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A TASTE of SHAKESPEARE: MACBETH a 52 Minute Video Available for Purchase Or Rental from Bullfrog Films
A TASTE OF SHAKESPEARE MACBETH Produced by Eugenia Educational Foundation Teacher’s Guide The video with Teacher’s Guide A TASTE OF SHAKESPEARE: MACBETH a 52 minute video available for purchase or rental from Bullfrog Films Produced in Association with BRAVO! Canada: a division of CHUM Limited Produced with the Participation of the Canadian Independent Film & Video Fund; with the Assistance of The Department of Canadian Heritage Acknowledgements: We gratefully acknowledge the support of The Ontario Trillium Foundation: an agency of the Ministry of Culture The Catherine & Maxwell Meighen Foundation The Norman & Margaret Jewison Foundation George Lunan Foundation J.P. Bickell Foundation Sir Joseph Flavelle Foundation ©2003 Eugenia Educational Foundation A Taste of Shakespeare: Macbeth Program Description A Taste of Shakespeare is a series of thought-provoking videotapes of Shakespeare plays, in which actors play the great scenes in the language of 16th and 17th century England, but comment on the action in the English of today. Each video is under an hour in length and is designed to introduce the play to students in high school and college. The teacher’s guide that comes with each video gives – among other things – a brief analysis of the play, topics for discussion or essays, and a short list of recom- mended reading. Production Notes At the beginning and end of this blood- soaked tragic play Macbeth fights bravely: loyal to his King and true to himself. (It takes nothing away from his valour that in the final battle King and self are one.) But in between the first battle and the last Macbeth betrays and destroys King, country, and whatever is good in his own nature. -
Macbeth 1. in the Realm of King Duncan of Scotland Two Royal
Macbeth 1. In the realm of King Duncan of Scotland two royal Thanes – Macbeth and Banquo - are returning from war. They meet three Witches who predict that Macbeth will become King and Banquo’s heirs will be Kings. 2. Macbeth writes to his wife telling her of the prediction, which she takes to mean they must kill Duncan, the current King. 3. Duncan and his train arrive at Macbeth’s Castle as Macbeth and Lady Macbeth wrangle over whether to kill him or not. 4. Macbeth kills Duncan as he sleeps. 5. Duncan’s sons are initially blamed for his murder and flee in fear, leaving Macbeth to be crowned King. 6. Macbeth has Banquo killed. He fears he is haunted by Banquo’s ghost and returns to the witches. They reassure him with more predictions of his power. 7. His friend Macduff flees to England to ask Duncan’s son – Malcolm – to return and fight Macbeth as Scotland is collapsing under his rule. Macbeth has Macduff’s wife and children killed for this disloyalty. 8. Lady Macbeth dies. 9. Macbeth comes under attack as the witches predictions come true one by one. 10. Macbeth is slain by Macduff and Malcolm is crowned King. Macbeth Character List DUNCAN The good king of Scotland murdered by Macbeth. Duncan is the model of a virtuous, benevolent and farsighted ruler. MALCOLM Duncan's eldest son, who flees in fear with his brother Donalbain after their father's murder. Malcolm becomes a serious challenge to Macbeth with Macduff’s aid (and the support of England). -
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 -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
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. -
Macbeth Informational Text: the Real Story
Name ________________________________________ Period _______ Macbeth Informational Text: The Real Story It is interesting to note that Shakespeare‘s play Macbeth was based loosely on true stories about real people. In fact, it is believed that Shakespeare wrote the play for King James I and VI, who was king of both England and Scotland at the time. Allegedly using the Chronicles of England, Scotland, and Ireland (1587) by Raphael Holinshed as his source of information, Shakespeare set out to create a realistic fictional drama based on a true story. The real King Duncan I (Donnchad mac Crínáin), nicknamed ―the sick‖ was the King of Scotland (called Alba) from 1034 to 1040. He was the grandson of Malcolm II, who was killed in battle in 1034. Duncan had two sons, Malcolm III, and Donald III. According to records, Duncan was young and weak and was seen as a terrible and ineffective leader. His ascension to the throne at age 17 caused turmoil in the family, as the kingship was to have alternated between the two branches of the royal line. Many believed his cousin, Macbeth (Mac Bethad mac Findlaích), should have had claim to the throne through his mother. This caused strife in the family, which would continue for hundreds of years. After Duncan was killed in battle by Macbeth in 1040, Macbeth took the throne and became King of Scotland. Macbeth reigned successfully for 17 years, and he was said to be a powerful and strong leader. However, Duncan‘s son Malcolm wanted revenge against Macbeth, and felt that he should have inherited the throne after his father‘s death. -
From 'Scottish' Play to Japanese Film: Kurosawa's Throne of Blood
arts Article From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood Dolores P. Martinez Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; [email protected] Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018 Abstract: Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jo¯ 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption. Keywords: Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt 1. -
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. -
Shakespeare's Macbeth Act 2, Scene 3 a Porter Goes to Answer the Door
Shakespeare's Macbeth Act 2, scene 3 A porter goes to answer the door, joking to himself that he is the doorkeeper at the mouth of hell, and mocking whoever might be knocking to get into hell. At the door are Macduff and Lennox. Macduff goodnaturedly asks what took so long. The porter blames drunkenness, and makes a series of jokes about alcohol and its effects on men. Macbeth enters, pretending to have just woken up. Macduff asks if the King has woken yet. Duncan had asked to see Macduff early that morning. Macbeth points out where Duncan is sleeping, and Macduff goes to wake him. As they wait for Macduff to return, Lennox describes the terrible storm that raged the previous night and sounded like "strange screams of death" (line 52). Macduff cries out in horror and runs onstage. Macbeth and Lennox ask what happened, then run to Duncan's chamber. Banquo, Malcolm, and Donalbain wake. Lady Macbeth enters, pretending not to know what happened, and expressing horror when Macduff tells her of the murder. Macbeth returns, and wishes he had died rather than to have to see such a such a thing. Malcolm and Donalbain enter and ask what's happened. Lennox tells them that Duncan was murdered by his drunken attendants. Macbeth wishes aloud that he hadn't killed the attendants. When Macduff asks why Macbeth did kill the attendants, Macbeth says he was so furious that they had murdered Duncan that he couldn't control himself. Lady Macbeth faints. The thanes agree to meet in the hall to discuss what's happened. -
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. -
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. -
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