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Macbeth Act by Act Study
GCSE ENGLISH LITERATURE MACBETH NAME:_____________________________________ LIT AO1, AO2, AO3 Act One Scene One The three witches meet in a storm and decide when they will meet up again. AO1: What does the weather suggest to the audience about these characters? _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________ AO2: Why are the lines below important? What do they establish about this play? Fair is foul, and foul is fair: Hover through the fog and filthy air. (from BBC Bitesize): In Shakespeare’s time people believed in witches. They were people who had made a pact with the Devil in exchange for supernatural powers. If your cow was ill, it was easy to decide it had been cursed. If there was plague in your village, it was because of a witch. If the beans didn’t grow, it was because of a witch. Witches might have a familiar – a pet, or a toad, or a bird – which was supposed to be a demon advisor. People accused of being witches tended to be old, poor, single women. It is at this time that the idea of witches riding around on broomsticks (a common household implement in Elizabethan England) becomes popular. King James I became king in 1603. He was particularly superstitious about witches and even wrote a book on the subject. Shakespeare wrote Macbeth -
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 -
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. -
Neoliberalism and Aesthetic Practice in Immersive Theatre
Masters i Constructing the Sensorium: Neoliberalism and Aesthetic Practice in Immersive Theatre A dissertation submitted by Paul Masters in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Drama Tufts University May 2016 Adviser: Natalya Baldyga Masters ii Abstract: Associated with a broad range of theatrical events and experiences, the term immersive has become synonymous with an experiential, spectacle-laden brand of contemporary theatre. From large-scale productions such as Punchdrunk’s Sleep No More (2008, 2011) to small-scale and customizable experiences (Third Rail Projects, Shunt, and dreamthinkspeak), marketing campaigns and critical reviews cite immersion as both a descriptive and prescriptive term. Examining technologies and conventions drawn from a range of so-called immersive events, this project asks how these productions refract and replicate the technological and ideological constructs of the digital age. Traversing disciplines such as posthumanism, contemporary art, and gaming studies, immersion represents an extension of a cultural landscape obsessed with simulated realities and self-surveillance. As an aesthetic, immersive events rely on sensual experiences, narrative agency, and media installations to convey the presence and atmosphere of otherworldly spaces. By turns haunting, visceral, and seductive spheres of interaction, these theatres also engage in a neoliberal project: one that pretends to greater freedoms than traditional theater while delimiting freedom and concealing the boundaries -
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. -
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. -
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. -
Macbeth Education Pack
Macbeth Education Pack This is London, October 1987, Black Monday. This is the tale of greed, betrayal and murder. This is Macbeth In the city, success is all and ruthless ambition is rewarded. The only problem is, how do you control it before it consumes you and your family? Award-winning theatre company Proteus present a highly physical re-imagining of Shakespeare’s Macbeth as a corporate thriller which explores class and identity, set against the background of the ‘greed is good’ corporate landscape of 1980s Britain. The trailer for the show can be found here: https://youtu.be/zcWMzIXr1pU This Education pack has been developed with Key Stage 3 & 4 students in mind, but the exercises and content can easily be adapted for other age groups. Page 1 of 15 Background to Proteus’ production “The Firm was a bunch of fiefdoms. People in the departments were more concerned with protecting their own business….the best are cut throat, competitive and often neurotic and paranoid” Michael Lewis ‘Liars Poker’ On Thursday 15th October 1987 a great storm hit the South East of England, tearing off roofs and upending trees onto railway lines and roads. The devastation was vast and brutal, but what was to come was far more violent. On that Thursday, whilst the winds blew in England, the Hong King financial markets began to crash. On Friday 16th the London Stock market was closed due to the disruption of the storm, but that was beside the point, none of the traders could reach London from their Surrey homes – the roads and transport links were blocked. -
Macbeth Study Guide
Macbeth Study Guide Characters Macbeth – Is a Scottish general and the Thane of Glamis. He is a brave soldier and a powerful man. He becomes the Thane of Cawdor. He murders Duncan to become king. Lady Macbeth – A deeply ambitious woman who lusts for power and position. She is more ruthless than her husband. Her behavior is quite ruthless. Duncan – He is the King of Scotland. He is a virtuous king but a little too trusting. He is killed by Macbeth. Malcolm – He is the eldest son of Duncan and heir to the throne. When his father is murdered, he flees to England. Donalbain – He is Duncan’s youngest son and Malcolm’s younger brother. When his father is murdered he flees to Ireland. Macduff – He is the Thane of Fife and is one of the first people to suspect Macbeth of betrayal. Banquo – He is a brave general who is with Macbeth and also has ambition, but does not take any action on it. He is told that future generations of his children will become kings. Fleance is his son. Fleance – He is Banquo’s son. The Witches – They are three ugly hags who plot mischief against Macbeth by giving him prophecies. Summary Act I, Scene 1 – Prior to the battle, the three witches were meeting and talking about how they were going to see Macbeth. Act I, Scene 2 – A wounded captain emerges from the battle and gives the king a detailed report of how Macbeth and Banquo won the battle. King Duncan is going to reward Macbeth for his performance during the battle and will name him the new Thane of Cawdor. -
Rupert Goold's Macbeth (2010): Surveillance Society and Society of Control*
Rupert Goold’s Macbeth (2010): Surveillance society and society of control* Víctor Huertas Martín Universidad Nacional de Educación a Distancia Universidad Autónoma de Madrid, Spain ABSTRACT This article deals with Rupert Goold’s film version of Macbeth (2010). Based on a stage production, this film is set in an unspecified Soviet country. I will analyze Goold’s creation of a stage-to-screen hybrid recording framed as a surveillance film. Relying on Michel Foucault’s and Gilles Deleuze’s works as well as various contributions made by Cultural Materialist and New Historicist critics, I intend to explore the power relations in this surveillance film. I will also examine how the surveillance film conventions deployed by Goold turn the narrative into a meta-filmic event. This allows the viewer to perceive surveillance as part of the subject matter of the story and as inseparable from its narrative structure. Eventually, this will serve to explore how surveillance entirely transforms the filmscape. What begins as a film set in a surveillance society ends up as an environment dominated by a society of control. KEYWORDS: Shakespeare on film; Macbeth; power relations; surveillance society; Foucault; Deleuze. Macbeth (2010) de Rupert Goold: Macbeth (2010) de Rupert Goold: sociedad de vigilancia y sociedad sociedade da vigilância e de control sociedade do controlo** RESUMEN: Este artículo trata la versión RESUMO: Este artigo analisa a versão para cinematográfica de Macbeth de Rupert cinema de Macbeth (2010), por Rupert Goold de 2010. Basado en una produc- Goold. Baseado numa produção teatral, ción teatral previa, esta película se este filme tem lugar num estado sovié- contextualiza en un país soviético sin tico não especificado. -
Masking Femininity: Women and Power in Shakespeare's Macbeth, As You Like It, and Titus Andronicus
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2017 Masking Femininity: Women and Power in Shakespeare's Macbeth, As You Like It, and Titus Andronicus Kelly Sorge University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/honors Part of the Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Sorge, Kelly, "Masking Femininity: Women and Power in Shakespeare's Macbeth, As You Like It, and Titus Andronicus" (2017). Honors Theses and Capstones. 323. https://scholars.unh.edu/honors/323 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Kelly Sorge English Honors Thesis Masking Femininity: Women and Power in Shakespeare’s Macbeth, As You Like It, and Titus Andronicus Advisor: Professor Cristy Beemer April 21, 2017 Power. This theme occurs in so many of William Shakespeare’s plays because it is essential to the creation of conflict within a storyline. The Plot of Macbeth would have never advanced if the prophecy given by the witches did not make Macbeth eager to take power away from Duncan and become king himself. Many of Shakespeare’s female characters have also been eager to obtain power, however, attaining power was not as casual as it was for men.