fully objects, clothes, sound, light and herself. color are literally transformed from what they are in the court. Through Inspiration for the physical imaginative play, the characters production of As You Like It came transform themselves. from stories like The Chronicles of Narnia, Through the Looking Glass, Thank you for celebrating the and Coraline. A door is opened into human spirit with us! another world and the characters 2 Contents Shakespeare’s Life and Times ..................................................4 What Did Shakespeare Look Like? ...........................................4 Shakespeare Portrait Gallery ....................................................5 The -
Secrets of the Droeshout Shakespeare Etching
For every reader of the First Folio, from Sir George Greenwood and W.W. Greg to Leah Marcus, the Droeshout Portrait has been an unsolved puzzle, symbolic of the disturbing mystery, who wrote the canon of plays? Emerson considered this “the first of all literary questions.” Nor have we solved the riddle, “To the Reader”, on the facing page. Without an understanding of these blatant challenges, the most knowledgeable follower of “Shakespeare” is kept from the author and how he lived, essential to appreciating any work of art. The key that turns the lock opens the door. All Rights Reserved – Copyright © 2013 WJ Ray 1 Preface THE GEOMETRY OF THE DROESHOUT PORTRAIT I encourage the reader to print out the three graphics in order to follow this description. The Droeshout-based drawings are nominally accurate and to scale, based on the dimensions presented in S. Schoenbaum’s ‘William Shakespeare A Documentary Life’, p. 259’s photographic replica of the frontispiece of the First Folio, British Museum’s STC 22273, Oxford University Press, 1975. The Portrait depictions throughout the essay are from the Yale University Press’s facsimile First Folio, 1955 edition. It is particularly distinct and undamaged. In the essay that follows, a structure behind the extensive identification graphics is implied but not explained. The preface explains the hidden design. The Droeshout pictogram doubles as near-hominid portraiture, while fulfilling a profound act of allegiance and chivalric honor to Edward de Vere, 17th Earl of Oxford, by repeatedly locating his surname and title in the image. The surname identification is confirmed in Jonson’s facing poem. -
STC Macbeth's.Idml
STC PRESENTS MACBETH 1980-2014 Over the 34-year-history of the Sydney Opera House. The design of the production Theatre Company “the Scottish play” has been brought the play fi rmly into the 20th century produced seven times, making it STC’s most by taking on a desolate World War I-like performed production, alongside Away by battlefi eld with actors dressed in military Michael Gow and Two Weeks with the Queen by uniforms. The set design by John Gunter and Mary Morris. lighting by Nigel Levings allowed for the stage to seamlessly morph from place to place creating a sinister atmosphere using arrow MACBETH IN 1982 slits in walls where shards and fragments of light shone through. Sydney Theatre Company’s fi rst production of Macbeth was staged at the Opera House and directed by Richard Wherrett. The MACHOMER IN 2010 performance starred three of Australia’s most celebrated stage actors, John Bell as In 2010 Macbeth at STC was performed by the Macbeth, Robyn Nevin as Lady Macbeth and characters of The Simpsons, titled MacHomer. Colin Friels as Macduff. The 1982 production This adaptation of Macbeth was created by had directorial references of character links Canadian comedian Rick Miller who in his between Macbeth and Hamlet and Lady one man show took on 50 characters Macbeth and Ophelia. The set design had from the cartoon while wearing traditional terracotta hues and was a series of rough, Shakespearean costume and mimicking the “What monolithic slabs creating a primitive setting. voices of the characters. Homer was Macbeth, bloody man Marge was Lady Macbeth, Mr Burns was MACBETH IN 1996 King Duncan and Barney was Macduff. -
Coppelia Kahn's Address in Washington, D.C., 2009
Coppélia Kahn Address in Washington, D.C., 10 April 2009 At last this moment has arrived. Like all the former SAA presidents I know, I’ve been agonizing over it for two years, ever since you were so generous as to elect me vice-president. In states of low, medium and high anxiety I’ve mulled it over on two continents, waking and sleeping; during department meetings, on the exercise bicycle, in the shower and in the supermarket . I’ve juggled various topics in the air: “the battle with the Centaurs,” “the riot of the tipsy Bacchanals, / Tearing the Thracian singer in their rage,” and especially in this bleak economic season, “The thrice three Muses mourning for the death / Of Learning, late deceased in beggary” (Midsummer Night’s Dream 5.1.44-53). I think I remember my immediate predecessor, Peter Holland, whom I have never known to be at a loss for words, describing himself as lying despondent on the living room couch, like the speaker in Sidney’s sonnet, “biting [his] truant pen” and “beating [him]self for spite” as he searched for a topic for his luncheon speech. I’ve been there, too. On March 10, 2009, I was released from this state of desperation by a fast-breaking news story girdling the globe: “Is this a Shakespeare which I see before me?” read the headline on my New York Times, one of many in which reporters would show off their knowledge of Shakespeare by deliberate (or unwitting) misquotation of his words. [On screen: Cobbe portrait] There on the front page was a color photograph of a painting that Stanley Wells, chairman of the Shakespeare Birthplace Trust, had presented to the world the day before as “almost certainly the only authentic image of Shakespeare made from life” (SBT press release, 3/9/09). -
DUNS Program5 FINAL Lowres
DUNSINANE DUNSINANE Contents —The Merry Wives of Windsor Chicago Shakespeare Theater 800 E. Grand on Navy Pier On the Boards 8 Chicago, Illinois 60611 A selection of notable CST events, plays and players 312.595.5600 www.chicagoshakes.com ©2015 Point of View 10 Chicago Shakespeare Theater Joyce McMillan examines the truth in All rights reserved. Shakespeare’s storytelling artistic director: Barbara Gaines executive director: Criss Henderson Cast 17 cover: Siobhan Redmond and Darrell D’Silva, photo by Simon Murphy. above: Siobhan Redmond in Dunsinane, photo by Richard Campbell. Playgoer’s Guide 18 Profiles 20 From Another Perspective 32 Journalist Jackie McGlone discusses Dunsinane playwright David Greig’s historical and contemporary inspirations www.chicagoshakes.com 3 CHICAGO SHAKESPEARE THEATER To be! Welcome DEAR FRIENDS, Welcome to Chicago’s home for Shakespeare. Today’s presentation marks the return of two of our seminal international partners: the Royal Shakespeare Company and the National Theatre of Scotland. Their collaboration on Dunsinane has created a tour-de-force, penned by modern-day Scottish playwright David Greig. By boldly imaging the complicated power struggle following the demise of King Macbeth, Greig provokes a timely dialog on the complexities of nation- building following an invasion of epic proportion. The original play is one of the greatest tragedies ever written. To have it followed 400 years later by an equally complicated, nuanced tale is theatrically thrilling. Through our World’s Stage Series, we are honored to serve as a cultural ambassador by importing leading international companies like the RSC and National Theatre of Scotland to Chicago. In the spirit of cultural exchange, we are also increasingly exporting our own work to the world. -
Welcome to Animated Shakespeare! the Power of Words
Welcome to Animated Shakespeare! The Power of Words We think you’ll find these teaching resources – created by professional theatre actors and educators – very valuable supports to your classroom explorations of Shakespeare. The following pages include lesson plans that can stand alone or be used to accompany our video series. In each Module, you will have three or four Units that deepen students’ understanding of various aspects of Shakespeare’s work or a particular play. Each video is accompanied by several pages of in-class activities for teachers to prepare, as well as Class Handout sheets to reproduce for your students. No matter which play you are studying, these activities can supplement your regular class work to enliven –the The text team that at has KDOONS become and so WYRDinfluential, Productions not only in theatre, but in the common speech of Western society. Enjoy! Puke Topic NOTE: Students are given a topic, In the following activities and handouts, you may see references to a usually a reflective question that they are to consider with Thefew terms:First Folio: pen in hand. We suggest 2 - Mr. William Shakespeares Comedies, Histories, & Tragedies 3 minutes for students who This is the common name for the collection of Shakespeare’s plays, en- are new to timed writing, 5 titled ‘ ’, published in 1623. This is - 10 minutes for a class who the text favored by most professional actors, and the scenes used in the activities will come is comfortable with it. Their straight from the Folio. Many of the Folio plays, however, are not broken down into scenes, pens are to move constantly just five long acts.