Makbet: Wydanie z opracowaniem (LEKTURA Z OPRACOWANIEM)

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Macbeth–a general in the army of King Duncan; originally Thane of Glamis, then Thane of Cawdor, and later king of Scotland A performance which is frequently referenced as an example of the play's curse was the outdoor production directed by Burgess Meredith in 1953 in the British colony of Bermuda, starring Charlton Heston. Using the imposing spectacle of Fort St. Catherine as a key element of the set, the production was plagued by a host of mishaps, including Charlton Heston being burned when his tights caught fire. [121] [122] The chill of the grave seemed about you when you looked on her; there was the hush and damp of the charnel house at midnight ... your flesh crept and your breathing became uneasy ... the scent of blood became palpable to you. The RSC again achieved critical success in Gregory Doran's 1999 production at The Swan, with Antony Sher and Harriet Walter in the central roles, once again demonstrating the suitability of the play for smaller venues. [129] [130] Doran's witches spoke their lines to a theatre in absolute darkness, and the opening visual image was the entrance of Macbeth and Banquo in the berets and fatigues of modern warfare, carried on the shoulders of triumphant troops. [130] In contrast to Nunn, Doran presented a world in which king Duncan and his soldiers were ultimately benign and honest, heightening the deviance of Macbeth (who seems genuinely surprised by the witches' prophecies) and Lady Macbeth in plotting to kill the king. The play said little about politics, instead powerfully presenting its central characters' psychological collapse. [131]

Stoll, E. E. (1943). "Source and Motive in Macbeth and Othello". The Review of English Studies. Oxford University Press. 19 (73): 25–32. doi: 10.1093/res/os-XIX.73.25. eISSN 1471-6968. ISSN 0034-6551. JSTOR 510055. Macbeth ( / m ə k ˈ b ɛ θ/, full title The Tragedie of Macbeth) is a tragedy by William Shakespeare. It is thought to have been first performed in 1606. [a] It dramatises the damaging physical and psychological effects of political ambition on those who seek power. Of all the plays that Shakespeare wrote during the reign of James I, Macbeth most clearly reflects his relationship with King James, patron of Shakespeare's acting company. [1] It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy. [2]But the glue that keeps all of these future meditations in place, and acts as the main device in Macbeth linking present to future, is the role of prophecy. Palmer, J. Foster (1886). "The Celt in Power: Tudor and Cromwell". Transactions of the Royal Historical Society. Royal Historical Society. 3 (3): 343–370. doi: 10.2307/3677851. eISSN 1474-0648. ISSN 0080-4401. JSTOR 3677851. S2CID 162969426. Archived from the original on 26 July 2020 . Retrieved 4 May 2020.

Lanier, Douglas (2002). Shakespeare and Modern Popular Culture. Oxford Shakespeare Topics. Oxford: Oxford University Press. ISBN 978-0-19-818706-6. Beaumont, Francis (1969). Hattaway, Michael (ed.). The Knight of the Burning Pestle. The New Mermaids. London: Ernest Benn. hdl: 2027/mdp.39015005314193. Sprague, Homer B., ed. (1889). Shakespeare's Tragedy of Macbeth. Silver series of classics. New York: Silver, Burdett, & Co. hdl: 2027/hvd.hn3mu1. Braunmuller, Albert R., ed. (1997). Macbeth. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0-521-29455-3. The first professional performances of Macbeth in North America were probably those of The Hallam Company. [80]

Tatspaugh, Patricia (2003). "Performance History: Shakespeare on the Stage 1660–2001". In Wells, Stanley; Orlin, Lena Cowen (eds.). Shakespeare: An Oxford Guide. Oxford: Oxford University Press. pp.525–549. ISBN 978-0-19-924522-2.

Scholars also cite an entertainment seen by King James at Oxford in the summer of 1605 that featured three " sibyls" like the weird sisters; Kermode surmises that Shakespeare could have heard about this and alluded to it with the weird sisters. [25] However, A. R. Braunmuller in the New Cambridge edition finds the 1605–06 arguments inconclusive, and argues only for an earliest date of 1603. [26] Uroczysta kolacja: Podczas uczty Makbet widzi ducha Banquo i wpada w szał, co budzi podejrzenia innych szlachciców. W innej pałacowej komnacie Makbet rozmawia z żoną o tym, cozrobili. Prosi ją,by podczas wieczornej uczty była możliwie spokojna i pogodna. Mówi też, że:„Grzech sił dodaje dzieciom nieprawości”.To zapowiedź kolejnych zbrodni. Brown, John Russell, ed. (2001). The Oxford Illustrated History of the Theatre. Oxford: Oxford University Press. ISBN 978-0-19-285442-1. Wills, Garry (1996). Witches and Jesuits: Shakespeare's Macbeth . Oxford: Oxford University Press. ISBN 978-0-19-510290-1.Wells, Stanley; Taylor, Gary, eds. (2005). The Complete Works. The Oxford Shakespeare (2nded.). Oxford University Press. ISBN 978-0-19-926718-7. Bloom, Harold, ed. (2008). Macbeth. Bloom's Shakespeare Through the Ages. New York: Chelsea House. ISBN 978-0-7910-9842-4.

Hautboys and torches. Enter DUNCAN, MALCOLM, DONALBAIN, BANQUO, LENNOX, MACDUFF, ROSS, ANGUS, and Attendants King of England, James I (2016). The annotated Daemonologie: a critical edition. Warren, Brett. R. ISBN 978-1-5329-6891-4. OCLC 1008940058. Papadinis, Demitra, ed. (2012). The Tragedie of Macbeth: A Frankly Annotated First Folio Edition. Jefferson, North Carolina: McFarland. ISBN 978-0-7864-6479-1. All theatres were closed down by the Puritan government on 6 September 1642. Upon the restoration of the monarchy in 1660, two patent companies (the King's Company and the Duke's Company) were established, and the existing theatrical repertoire divided between them. [76] Sir William Davenant, founder of the Duke's Company, adapted Shakespeare's play to the tastes of the new era, and his version would dominate on stage for around eighty years. Among the changes he made were the expansion of the role of the witches, introducing new songs, dances and 'flying', and the expansion of the role of Lady Macduff as a foil to Lady Macbeth. [77] There were, however, performances outside the patent companies: among the evasions of the Duke's Company's monopoly was a puppet version of Macbeth. [78]Macbeth also asks whether Banquo's sons will ever reign in Scotland, to which the witches conjure a procession of eight crowned kings, all similar in appearance to Banquo, and the last carrying a mirror that reflects even more kings. Macbeth realises that these are all Banquo's descendants having acquired kingship in numerous countries. The ‘moral’ of Macbeth, if we can run the risk of reducing the play to an ethical message in this way, is that to usurp the ruler of a kingdom is usually a Bad Idea, at least if the ruler is generally thought to be a good one and your motivation for wanting to kill and replace them is your own grasping ambition to be monarch yourself. Which brings us to the last major theme of Macbeth worth mentioning in this short analysis (before the analysis becomes somewhat less than short)… Shakespeare made another important change. In Chronicles, Banquo is an accomplice in Macbeth's murder of King Duncan, and plays an important part in ensuring that Macbeth, not Malcolm, takes the throne in the coup that follows. [12] In Shakespeare's day, Banquo was thought to be an ancestor of the Stuart King James I. [13] (In the 19th century it was established that Banquo is an unhistorical character; the Stuarts are actually descended from a Breton family which migrated to Scotland slightly later than Macbeth's time.) The Banquo portrayed in earlier sources is significantly different from the Banquo created by Shakespeare. Critics have proposed several reasons for this change. First, to portray the king's ancestor as a murderer would have been risky. Other authors of the time who wrote about Banquo, such as Jean de Schelandre in his Stuartide, also changed history by portraying Banquo as a noble man, not a murderer, probably for the same reasons. [14] Second, Shakespeare may have altered Banquo's character simply because there was no dramatic need for another accomplice to the murder; there was, however, a need to give a dramatic contrast to Macbeth—a role which many scholars argue is filled by Banquo. [12] Performances outside the patent theatres were instrumental in bringing the monopoly to an end. Robert Elliston, for example, produced a popular adaptation of Macbeth in 1809 at the Royal Circus described in its publicity as "this matchless piece of pantomimic and choral performance", which circumvented the illegality of speaking Shakespeare's words through mimed action, singing, and doggerel verse written by J. C. Cross. [94] [95] Ellen Kean and Charles Kean as the Macbeths, in historically accurate costumes, for an 1858 production A print of William Charles Macready playing Macbeth, from a mid-19th century performance Trzy wiedźmy – parodia Makbeta autorstwa Terry’ego Pratchetta, powieść fantasy z cyklu Świat Dysku.