"Stage and Screen: The Trevor Nunn Macbeth." Shakespeare Quarterly 38 (1987): 350-59. Cambridge New York: Cambridge University Press, 1984. "Sir William D'Avenant's So-Called Improvements of Macbeth (1674)." Actas del I congreso nacional (1990): 211-22. Manchester New York: Manchester University Press, 1992. ![]() Newark: University of Delaware Press, 2004. "'To be observed': Cue One Macbeth." In Re-Visions of Shakespeare: Essays in Honor of Robert Ornstein, edited by Evelyn Gajowski, 165-86. Welles on Macbeth: Character or Fate?" Literature/Film Quarterly 14, no. "Reinterpreting Macbeth Through the Director's Employment of Non-Verbal Devices." Maske und Kothurn 29 (1983): 160-67. London: Hern, 1993 Portsmouth, NH: Heinemann, 1995. Granville Barker's Prefaces to Shakespeare: "Macbeth". "Stoppard's Adaptations of Shakespeare: Dogg's Hamlet, Cahoot's Macbeth." Comparative Drama 18 (1984-85): 222-40. "Macbeth" in the Swedish Theatre 1838-1986. "'He Shall Live a Man Forbid': Ingmar Bergman's Macbeth." Shakespeare Survey 36 (1983): 65-72.įridén, Ann. London and Boston: Routledge, 1982.įridén, Ann. " Macbeth: 1946-80 at Stratford-upon-Avon." In Focus on Macbeth, edited by John Russell Brown, 87-110. "Kemble's Production of Macbeth: Some Notes on Scene Painters, Scenery, Special Effects, and Costumes." Theatre Notebook 21 (1967): 63-74.Įvans, Gareth Lloyd. Siddons in Macbeth: The Romantic Approach to Tragic Character." Theatre Notebook 22 (1968): 65-86.ĭonohue, Joseph W., Jr. London: Oxford University Press, 1949.ĭonohue, Joseph W., Jr. "On the Knocking on the Gate in Macbeth." In Shakespeare Criticism, edited by D. "Helen Faucit's Lady Macbeth." Shakespeare Studies 16 (1983): 205-33.ĭe Quincey, Thomas. Oxford: Clarendon Press, 1990.Ĭarlisle, Carol J. "Artistic and Social Dimensions of Black Cultures in the 'Voodoo' Macbeth." Journal of American Drama and Theatre 4, no. Cambridge: Cambridge University Press, 1969.īlansfield, Karen C. "The D'Avenant-Betterton Macbeth." Komos 1 (1967): 41-48.īartholemeusz, Dennis. "A 'New Deal' and a New Direction: Welles' and Houseman's Depression-Era Productions of Macbeth, Doctor Faustus, and Julius Caesar." Theatre Studies 45 (2001): 16-49.īartholomeusz, Dennis. (For sinister effects, compare Orson Welles's 1935-6 Negro Theater of NYC production, Margaret Webster's 1942 production and Cal Shakes's 2002 production.) ImagesĪxline, Kimberly L. However, its brevity and sinister effects have made the play popular. All too often the play is staged in semidarkness (compare RSC 1983 and National Theatre 1993) and the Scottish setting and accents can be a challenge. Ironically, the historical originals of the Macbeths were among Scotland's better rulers but the affiliation of Scottish King James I with Banquo invited Shakespeare to demonize his rival (as depicted on this Edwardian postcard). Patrick Campbell, Lily Langtree, Judith Anderson, and Janet Suzman) have excelled in the part. ![]() Bowers, Adelaide Ristori, Ellen Terry, Mrs. The role of Lady Macbeth is held to be one of Shakespeare's most vivid evocations of a powerful but misguided woman who pays for her misjudgment of her own resilience: many famous actresses (including Mrs. The evocation of evil is as strong as in any play, including its analogues in Henry VI and Richard III. The play is almost uniformly gloomy and without humor: even the sardonic Porter scene may add to its horror more than providing comic relief as De Quincey argues. Probably because of being heavily cut, Macbeth is one of Shakespeare's shortest plays, and even so the Hecate scenes may have been re-extended possibly by Middleton, since the interpolated songs at 3.5.13 and 4.1.43 are his.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |