teacher’s resource kit - macbeth · macduff - the thane of fife. this character is also a foil to...
TRANSCRIPT
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TEACHER’S RESOURCE KIT - MACBETH
Prepared by: Scott Alderdice
Lecturer in Acting
School of Creative Arts
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BRIEF HISTORY Macbeth was first performed at Hampton Court before King James 1 of England in 1606. Eight months earlier, in November 1605 the famed Gunpowder Plot to assassinate King James had been discovered with only hours to spare and several conspirators, purportedly led by Guy Fawkes, were eventually tried and executed. London was awash with theories of conspiracy, treason and unrest. These were fractious times in the early years of James rule. Elizabeth 1, the last of the Tudors, had left no heir and bringing the young and psychologically fragile King of Scotland to the English court, rife with shifting allegiances and an undercurrent of Catholic insurgency was never going to be a seamless transition of power. James, who, in 1597 had penned a compendium of witchcraft law, Daemonologie, was deeply suspicious, even superstitious of the forces of evil trying to unseat him from his divine right to occupy the English throne. The Gunpowder Plot brought into stark reality the calamity that could be caused a nation and its nobility if a monarch were assassinated. Within this larger political landscape, Shakespeare’s company, throughout the rule of Elizabeth, had operated as The Lord Chamberlain’s Men, under the patronage of Lord Henry Carey. In 1603, King James ascended the throne of England and became the company’s patron, changing their name to The King’s Men. Clearly, with their future professional practice tied directly to the new King, and in the aftermath of the shocking revelations of the Gunpowder Plot, there was every reason for Shakespeare, the main writer within the King’s Men, to produce a play that exalted James 1 and his right to the English Crown. As was oft his practice, Shakespeare turned to Holinshed’s Chronicles (1577-87) for his source material. There he found the story of Mac Berthad mac Findlaich (Macbeth), who, in 1040, had beaten and killed the unpopular King Donnchad mac Crinain (Duncan 1) over a battle for land at Elgin. According to Holinshed’s Chronicles Macbeth was assisted by Lord Banquo, who was an ally in Malcolm’s death and Macbeth’s rule. Although there is considerable doubt among scholars that Banquo was ever a real historical figure, rather a fictionalised construction by a previous historian called Hector Boece, in Shakespeare’s time Banquo was popularly believed to have been the grandfather of the line of the House of Stuarts which culminated in the patron of the King’s Men, James 6th of Scotland and King James 1st of England. There was little to be gained by Shakespeare writing a play that depicted the early ancestor of the King of England as a royal assassin and usurper. It is reasonable to assume therefore, that Shakespeare chose to alter the character and actions of Banquo to support the regality of the Stuart line, and to add credence to the divine right of James 1st of England in the eyes of his London and royal court audience. Scholars also argue that by separating Banquo from Macbeth’s inculcation by the witches and his ensuing treasonable acts, Shakespeare was creating a foil for Macbeth’s failings which presented a moral and valorous character to be upheld as an example of human decency, humility and virtue. All arguments aside, Shakespeare wrote his own dramatized version of Scottish history, engaging themes of divine right to rule; honour and loyalty; the hidden face of meaning; ambition and power; the meaning and value of life and the roles of women and men in society; all to be played before the King in the most tumultuous times of his early reign.
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CHARACTER LIST AND BRIEF DESCRIPTION WITCH ONE – one of the coven of three who manipulate Macbeth with their double-
-sided predictions throughout the play. In this production the witches
play several other pivotal characters in the play – highlighting their
control and manipulation of the actions and decisions made
throughout.
WITCH TWO - one of the coven of three who manipulate Macbeth with their double-
-sided predictions throughout the play. In this production the witches
play several other pivotal characters in the play – highlighting their
control and manipulation of the actions and decisions made
throughout.
WITCH THREE - one of the coven of three who manipulate Macbeth with their double-
-sided predictions throughout the play. In this production the witches
play several other pivotal characters in the play – highlighting their
control and manipulation of the actions and decisions made
throughout.
MACBETH – A formidable warlord capable of defeating an army almost single
handed.
KING DUNCAN - The King of Scotland at the start of the play
MALCOLM - The Prince of Cumberland. Malcolm’s son. First in line for the throne.
MENTEITH - A Thane of Scotland. In this production he also appears as the sergeant
who reports on the battle between Macbeth and Macdonwald in the
first court scene. He eventually joins forces with Malcolm to defeat
Macbeth.
ANGUS - A Thane of Scotland. He eventually joins forces with Malcolm to
defeat Macbeth.
BANQUO - Macbeth’s brother in arms. In this production Banquo is played as a
female warrior. She does not succumb to the temptations instigated by
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the witches prophecies and warns Macbeth of the dangers of acting
upon them. Acts as something of a dramatic foil to Macbeth.
MACDUFF - The Thane of Fife. This character is also a foil to Macbeth. He refuses
to accept the implication that Malcolm has murdered his father and
decides not to support the coronation of Macbeth. From here he
follows a pathway of rebellion against Macbeth.
ROSS - A Thane of Scotland. Ross is placed in conflict when he cannot believe
the story of Malcolm’s guilt in slaying King Duncan, but nevertheless
decides to attend and support the coronation of Macbeth. Ross
becomes something of a double agent until he eventually flees to
England to join the forces of Malcolm against Macbeth.
LENNOX - A Thane of Scotland. Maintains his allegiance to Macbeth but switches
sides at the end.
THE OLD MAN - In this production he is presented as an ancient mage – an oracle-type
figure who can read the omens presented by nature. Ross travels to see
the Old Man in the days following Duncan’s murder. The Old Man
gives a picture of the supernatural cataclysm that has been visited upon
Scotland.
LADY MACBETH’S ATTENDANT – A messenger figure that acts as a link between
major characters. In this production the character is presented as a
supernatural being designed to give atmosphere to Macbeth’s castle of
Inverness.
LADY MACDUFF – The wife of Macduff. When he rides to England to seek Malcolm’s
return, Macduff leaves his castle unprotected. And it is Lady Macduff
who stands defenceless against the murderers that Macbeth sends.
Lady Macduff is, by virtue of her being one of only two noble ladies
Shakespeare depicts in the play, a natural foil to Lady Macbeth.
YOUNG MACDUFF – Macduff’s first born son. Also murdered by Macbeth’s men.
MACBETH’S ATTENDANT - SEYTON – Traditionally a squire, in this production this
character has been conflated with other messengers and servants to
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create one supernatural and deathly creature that is something of an
outgrowth of Macbeth’s primal malevolence.
THE DOCTOR - A mix between an apothecary and a priest. This archetypal character of
wisdom and professional virtue is summoned to interpret the distress
that is experienced by Lady Macbeth at the end of her life. He is
something a foil to the malevolence of the witches. In this production
that theme of the hidden face of truths is explored further by this
character being played by Witch One.
THE GENTLEWOMAN – She is a lady attendant to Lady Macbeth and summons the
Doctor for aid when Lady Macbeth’s plight goes beyond her common
level of knowledge.
OLD SIWARD - He is an old warlord of the north of England. It is Old Siward who
provides an army of ten thousand for Malcolm to lead back into
Scotland. In this production the character is played as an old female
warrior.
YOUNG SIWARD - In this production this character is played as a female warrior. Young
Siward must carry the family line into battle and it is her bravery in
facing the formidable fighting of fury, and in dying, which swings the
audience allegiance against Macbeth in the final stages of the play.
THE PORTER - In this production the porter is played by two of the witches. The
Porter scene acts as a welcome comic reprieve from the violence and
anxiety released in the scene following Duncan’s death, and
immediately after, the discovery of his murder. The Porter scene also
brings comic focus to one of the key themes of the play, and one which
was prominent in the period immediately following the Gunpowder
Plot – that of equivocation; where what one said publically might be
entirely different than what one truly believed, and acted in private.
MESSENGERS - Two messengers appear towards the end of the play. One comes to
warn Macbeth that ten thousand soldiers are approaching the Castle
Dunsinane. The second comes to tell him of a marching forest. Both
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messengers reveal to Macbeth twists to the prophecies the witches
have told and serve to ensnare him further into their trap.
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THE PLOT OF THE PLAY
A1S1 -: The three witches resolve to meet next when Macbeth has won his most recent
battle.
A1S2-: In the court of King Duncan, he is given report that Macbeth and Banquo have
Against the odds, won a battle against the invading and rebellious forces of Norway (The Vikings) aided by the traitor, the Thane of Cawdor. King Duncan announces the execution of Cawdor and sends messengers to confer the title of Cawdor on Macbeth.
A1S3-: Returning from the battle, Macbeth and Banquo are waylaid by the witches.
The witches announce a prediction that Macbeth will be Thane of Cawdor and then King of Scotland. When Banquo comes to Macbeth’s aid and commands the witches to make a prediction for her, the witches announce her children will be placed on the throne of Scotland.
After the witches have vanished, Macbeth and Banquo are troubled by the predictions. They are interrupted by the arrival of Angus and Ross from the Court of Duncan, who announce Macbeth’s new title as the Thane of Cawdor.
The first prediction of the witches has come true.
Banquo warns Macbeth about the dangers of believing in the witches predictions and the party rides on towards the Court of Duncan.
A1S4-: Duncan is troubled that he could not discern the real and treasonous intentions
of the Thane of Cawdor . As Macbeth arrives and celebrates his allegiance to Duncan the audience and Banquo are aware that he has hidden thoughts that he does not divulge to his King. Duncan announces the heir to his throne to be his son, Malcolm. Duncan then announces that, in honour of Macbeth’s victory the royal court will progress to visit Macbeth’s castle at Inverness. Macbeth pledges to rise ahead and prepare his wife and castle for the arrival of the King, but on his way, he shares with the audience his fury at the assignment of Malcolm as the next king of Scotland.
A1S5-: At Inverness, Lady Macbeth reads a letter from Macbeth telling her of the
prediction from the witches. Fearing that her husband does not have the pragmatism to break his fealty to the King and grasp the throne, Lady Macbeth summons the forces of darkness to help her win Macbeth to treason.
Macbeth arrives ahead of the royal party and Lady Macbeth assures him that she will take care of the preparations for murdering Duncan.
A1S6-: Duncan’s royal party arrive at Inverness and are greeted by Lady Macbeth.
Macbeth fails to appear to welcome his King.
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A1S7-: It is halfway through dinner festivities at Inverness and Macbeth has left the
main hall to wrestle with his conscience over the proposed murder of Duncan. Lady Macbeth arrives to chastise him for his absence and then for his cowardice in backing away from the plan to kill Duncan. Lady Macbeth describes how she will drug the guards to Duncan’s chamber, which will allow Macbeth free access to commit the murder. Resolved to carry out the deed both Macbeth’s return to the dinner party.
A2S1-: It is past midnight at Inverness, and Banquo meets with her son, Fleance.
Though exhausted from the journey to Inverness, Banquo cannot sleep. Suddenly they are interrupted by Macbeth, who is also awake long after everyone else is asleep. Macbeth suggests that they meet to discuss the predictions of the witches at some time in the future, and though guarded, Banquo acquiesces.
Banquo leaves to go to bed and Macbeth is surprised by the vision of a dagger in the air before him. He eventually takes the dagger as a sign that his intent to murder Duncan is inevitable. He leaves to commit the deed.
A2S2-: In the Macbeth’s chamber Lady Macbeth rushes in, exultant at having fulfilled
her part of the plan. She has successfully drugged Duncan’s guards. Shrill cries and shouts from within the castle startle her, afraid that Macbeth may have been discovered and their treasonous plan foiled.
Macbeth enters, having murdered Duncan. He is in a state of high anxiety. The sleeping guards half awoke as he left Duncan’s chamber and cried out a blessing in their drugged stupor, but having just murdered the King Macbeth was unable to speak the words ‘amen’ as a benediction to the guards words. Macbeth is afraid he has become separate from God for his deed.
Lady Macbeth discovers Macbeth has carried the daggers, the murder instruments back to the chamber with him. The plan was to leave them with the sleeping guards. Lady Macbeth leaves with the daggers to plant them on the guards. Left alone, Macbeth wrestles with his guilt believing he will be damned for eternity. Lady Macbeth returns to usher Macbeth to bed, so that they may appear surprised when Duncan’s body is discovered.
Loud knocking is heard across the castle.
A2S3-: A porter appears to open the castle night gate at the knocking. The Porter rails
against this late visitor, likening the Castle of Inverness to Hades and he as the Porter to Hell. The porter cites common examples of people who would appear to be decent citizens, yet had secret flaws that would relegate them to Hell.
The Porter eventually opens the door to let Macduff and Lennox into the castle.
Macduff has been charged with waking Duncan early. Macbeth appears and shows Macduff to the doorway to Duncan’s wing.
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Lennox discusses with Macbeth how the night has been unsettled by tumultuous unnatural weather conditions, earthquakes and supernatural manifestations.
Macduff breaks in to announce the murder of the King. He rouses the other members of the royal party.
Duncan’s son, Malcolm, demands to know the name of the murderer and Lennox explains that his sleeping guards were discovered with two bloody daggers. It is at that point that Macbeth reveals he murdered the guards. When challenged by Macduff for a reason Macbeth claims he was incensed at the death of the King and challenges Macduff that anyone of any valour would have done the same. A fight ensues among all of the gathered Thanes. Lady Macbeth feigns fainting to distract the fight and then Banquo ends the fight, demanding everyone gain their composure before meeting to decide on appropriate action to discover the traitors who have murdered King.
As the group depart, Prince Malcolm, Duncan’s son, decides for his own safety, to flee for England.
A2S4-: The Thane of Ross meets with an old sage to discuss the gravity of the times.
Strange supernatural omens that indicate the world has been turned upside down have abounded since the killing of Duncan.
Macduff arrives and Ross discovers Malcolm’s flight to England has incriminated him in the murder of Duncan and Macbeth has been appointed new King of Scotland. Macduff clearly does not support the situation and has decided not to attend Macbeth’s coronation. He will clearly be seen to be in opposition to Macbeth for this decision. Ross decided to attend the coronation, but maintains friendship and communication with Macduff. Ross has just become a double agent.
As both men depart, there are clearly troubled times ahead for Scotland.
A3S1-: At Macbeth’s coronation Banquo quietly muses at Macbeth having attained the
prediction of the witches. She is sure Macbeth was behind the murder of Duncan and is tempted by their prediction that her children would replace Macbeth on the throne of Scotland.
The new King, Macbeth and his Queen arrive.
Macbeth demands Banquo attend their coronation banquet, scheduled for later that evening.
Banquo commits to attendance, but announces she must spend the afternoon on a short journey with her son, Fleance.
Macbeth wishes them well on their journey.
At Banquo’s departure, Macbeth summons two murderers and gives them the task of killing Banquo as she returns from her journey. Recalling the witches’
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prediction of her children rising to the throne, Macbeth also commissions the murderers to kill her son, Fleance.
A3S2-: Alone in the castle, Lady Macbeth is troubled by her husband’s state of mind.
He arrives to reveal his mental anguish at the threat posed by Banquo’s life and children. Lady Macbeth tried to reassure him, but is unsettled herself when he half reveals his intent to have Banquo murdered. Lady Macbeth is troubled by Macbeth’s continued plans of violence and murder to protect his throne.
A3S3-: Outside the castle Banquo is set upon by the murderers and killed. Fleance
however, escapes.
A3S4-:At Macbeth’s coronation banquet Banquo fails to appear. Macbeth feigns
Disappointment to his other assembled nobles, while absenting himself from the party to receive a report from the murderers. Though infuriated by word of Fleance’ escape, Macbeth is relieved at news of Banquo’s death.
He returns to the party, but when he goes to take his seat the spirit of Banquo appears. Macbeth is stricken and rages at the ghost, which nobody else sees. The ghost disappears and Lady Macbeth tries to calm her husband. Again the ghost appears and Macbeth challenges it and scatters the table of guests. When the ghost disappears again Lady Macbeth dismisses the dinner guests under the ruse that Macbeth is unwell.
After the guests have departed Macbeth determines to visit with the witches again to discover what further ill awaits him. He also determines to discover Macduff’s whereabouts and intentions against his throne.
A3S5-: The witches are visited upon by the Goddess of witchcraft. She is furious at their
meddling with humans. She tasks the witches with meeting again with Macbeth wherein she will provide illusions of his future fate.
A3S6-: Lennox meets with Angus to quietly discover the circumstances of Macduff.
Angus, who is clearly one of the thanes in support of Macduff reveals that Malcolm has received favourable shelter from the King of England, and Macduff has ridden to England to urge Malcolm to raise an English army and return to unseat Macbeth. The most recent news is that Macbeth has sent murderers to the unprotected castle of Macduff.
A plan to send messengers to England to urge Malcolm and Macduff’s speediest return is quietly made.
A4S1-:Macbeth meets with the witches and the conjure for him four visions. The first
warns him of the danger of Macduff. The second warns him that he cannot be killed by any man of woman born. The third proclaims that Macbeth will not be overthrown until Birnam Wood marches to Dunsinane. All of these visions, Macbeth takes as assurance that as long as he has Macduff killed, he will never
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be overthrown. The fourth vision shows him a line of Kings extending from Banquo for generations to come.
When the witches disappear, Macbeth learns that Macduff has fled to England to seek the return of Malcolm. Macbeth resolves to have Macduff’s castle sacked and his family put to the sword.
A4S2-: At the Castle of Fife, Ross tries to reassure Lady Macduff that her husband has
not been negligent in leaving her and the castle unprotected. Ross makes a quick departure and the murderers enter the castle and kill Lady Macduff and her son.
A4S3-:In England, Macduff finally convinces Malcolm to return to Scotland to seize the
throne. Malcolm reveals that the old warrior, Siward has assembled an army of ten thousand men and that they are ready to march on Scotland.
Ross arrives to tell of the murder of Macduff’s family. Macduff pledges vengeance upon Macbeth.
Together, they leave to lead the army to Scotland.
A5S1-: At Dunsinane, a Doctor watches with a gentlewoman as Lady Macbeth walks in
her sleep. Deeply traumatised by her guilt and by a separation from her husband. Lady Macbeth nightly relives the murders of their King and countrymen.
The Doctor realises the secret of the Macbeth’s and announces that his medicines and practice cannot cure a mind and spirit so deeply troubled.
A5S2-:Two Scottish Lords, Angus and Menteith meet to discuss the impending
arrival of the army led by Malcolm and Macduff. Macbeth’s assembled forces, they note, are allied only through fear, whereas Malcolm’s army marches for vengeance and loyalty to the rightful throne. Angus and Menteith commit their own forces to riding to meet and join the army of Malcolm against Macbeth.
A5S3-: At Dunsinane Macbeth fortifies his castle against the approaching English forces
and clings to the witches predictions that he cannot be defeated by a man of woman born, nor until a forest marches upon his castle.
On questioning from Macbeth, the Doctor implies that Lady Macbeth’s illness is due to their secret crimes. Macbeth scorns the doctor’s truth and flaunts news of desertions from his army in the face of the English forces. Macbeth is readying for a fight to the death.
A5S4-: The English forces, led by Malcolm, Macduff and Old Siward meet with those of
the Scottish Lords. To hide their growing numbers, Malcolm suggests they hew down branches from Birnam forest and carry them on their march towards Castle Dunsinane.
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A5S5-:At Dunsinane Macbeth prepares for a siege when he is interrupted by news of
Lady Macbeth’s suicide. He pauses momentarily to grieve her and to realize the futility of his existence.
A messenger arrives to announce the approach of a marching forest. Realising that Birnam Wood is come to Dunsinane and faced with the trickery of the witches, Macbeth throws open the Castle gates and prepares to fight to the death in the field.
A5S6-: Malcolm’s forces assemble battle positions and then storm the castle.
A5S7-: Surrounded, Macbeth prepares to fight to the death. He is challenged by Young
Siward and immediately dispatches them.
Macduff searches throughout the castle for Macbeth.
Macbeth’s forces are capitulating. Malcolm is led in by Old Siward through the inner wall.
A5S8-: Macbeth is confronted by Macduff. They fight. Macbeth has the upper hand
when he learns that Macduff was caesarean born and therefore has not been naturally born ‘of woman’. Macbeth refuses to fight with Macduff further.
As the English forces assemble in the inner castle Old Siward learns of the death of her daughter.
Suddenly Macbeth appears again with Macduff. They fight and Macbeth is killed.
Malcolm is declared King of Scotland by the assembled Thanes of Scotland.
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THE THEMES OF MACBETH
EQUIVOCATION – APPEARANCE Vs REALITY
With the Gunpowder Plot still occupying the gossip and intrigue of London, Shakespeare’s
play about the assassination of a rightful King, and then the overturning of a usurper is
profoundly engaged in questions of a hidden truth; an outer face hiding a secret inner intent.
Lines connected to this theme:
Witches - “Fair is foul and foul is fair”. A1S1
Duncan – “There’s no art to find the mind’s construction in the face.” A1S4
Banquo – “The instruments of darkness tell us truths, win us with honest trifles, to betray us
in deepest consequence.” A1S3
Lady Macbeth – “Your face, my Thane, is as a book where men may read strange matters.”
A1S5
Lady Macbeth – “Look like the innocent flower, but be the serpent under’t.” A1S5
Second Apparition – “None of woman born shall harm Macbeth.” A4S1
Third Apparition – “Macbeth shall never vanquished be until Great Birnam Wood to high
Dunsinane hill shall come against him.” A4S1
Macbeth – “I pull in resolution, and begin to doubt the equivocation of the fiend that lies like
truth.” A5S5
GENDER ROLES AND POWER
For much of his life and career Shakespeare’s England was ruled by a female monarch,
Elizabeth 1. This challenged the fierce patriarchy of the time and often led to Shakespeare
investigating the expansion of or even swapping normative gender roles and behaviours. It is
interesting that of the two noble women presented in this play, one is seen to rule her husband
(Macbeth) and on several occasions to call on the forces of darkness to free her from her
nurturing nature of a traditional female role. For her transgression of gender norms Lady
Macbeth is left abandoned and bereft and eventually commits suicide - a fate that, according
to early modern beliefs, would see her damned for eternity. Conversely, Lady Macduff is
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seen as the inevitable cost of war. Abandoned by her husband, she is left to criticise his
decision to choose loyalty to the crown over his responsibility to her. For her disloyalty to her
husband, she is murdered. Conversely, on several occasions throughout the play Macbeth is
seen to be tempted from what he knows is righteous behaviour by his wife. Moreover, he is
continuously led astray by witches, female ‘hags’ who exist on the outer from society. On
seeing Macduff brought down by the news of the slaughter of his family, Malcolm exhorts
Macduff to ‘manly’ behaviour.
Lady Macbeth – “Come, you spirits that tend on mortal thoughts, unsex me here, and fill me
from the crown to the toe top-full of direst cruelty.” A1S3
Lady Macbeth - “Come to my woman’s breasts, and take my milk for gall…” A1S3
Macbeth – “I dare do all that may become a man.” A1S7
Lady Macbeth – “When you durst do it, then you were a man; And, to be more than what you
were, you would be so much more the man.” A1S7
Macbeth – “Bring forth men-children only; for thy undaunted mettle should compose nothing
but males.” A1S7
Macbeth – “Who can be wise, amazed, temperate and furious, loyal and neutral, in a
moment? No man - …” A2S3
Macbeth – “Let’s briefly put on manly readiness, …” A2S3
Lady Macbeth – “Are you a man?” Macbeth – “Aye, and a bold one…” A3S4
Macbeth – “What man dare, I dare - … if trembling I inhabit then, protest me the baby of a
girl.” A3S4
Macbeth – “Why, so being gone, I am a man again.” A3S4
Lady Macduff – “… to leave his wife, to leave his babes, his mansion and his titles in a place
from whence himself does fly? He loves us not.” Ross – “My dearest coz, I pray you, school
yourself: but for your husband, he is noble, wise, judicious, and best knows the fits ‘o the
season…” A4S2
Malcolm – “Why in that rawness left you wife and child, without leave taking?” – A4S3
Malcolm – “Dispute it like a man.” Macduff – “ I shall do so; but I must also feel it as a
man:…” A4S3
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Macduff – “ O, I could play the woman with mine eyes and braggart with my tongue.” A4S3
Malcolm – “This tune goes manly.” A4S3
SUPERNATURAL POWER, FATE AND FREE WILL
The greatest warrior of his time, Macbeth is challenged by a temptation placed before him
through the prophecies of the witches. From the witches opening scene we know that they
meddle with humans, using trickery to confuse and waylay them. But it is not until the
entrance of Hecate, long after Macbeth has committed to usurping the throne of Scotland, do
we understand the plan the witches have to lead Macbeth astray through illusion or double
meaning. Up until that time, the audience, like Macbeth, have no reason to distrust the
prophecies of the witches. The question is, should Macbeth act upon those prophecies or
should he exercise his will to maintain his adherence to just and loyal behaviour. Are we
subject to the whims and fleeting opportunities of our time, or are we grounded by more
enduring values and sense of identity?
Second Witch - “All Hail, Macbeth, hail to thee, Thane of Cawdor.”
Third Witch – “All Hail, Macbeth, thou shalt be king hereafter!” A1S3
Banquo – “What, can the devil speak true?” A1S3
Banquo – “’Tis strange, and often times, to win us to our harm, the instruments of darkness
tell us truths, win us with honest trifles, to betray’s in deepest consequence.” A1S3
Macbeth – “cannot be ill, cannot be good: if ill, why hath it given me earnest of success,
commencing in a truth?” A1S3
Macbeth – “If chance will have me King, why, chance may crown me, without my stir.”
A1S3
Lady Macbeth – “Hie thee hither, that I may pour my spirits in thine ear; and chastise with
the valour of my tongue al that impedes thee from the golden round, which fate and
metaphysical aid doth seem to have thee crowned withal.” A1S5
Macbeth – “Is this a dagger I see before me, the handle toward my hand?” A2S1
Macbeth – “There’s no such thing: it is the bloody business which informs thus to mine
eyes.” A2S1
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Macbeth – “I go, and it is done; the bell invites me. Hear it not, Duncan, for it is a knell that
summons thee to heaven or to hell.” A2S1
Macbeth – “Methought I heard a voice cry, ‘Sleep no more! Macbeth doth murder sleep!’
A2S2
Macbeth – “Glamis hath murdered sleep, and therefore Cawdor shall sleep no more; Macbeth
shall sleep no more.’ A2S2
Lennox – “The night has been unruly: where we lay, our chimneys were blown down; and,
as they say, lamentings heard I’ the air; strange screams of death, and prophesying with
accents terrible, of dire combustion and confused events new hatched to the woeful time:
some say, the earth was feverous and did shake.” A2S3
Ross – “Is it night’s predominance, or the day’s shame, that darkness does the face of earth
entomb, by the clock, ‘tis day, and yet dark night strangles the travelling lamp?” A2S4
Old Man – “’Tis unnatural, even like the deed that’s done. On Tuesday last, a falcon,
towering in her pride of place, was by a mousing owl hawk’d and kill’d.”
Ross – And Duncan’s horses – a thing most strange and certain – beauteous and swift, the
minions of their race, turn’d wild in nature, broke their stalls, flung out, contending ‘gainst
obedience, as they would make war with mankind.”
Old Man – “’Tis said they eat each other.”
Ross – “They did so, to the amazement of mine eyes.” A2S4
Macbeth – “Light thickens; and the crow makes wing to the rooky wood: Good things of day
begin to droop and drowse; while night’s black agents to their preys do rouse.” A3S2
Macbeth – “It will have blood; they say, blood will have blood: Stones have been known to
move and trees to speak.” A3S4
Macbeth – “I will tomorrow and betimes I will, to the weird sisters: more shall they speak;
for now I am bent to know, by the worst means, the worst.” A3S4
Hecate – “…and that distilled by magic sleights shall raise such artificial sprites as by the
strength of their illusion shall draw him on to his confusion: He shall spurn fate, scorn death,
and bear he hopes ‘bove wisdom, grace and fear…” A3S5
First Apparition – “Beware the Thane of Fife.” A4S1
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Second Apparition – “ …none of woman born shall harm Macbeth” A4S1
Third Apparition – “Macbeth shall never vanquished be until great Birnam Wood to high
Dunsinane Hill shall come against him.” A4S1
Macbeth – “Horrible sight! Now, I see, ‘tis true: for the blood-bolted Banquo smiles upon
me, and points at them for him.” A4S1
Macduff – “..gentle Heavens, cut short all intermission; front to front bring thou this fiend of
Scotland and myself, within my sword’s ;ength set him; if he ‘scape, Heaven forgive him
too.” A4S3
Doctor – “unnatural deeds do breed unnatural troubles.” A5S1
Macbeth – “I pull in resolution, and begin to doubt the equivocation of the fiend that lies like
truth.” A5S5
THE MEANING AND QUALITY OF LIFE
From the first moment we hear mention of Macbeth he is described as a national hero: a
warrior of such formidable renown that he is capable of stopping a rebel army in their tracks
singlehanded. He is eloquent in his protestations of loyalty to the King and writes letters of
genuine affection and loyalty to his wife. His tragedy is that from this lofty state of virtue, he
dares to believe that he may be worthy of the crown. From here he makes himself slave to the
twisting illusions and double-truths of the witches. He succumbs to hedonism – pledging to
act upon his first thoughts without reflection or consideration for consequence. The warrior of
valour becomes a raging beast of mortal desire. The wife that he so passionately loves at the
beginning of the play he abandons to her own stricken guilt as he becomes trapped in his own
battle to maintain his power. But within his dire fall from virtue, he retains the capability for
reflection upon that fall and for the deepest regret at the loss of his wife. He is a walking
example of a once valued life, fallen from grace.
Sergeant – “For brave Macbeth, disdaining fortune, with his brandished steel, which smoked
with bloody execution, carved out his passage till he faced the slave, which ne’er shook
hands, nor bade farewell to him, till he unseamed him from the nave to the chaps, and fixed
his head upon our battlements,”
Duncan: “ O valiant gentleman.” A1S2
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Ross – “Till that, the brave Macbeth confronted him with point against point, arm against
arm. Curbing his lavish spirit: and, to conclude, the victory fell on us.” A1S2
Macbeth – “The service and the loyalty I owe, in doing it, pays itself.” A1S4
Lady Macbeth (reading Macbeth’s letter) – “This have I thought good to deliver thee, my
dearest partner of greatness, that thou mightst not lose the joys of rejoicing, by being ignorant
of what greatness is promised thee. Lay it to thy heart, and farewell.” A1S5
Macbeth – “ I have no spur to prick the sides of my intent, but only vaulting ambition, which
o’erleaps itself and falls on the other.” A1S7
Lady Macbeth – “I have given suck, and know how tender ‘tis to love the babe that milks me:
I would, while it was smiling in my face, have plucked my nipple from his boneless gums,
and dashed the brains out, had I so sworn as you have done to this.” A1S7
Macbeth – “Whiles I threat, he lives: words to the heat of deeds to cold breath gives..” A2S1
Macbeth – “How is’t with me, when every noise appals me?” A2S2
Macbeth – “To know my deed t’were best not know myself.” A2S2
Second Murderer – “I am one, my liege, whom the vile blows and buffets of the world have
so incensed that I am reckless what I do to spite the world.”
First Murderer – “And I another, so weary with disasters, that I would set my lie on any
chance , to mend it, or be rid on it.” A3S1
Macbeth – “Better be with the dead, whom we, to gain our peace, have sent to peace, than on
the torture of the mind to lie in restless ecstasy.” A3S2
Macbeth – “Thou marvell’st at my words: but hold thee still; things bad begun make strong
themselves by ill.” A3S2
Macbeth – “I am in blood stepp’d in so far that, should I wade no more, returning were as
tedious as go o’er.” A3S4
Macbeth – “…from this moment the very firstlings of my heart shall be the firstlings of my
hand.” A4S1
Macbeth – “I’ll fight, till from my bones my flesh be hacked.” A5S3
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Macbeth – “I have lived long enough: my way of life is fallen into the sear, the yellow leaf;
and that which should accompany old age, as honour, love, obedience, troops of friends, I
must not look to have; but, in their stead, curses, not loud, but deep, mouth honour, breath,
which the poor heart would fain deny, and dare not.” A5S3
Macbeth – “I have almost forgot the taste of fears; the time has been, my sense would have
cooled to hear a night-shriek; and my fell of hair would at a dismal treatise rouse and stir as
life were in’t: but I have full with horrors; direness, familiar to my slaughterous thoughts
cannot once start me.” A5S5
“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.” A5S5
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SET DESIGN
The set design for Macbeth is based around a Steam Punk Theme.
1:25 scale model for the USQ 2019 production of Macbeth
The Steampunk aesthetic first came to prominence in the 1980’s. The visual aspects of
Steampunk reference the Victorian era of steam-powered industry and concomitant late 19th
Century fashions. But steampunk explores beyond a simplistic nostalgic reinvigoration of
past fashions, forms and lifestyles. It has grown to incorporate aspects of our modern world,
such as flight and a wide range of alternative transportation; of notions of time travel; of
electronica and of course divergent and mixed lifestyles and hierarchical systems of
governance and control. Particularly the ‘punk’ aspect of steam punk provokes a counter
world view to the modern day. With its resonance of a more simple, less ambivalent world
social and moral order, steam punk presents characters of large and starkly drawn qualities
and behaviours. In a steam punk world there are villains and heroes; there is the morally
righteous and upstanding and the profane and destructive. It is a world wherein values are
often inverted; where social and government leaders and the wealthy are often seen as
corrupt; and antagonistic and where the simple everyman fights for the common cause of
decency, empathy and of freedom of will and living circumstance.
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The steampunk world of Macbeth is a world made by humans, fashioned out of iron and steel
and the machinery of their own mechanical invention. A world wherein, from our Twenty-
first Century global climate change perspective, we see humans as creating their own
environment of entrapment. It is into this environment that we give the Carnivalesque
characters of the witches free rein to tempt and test and manipulate the humans of our story.
The witches are the antagonistic force in Macbeth. They begin the play. In this production,
they meet the audience in the foyer and work to form relationships with the audience
members. In this way, the audience is complicitous in the acts of temptation and trickery
upon Macbeth and the other characters drawn into the violence and betrayal of the story.
The witches domain is generally seen as occupying the raised levels that ring the central
podium. The podium itself invokes in shape and colouration a cauldron. The working space
or laboratory of the witches bedevilment. The double double – meanings and actions of the
entire play is a spell concocted by the witches and within and upon which the characters of
Scotland’s court dance and cavort to their meddlesome tune. Overhanging the cauldron is a
huge portal window – a window to an outside world. Through that window can most often be
seen the sky – an evocation of the heavens. The window fosters a sense of an outside world –
of freedom from the entrapment of the witches cauldron and trickery. Between the raging
fires of the witches hell-cauldron and the overlooking heavens, the humans of the Scottish
court must live and aspire, struggle, desire and conspire and some of them must die.
CLASS EXERCISE: (Class time – approximately 20 minutes.)
This exercise is best progressed in groups of three or more students.
Choose three or four words that capture the major qualities of the story of Macbeth.
They may be – witchraft; murder; Kings; and revenge.
What ‘world’ is best suited to these words. What movies, books or visual depictions
come to mind when you think of these words.
You might also choose a central scene in the play – a scene which for you captures the
very heart of the story. What ‘world’ – what place or time would best be created to
bring this scene to life?
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Do a Google images search to compile a reference page of visual ideas for your design of
the world of your production of this play.
The following are two reference images that were gathered to inform the design of this
production.
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COSTUME DESIGNS
Costume Design by Tonia Pawlyszyn.
Costume Design for Banquo Costume Design for Fleance
For this production Tonia Pawlyszyn has integrated the styles of Steam Punk, anime and
comic-book superhero aesthetics. The costumes are not thought of as being clothing that the
character chooses to wear. Rather, the costumes are viewed as a physical part of the
character, much like a skin, and therefore, they grow out of, and are a manifestation of, the
individual qualities of the character.
One can see therefore, how the children of central characters are seen to be costumed in an
incomplete or immature version of the adult character (see Banquo and Fleance.)
Also, in this production, since the character of Banquo is being played as a female warrior
then the costume is designed to support that gendering.
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Costume Design for Macbeth. Costume Design for Lady Macbeth
One can see from the renderings of Lady Macbeth and Macbeth the colour motif of black and
silver.. Macbeth’s costume, with the shoulder body cape and the scaled helmet and the
integration of body armour pieces is very much derived of a super-hero visual style. Lady
Macbeth, alternatively, with her tiered flowing dress, bustle and parasol evokes a steam-punk
Victoriana style. Lady Macbeth’s costume also lends itself to being partially dismantled for
her final scene in the play when she is seen to be wandering in a waking anguished sleep.
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Costume Design for Macduff Costume Design for Lady Macduff
The costume designs for the Macduff family can be seen to be referenced from an oriental
aesthetic. Macduff’s tunic borrows from samurai styles and Lady Macduff is wearing a
kimono. The Macduff’s colours are balanced with browns and bronze. There were two
considerations at the forefront of the design for the Macduff costumes. Macduff had to appear
as a warrior capable of matching the formidable qualities of Macbeth. Alternatively, the
murder of Lady Macduff must be seen to be a heinous crime against the innocent and
defenceless, so lady Macduff must be seen to be gentle, soft, flowing and without any of the
energised or aggressive qualities of her husband.
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Costumes Designs for the three witches
The three witches are not from the world of the other characters. They are carnival creatures.
They are characters that evoke playfulness, trickery, chaos and inversion. As with traditional
canivale and mardi-gras characters, they wear their inside on the outside. Their brokenness of
spirit and of empathy is worn as a mantle or a costume of celebration. They are ringmasters
of misrule. These characters play with humans as children play with toys and insects, only
with a little more malice and hedonistic fascination.
CLASS EXERCISE (Duration 20 – 40 minutes.)
Working in pairs or small groups, choose one character from the play.
Write down some words that describe them:. You may care to focus on their social and
even family position within the play. You may choose to focus on the actions and
behaviours that they perform throughout the play. Ie: They are a fighter. They are a
mother. They are a young soldier. They are a King. You may choose tow rite down
some personality traits that particularly characterise them. Ie: They are proud. They
are a liar. They are scared.
What colours might best suit these qualities? What textures? What time of day or night
might they most ‘belong’ in? What environment do they best live in – ie: what would be
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the environment of their soul? IF they were a style o music or a song – what music or
song would they be? (It is important that you think of what they would BE, as opposed
to what they may listen to.) If they were a character in any style of movie or TV show –
what would that be?
Using Google images or a similar cache of images, compile a folder of images with
references for qualities of clothing or body coverage which you think best responds to
some of these choices.
Present them to the class and explain the reasons behind your choices.
CLASS EXERCISES
LEARNING THE STORY OF THE PLAY – Picture postcards
SPACE REQUIRED: Students may need to clear desks and chairs to make approximately 3
metres x 2 metres of floor space available for presentation.
EXERCISE DESCRIPTION:
This exercise is a fast and fun way for people to learn what happens in a scene or across the
entire play. Working in groups of five or six students, either watch a video recording of the
play in production or through reading the scenes, students use their bodies to create ‘pictures’
of the central action that occurs with each scene of the play.
Students may choose to play a person, an object, an animal, a concept (fear/rage/confusion)
or an element (storm/magic/glitter) or any part thereof in order to cumulatively make the
picture.
Students must announce what they are playing as they each enter the space to consecutively
build the living picture. For a demonstration video of this exercise please check:
EMBODYING THE STORY
To assist students in breaking the scenes into manageable sections or ‘units of action’, they
may wish to give each section a name – a ‘caption’ before they make their picture.
In this way students can quickly learn and replay the central action and characters of the
story.
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WORKING WITH SHAKESPEARE’S TEXT – The step process. (20 – 40 minutes
duration)
Choose a simple section of the text. For example:
Enter LADY MACBETH, reading a letter
LADY MACBETH
'They met me in the day of success: and I have
learned by the perfectest report, they have more in
them than mortal knowledge. When I burned in desire
to question them further, they made themselves air,
into which they vanished. Whiles I stood rapt in
the wonder of it, came missives from the king, who
all-hailed me 'Thane of Cawdor;' by which title,
before, these weird sisters saluted me, and referred
me to the coming on of time, with 'Hail, king that
shalt be!' This have I thought good to deliver
thee, my dearest partner of greatness, that thou
mightst not lose the dues of rejoicing, by being
ignorant of what greatness is promised thee. Lay it
to thy heart, and farewell.'
Glamis thou art, and Cawdor; and shalt be
What thou art promised: yet do I fear thy nature;
It is too full o' the milk of human kindness
To catch the nearest way: thou wouldst be great;
Art not without ambition, but without
The illness should attend it: Hie thee hither,
That I may pour my spirits in thine ear;
And chastise with the valour of my tongue
All that impedes thee from the golden round,
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Which fate and metaphysical aid doth seem
To have thee crown'd withal. Or
MACBETH
If it were done when 'tis done, then 'twere well
It were done quickly: if the assassination
Could trammel up the consequence, and catch
With his surcease success; that but this blow
Might be the be-all and the end-all here,
But here, upon this bank and shoal of time,
We'ld jump the life to come. But in these cases
We we but teach
Bloody instructions, which, being taught, return
To plague the inventor: this even-handed justice
Commends the ingredients of our poison'd chalice
To our own lips. He's here in double trust;
First, as I am his kinsman and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against
The deep damnation of his taking-off;
And pity, like a naked new-born babe,
Striding the blast,
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
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Vaulting ambition, which o'erleaps itself
And falls on the other. Ten lines maximum is enough to get a sense of understanding the text. Students may choose
to take separate sentences from the text. The exercise is best progressed working in pairs so
that students can ‘coach’ each other.
Have students read through an identify every word that they cannot explain the meaning of.
They then need to look up the word and use it in three different sentences to assist with their
familiarity of the semantic meaning of the word. They should also do this with the figurative
language.
Now have the students work to break the text into separate ‘thoughts.
Students need to mark each thought break with a pencilled ‘slash’.
In acting, this process is called ‘slashing your thoughts’.
For example:
If it were done/ when 'tis done/, then 'twere well
It were done quickly/: if the assassination/
Could trammel up the consequence/, and catch/
With his surcease/ success/; that/ but this blow/
Might be/ the be-all/ and the end-all/ here/,
But here/, upon this bank/ and shoal/ of time/,
We'ld jump/ the life/ to come/.
It is not important that students get their slashing ‘right’. Rather, it is important that they
engage in the process of interpretation – of breaking their text into small bytes of meaning.
Now the students speak the text out loud AND walk for the duration of the length of each
thought. At EVERY thought change – every slash – they turn 180degrees around and walk
purposefully back in the opposite direction. On EVERY thought change they change
direction.
This is the first stage of a process called the STEP PROCESS.
For a video demonstration of this process please check: STEP PROCESS
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There are a whole series of demonstration videos which outline the Step Process in its
entirety.
CREATING YOUR OWN DOUBLE DOUBLE - Creative performance
In this production we use a simple rap rhythm to perform the witches ritual ‘Double double’
invocation.
As a creative exercise have the students create their own rap rhythm to perform the double
double text.
Alternatively, choose words from the text to put to an existing song which the students think
encapsulates the action of the scene.
A version of this learning activity is demonstrated here.
FOR THE PROSECUTION – Duration (40 – 70 minutes)
This is an exercise which models for students the separate and cumulative processes involved
in researching, evidence gathering and argument building and presentation for an essay or
debate. A demonstration video of this exercise can be found here
Students can work in teams of 2 – 15 to negotiate this exercise.
Choose any character or characters from the play and compile evidence from the play (and
from current world examples) to either convict or exonerate them from a charge of their
blame for actions committed throughout the play.
The characters that best lend themselves to this game are:
MACBETH
LADY MACBETH
THE WITCHES & HECATE
BANQUO
KING DUNCAN
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Students work in teams to gather evidence, quotes from the play; examples from everyday
modern life, to build an argument that either condemns or exonerates characters from blame.
As a team they then plan their presentation in simple essay principles of formulation.
Principle statement. Evidence from the play. Evidence from other sources. Argument to link
the evidence with the statement. Summation.
An example video of this process in action can be found here.
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