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Subversion Of Traditional Gender Roles In Macbeth, Olivia Eubanks

Merge

No abstract provided.

Fuentes Dramatúrgicas Que Inspiran Al Cine: La Orestiada, De Esquilo, Y Macbeth, De Shakespeare, Javier J. González Martínez

Teatro: Revista de Estudios Escénicos / A Journal of Theater Studies

Los casos de argumentos originariamente creados para el teatro que han sido trasladados al cine son ya cuantiosos. El objetivo de este estudio es analizar el funcionamiento de determinados elementos dramatúrgicos en obras teatrales y fílmicas relacionadas. El resultado posibilita la reflexión sobre las distintas formas de adaptación y propicia el aprendizaje de mecanismos que faciliten la aceptación de determinados recursos. El corpus elegido está formado por películas basadas en dos grandes clásicos teatrales: La Orestiada, de Esquilo, y Macbeth, de Shakespeare. Para la primera se analizará The Black Pirate (El pirata negro, 1926), The Last …

Shakespeare’S Tragedy Of Macbeth As A Strange Attractor For Theater Performances And Cinematic Adaptations, Iswahyudi Soenarto, Bambang Wibawarta

International Review of Humanities Studies

Chaos theory explicates how small things can result in big differences. Its basic principles can provide an alternative means for literary and non-literary interpretations. This study will explore how the principles of chaos theory can be utilized, together with commonly used literary theories, as an analytic lens to analyze the dramatic text of Shakespeare. The argument is built upon how Macbeth, viewed as a complex and chaotic system, become a strange attractor for both theater performances and cinematic adaptations, in an effort to understand the interconnection between the play and its reproductions as complex networks. Various elements of the text …

Lady Macbeth As The Mourning Mother: Melancholy And Hysteria In Macbeth, Bailey Winget

AWE (A Woman’s Experience)

Throughout the short time frame of Shakespeare’s Macbeth, Lord and Lady Macbeth are childless. However, textual evidence suggests that the Macbeth’s did conceive a child who passed away prior to the opening acts of the play. At the end of act 1, Lady Macbeth tells her husband, “I have given suck,” clearly acknowledging her experience with motherhood and feeding a child (1.7.54). As suggested by Alice Fox, other references to death and childlessness occur throughout the text as the Macbeth’s use early modern language associated with gynecology and obstetrics to describe the events of the play (127). Because childlessness was …

Macbeth's Political Imagination: The Struggle For Kingship In Macbeth, Fuad Abdul Muttaleb, Mohammad Khair Rawashdeh

Jerash for Research and Studies Journal مجلة جرش للبحوث والدراسات

Ambition and regicide are two types of evil examined very closely in William Shakespeare's play Macbeth. Hence, ambition is seen in the play as a sin, an attempt to jump the natural order and make a new one, a desire so intense it can lead a person into the hands of evil. Regicide, according to medieval European conventions, is to kill God's anointed king, and so likewise to disrupt the natural and divine order. Macbeth's illegal and immoral kingship brings death, destruction, and suffering to Scotland, whilst the good kingship of Duncan and Malcolm brings victory and happiness; the …

Commonwealth And Commodity: Shakespeare's "King John", Robert J. Delahunty

Journal of Catholic Legal Studies

(Excerpt)

Part I begins, as does KJ itself, with the French ambassador questioning the King’s legitimacy, and continues with a dispute between two brothers over their inheritance. The problem of just title reverberates throughout the play. Part II explores the development and moral growth of Philip Falconbridge/Sir Richard Plantagenet—“The Bastard”—the play’s central character and if there is one, its hero. Part III analyzes the two concepts whose polar opposition structures the play: “commonwealth” and “commodity.” The contrast between these two ideas is found elsewhere in Tudor literature, but Shakespeare gives it a new resonance and depth. The service of one …

Sounding And Dressing The Part: Understanding Macbeth Through Language And Costume, Jacqueline Peveto

Conversations: A Graduate Student Journal of the Humanities, Social Sciences, and Theology

Macbeth, written by William Shakespeare, is a complex tragedy driven by the relationships of its characters. While it can appear that Macbeth decides his own actions, staging of this production greatly influences the audience’s perception of Macbeth as a character. Is Macbeth inherently disposed towards evil, or do the witches possess him to do these wicked deeds? In stage productions, the relationship of Macbeth to the three witches influences readings of Macbeth and his status as a sympathetic character. This paper will analyze the link between the witches and Macbeth through the relationship identifiers of verbal similarity and costume in …

I, Banquo, Rebeca Wallin

Children's Book and Media Review

One of (currently) five in the I, Shakespeare series by Crouch which retell plays from the point of view of lesser characters, this one-man show retells the story of Macbeth through the all-seeing eyes of Banquo’s spirit. Banquo narrates the story from a unique perspective, repeatedly pronouncing “It could have been me,” leading the audience through his journey trying to make sense of Macbeth’s actions. He compares those actions to what his own might have been in the same situation. Perfect for a Shakespeare enthusiast, a familiarity with the original work is preferable for a deeper understanding of this play.

Familiar Creatures: Witchcraft, Female Bodies, And Early Modern Animals, Christopher Clary

Early Modern Culture

No abstract provided.

“But I Must Also Feel It Like A Man”: Redressing Representations Of Masculinity In Macbeth, Caitlin H. Higgins

The Review: A Journal of Undergraduate Student Research

The most popular characters in William Shakespeare’s Macbeth, second only to Macbeth himself, are the Weird Sisters. Despite being called “Sisters” the women are oddly androgynous and there is very little in their physical appearance or behavior to indicate their gender. Even more importantly, there is nothing to indicate their place in the Scottish patriarchy of which Macbeth and Banquo are firmly established. As the first actors to appear on stage and arguably the manipulators of Macbeth’s fate, the genderless Weird Sisters would have disturbed deeply rooted understandings of gender definition and hierarchy in viewers. This disturbance allows Shakespeare …

Verdi's Shakespearean Operas: Macbeth, Otello, Falstaff, David Lawton, Linda B. Fairtile, Emanuele Senici

Verdi Forum

No abstract provided.

Lexical Dichotomy And Ethics In Macbeth, Lindsey Simon-Jones

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

Politics And Play: The National Stage And The Player King In Shakespeare’S Henry V And Macbeth, Kristin M.S. Bezio

Quidditas

This article examines the intersection between theatrical and political discourse in early modern England. It argues that that the dialog surrounding early modern discourses of monarchy intersects specifically with theatrical notions of performance by means of the social contract implicit in English Common Law. The link between the political stage and the theater is perhaps most transparent in the metaphor of the theatrum mundi. Because the theatrum mundi requires the active participation of the audience, they must always be included in the theatrum mundi as participatory citizens in its illusory world. They are drawn into the conversation between stage …

'Double, Double, Toil And Trouble': Producing Macbeth In Mid-Victorian Britain, Paul Rodmell

Verdi Forum

No abstract provided.

Macbeth And Ugolino: Another Verdian Encounter With Dante, David Rosen

Verdi Forum

No abstract provided.

Codependents Medieval Style, Angie Russell Hunt

The Corinthian

When we repeat the truism "Power corrupts and absolute power corrupts absolutely," it is usually obvious who is being corrupted. However, in William Shakespeare's Macbeth, the reader is left to wonder who has been corrupted by the temptation of absolute powerMacbeth or Lady Macbeth?, Whose motives are at play and what are they?

Macbeth And The Meaning Of Tragedy, Joseph A. Bryant Jr.

The Kentucky Review

No abstract provided.

The Syllables Of Time: An Augustinian Context For Macbeth 5.5, John S. Tanner

Quidditas

Among the most familiar lines in all Shakespeare are these Macbeth utters upon hearing the Lady Macbeth's death:

Tomorrow, and tomorrow, and tomorrow

Creeps in this petty pace from day to day

To the last syllable of recorded time,

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle!

Life's but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

(5.5.19-28)

So familiar, indeed, is this speech …

More About The Performance History Of Macbeth, Martin Chusid, Tom Kaufman

Verdi Forum

No abstract provided.

"The Secret'st Man Of Blood": Foreshadowings Of Macbeth In Arden Of Feversham, Robert F. Fleissner

University of Dayton Review

Probably the greatest news for the scholarly world would be the discovery of Shakespeare's manuscripts. With little chance of that, we can at least feel rewarded with new knowledge about his artistry. One of the most tantalizing problems in recent years has involved the apocryphal plays. It is generally agreed that the best of the lot is the domestic tragedy Arden of Feversham. (I retain the original old spelling, F-e-v-e-r rather than F-a-v-e-r, on the grounds that the literary spelling is of greater substantive worth than the more common spelling of the town. Also there is wordplay on "a great …

Shakespeare-On-Film Courses: A Discussion Report, Faiza Shereen

University of Dayton Review

The panelists for the 1978 Ohio Shakespeare Conference workshop session "Establishing Shakespeare-on-Film Courses" were Professors Samuel Crowl, Ohio University (Athens); Charles Nelson, Michigan Technological University (Houghton); Andrew McLean, University of Wisconsin-Parkside (Kenosha); and Michael Manheim, University of Toledo. They were joined by Mrs. Virgil Buddendeck, English department secretary, University of Dayton. Professor Crowl, the moderator, opened the session by suggesting that panelists describe their experiences teaching Shakespeare on film.

How Many Pregnancies Had Lady Macbeth?, Alice Fox

University of Dayton Review

A question not to be asked, say the literary critics. L.C. Knights' witty denunciation of Bradleian analysis became a part of our critical language when Knights thirty years ago entitled his influential essay "How Many Children Had Lady Macbeth?" Knights contended that "the only profitable approach to Shakespeare is a consideration of his plays as dramatic poems, of his use of language to obtain a total complex emotional response. Yet the bulk of Shakespeare criticism is concerned with his characters, his heroines, his love of Nature or his 'philosophy' — with everything, in short, except with the words on the …

The Thane Of Glamis Had A Wife, B. J. Bedard

University of Dayton Review

The role of Lady Macbeth frequently appears more significant in dramatic performances than the text warrants. To consider the character of Lady Macbeth at a conference whose emphasis is upon performance should be to attempt to recapture the dramatic traditions of this often performed play. Every production incorporates an interpretation of Lady Macbeth. Many major English and American Shakespearean actresses have essayed the role: Mrs. Betterton, Mrs. Barry, Mrs. Pritchard, Sarah Siddons, Ellen Terry, Fanny Kremble, Charlotte Cushman, Mrs. Patrick Campbell, Judith Anderson, Vivian Leigh. The play was particularly a favorite vehicle for noted husband-and-wife acting teams. Playgoers like Pepys …

Interpreting Shakespeare: The Dramatic Text And The Film, Robert Ornstein

University of Dayton Review

I'd like to talk about the relationship between my experience of filmmaking and my thinking about the teaching and interpreting of Shakespeare. Filmmaking has had an extraordinary influence on my awareness of a play as a work of art, or rather as a series of artistic choices. When we read a play as a literary text, it already exists as a finished product, and we try to understand it as such. It would not ordinarily occur to us to wonder why it has a particular form — why it begins and ends in this manner rather than other equally possible …

Of Time And The Arrow: A Reading Of Kurosawa's Throne Of Blood , Barbara Hodgdon

University of Dayton Review

No abstract provided.

Media For Shakespeare's Macbeth, Jack J. Jorgens

University of Dayton Review

There are many media for Shakespeare: print, audio recordings, theatrical performance, aural readings, film, television, even still photographs, engravings, paintings, hand towels, and teacups. Print is the medium with which we're most familiar. We feel that we're most sensitive when we read print. And the texts, as imperfectly preserved as they are, seem to offer the least distorted renderings of Shakespeare's vision. But reading Shakespeare is also a performing art. Shakespeare's plays — when they're viewed as experiences, processes, not static objects — are performances in several senses.

Polanski's Macbeth: A Dissent, H. R. Coursen

University of Dayton Review

Any response to a Shakespearean production, be it on stage, film, or television, is necessarily subjective, partaking of elements of which even the reviewer is not conscious. In my opinion, Roman Polanski's Macbeth is a multimillion-dollar disaster, mitigated occasionally by the things film can do that the stage cannot duplicate.

Cover And Table Of Contents, University Of Dayton

University of Dayton Review

Cover and table of contents for Volume 14, Issue 1

Introduction And Program: 1978 Ohio Shakespeare Conference, R. Alan Kimbrough

University of Dayton Review

No abstract provided.

Revisionist Art: Macbeth On Film, Frances K. Barasch

University of Dayton Review

From one point of view, art is a matter of influence and criticism, as Harold Bloom suggests in The Anxiety of Influence. Each poet, that is, each "maker," works under the influence of antecedent arts. In creating a new work, the artist reduces the parent work and expands it to a new meaning. As Bloom puts it, "The meaning of a poem can only be another poem," and the two poems are never the same. Every new poem, Bloom continues, is "misinterpretation, … is anxiety of influence, is misprision, is a disciplined perverseness," or, in other words, it is "contraction …