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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. -
THE WEIRD SISTERS an EDITED SCRIPT COMPRISING EXTRACTS from MACBETH Notes
THE WEIRD SISTERS AN EDITED SCRIPT COMPRISING EXTRACTS FROM MACBETH Notes 1 RSC Associate Schools Playmaking Festival 2018. THE WEIRD SISTERS AN EDITED SCRIPT COMPRISING EXTRACTS FROM MACBETH 1 Thunder. Enter the three Witches. FIRST WITCH Round about the cauldron go; In the poisoned entrails throw. Toad, that under cold stone Days and nights has thirty-one Sweltered venom sleeping got, Boil thou first i’the charmèd pot. ALL Double, double toil and trouble: Fire burn, and cauldron bubble. Drum within THIRD WITCH A drum, a drum! Macbeth doth come. ALL The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine And thrice again, to make up nine. Peace! The charm’s wound up. Enter MACBETH and BANQUO MACBETH So foul and fair a day I have not seen. BANQUO What are these So withered and so wild in their attire, That look not like the inhabitants o’ the earth, And yet are on’t? Live you? You seem to understand me, By each at once her choppy finger laying Upon her skinny lips. MACBETH Speak, if you can: what are you? FIRST WITCH All hail, Macbeth! Hail to thee, thane of Glamis! SECOND WITCH All hail, Macbeth, hail to thee, thane of Cawdor! THIRD WITCH 1 All hail, Macbeth, thou shalt be king hereafter! 2 BANQUO Good sir, why do you start; and seem to fear Things that do sound so fair? MACBETH Stay, you imperfect speakers, tell me more: The thane of Cawdor lives, and to be king Stands not within the prospect of belief, Say from whence You owe this strange intelligence? Speak! Witches vanish BANQUO The earth hath bubbles, as the water has, And these are of them. -
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. -
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. -
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. -
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 -
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. -
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. -
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 -
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. -
Ernest Bloch Studies Flyer
20% Discount on this title Expires 28 February 2021 Ernest Bloch Studies Edited by Alexander Knapp School of Oriental and African Studies, University of London and Norman Solomon The Oriental Institute, University of Oxford Ernest Bloch left his native Switzerland to settle in the United States in 1916. One of the great twentieth-century composers, he was influenced by a range of genres and styles - Jewish, American and Swiss - and his works reflect his lifelong struggle with his identity. Drawing on firsthand recollections of relatives and others who knew and worked with the composer, this collection is the most comprehensive study to date of Bloch’s life, musical achievement and reception. Contributors present the latest research on Bloch’s works and compositional practice, including February 2020 studies of his Avodath Hakodesh (Sacred Service), violin pieces such as 244 x 170 mm c.311pp 12 b/w illus. 1 Nigun, the symphonic Schelomo, and the opera Macbeth. Setting the table 34 music examples quality and significance of Bloch’s output in its historical and cultural contexts, this book provides scholarly analyses as well as a full chronology, list of online resources, catalogue of published and unpublished works, and Paperback 978-1-108-79262-2 selected further reading. Original price Discount price £22.99 £18.39 Foreword: reminiscences of my grandfather; Chronology; Alphabetical list of Bloch's $29.99 $23.99 published and unpublished works; Bloch resources: recordings in the age of the Internet; Introduction; 1. From Geneva to New York: radical changes in Ernest Bloch's view of himself as a ‘Jewish composer' during his twenties and thirties; 2.