performer - culture & literature marina spiazzi, marina tavella,

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Jon Finch and Francesca Annis in ‘The Tragedy of Macbeth’ by Roman Polanski, 1971 Macbeth Performer - Culture & Literature Marina Spiazzi, Marina Tavella, Margaret Layton © 2012

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1. Main characteristics The shortest of Shakespeare’s tragedies. Complex psychological analysis of what takes place in the mind of the criminal. James Heath, I have done the deed, 1888. Kansas City, Carbonell-Weinglass Collection Performer Culture & Literature

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Page 1: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Jon Finch and Francesca Annis in ‘The Tragedy of Macbeth’ by Roman Polanski, 1971

MacbethPerformer - Culture & Literature

Marina Spiazzi, Marina Tavella,Margaret Layton © 2012

Page 2: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

James Heath, I have done the deed, 1888. Kansas City, Carbonell-Weinglass Collection

• The shortest of Shakespeare’s tragedies.

• Complex psychological analysis of what takes place in the mind of the criminal.

1. Main characteristics

Performer Culture & Literature

Page 3: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

• No villain pitted against the hero.

• Macbeth begins as a brave warrior but, led by ambition, he chooses evil and becomes a murderous tyrant.

1. Main characteristics

Performer Culture & Literature

Parable of the tragic hero.

Page 4: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Introduction

Rising action

Climax

Falling action

Conclusion

2. Dramatic structure

Performer Culture & Literature

Symmetrical development

Page 5: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Introduction

The first two scenes: the appearance of the three witches

and the news of Macbeth’s bravery in battle.

The three Witches in ‘Macbeth’ by John Barnes, 1964

2. Dramatic structure

Performer Culture & Literature

Symmetrical developmentIntroduction

Rising action

Climax

Falling action

Conclusion

Page 6: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

2. Dramatic structure

Performer Culture & Literature

Rising action

Macbeth meets the three witches: their prophecy begins to work on

his ambition. He kills Duncan.

Symmetrical developmentIntroduction

Rising action

Climax

Falling action

Conclusion

Page 7: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

2. Dramatic structure

Performer Culture & Literature

Symmetrical developmentIntroduction

Rising action

Climax

Falling action

Conclusion

Climax

Banquo’s murder (Act III, Scene 3)

Page 8: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Fleance’s escape

the banquet scene

arousing of Macduff

Macbeth retreats to Dunsinane Castle

Thèodore Chassèriau (1819-1856), Macbeth seeing the ghost of Banquo, 1854. Musée des Beaux-Arts, Reims

2. Dramatic structure

Performer Culture & Literature

Symmetrical developmentIntroduction

Rising action

Climax

Falling action

Conclusion

Falling action

Page 9: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Final fall and death of Lady Macbeth and Macbeth

Henry Fuseli, Lady Macbeth sleepwalking, 1798, Musée du Louvre

2. Dramatic structure

Performer Culture & Literature

Symmetrical developmentIntroduction

Rising action

Climax

Falling action

Conclusion

Conclusion

Page 10: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

a. Regicide, as an act against Nature, brings chaos.

b. Reversal of values:‘Fair is foul, and foul is fair’.

(the Three Witches)

Henry Fuseli, Macbeth, Banquo and the Three Witches, 1793. Petworth House, National Trust.

3. Themes

Performer Culture & Literature

Page 11: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

c. Equivocation and false appearance

d. Future time

Gabriele Lavia in Macbeth, 2009

3. Themes

Performer Culture & Literature

chain of metaphors connected with clothing.

cluster of imagery concerned with growth: babies, seeds, plants, trees.

Page 12: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

1. Nobility of birth or wisdom.

2. A flaw, either a mistake in the character’s actions or in his personality that leads to a downfall.

3. A reversal of fortune caused by his flaw.

4. The realisation that the reversal was brought about by the hero’s own actions.

5. The audience has to feel pity and fear (catharsis) for the character.

4. Features of a tragic hero

Performer Culture & Literature

Page 13: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Blank verse is basically unrhymed iambic pentameter:

‘Macbeth does murther Sleep, - the innocent Sleep;Sleep, that knits up the ravell’d sleave of care’

(Act II, Scene 2)

5. Style

• Use of blank verse.

Performer Culture & Literature

Page 14: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

• If one character ends his speech without finishing his line verse, the following speaker completes that line.

• Inclusion, within the verbal structure of verse, of metrical space for other, non-verbal signs.

5. Style

Performer Culture & Literature

Page 15: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

- similes‘The sleeping and the dead are but as pictures’ (Act II, Scene 2)

- metaphors‘Life’s but a walking shadow’ (Act V, Scene 5)

- symbols ‘the innocent Sleep’‘A little water clears us of this deed’ (Act II, Scene 2)

5. Style

• A striking use of imagery:

Performer Culture & Literature

Page 16: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

‘This castle hath a pleasant seat; the airNimbly and sweetly recommends itselfUnto our gentle senses’ (Act I, Scene 6)

5. Style

• Use of dramatic irony:

Duncan’s appreciation of the beauty of Macbeth’s castle

Performer Culture & Literature

Page 17: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

6. The characters

Macbeth• a brave general, leader of Duncan’s army together with Banquo;• urged into action by his wife;• lacks moral courage; • ambitious and superstitious;• becomes cruel and unscrupulous.

Jon Finch in ‘The Tragedy of Macbeth’ by Roman Polanski, 1971

Performer Culture & Literature

Page 18: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Lady Macbeth•suppresses her natural instinct to plan the murder; •strong-willed, supports Macbeth in his weakness;•devoted to her husband, she ends up in madness.

6. The characters

Performer Culture & Literature

John Singer Sargent, Ellen Terry as Lady Macbeth, 1889 , Tate Gallery, London.

Page 19: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

King Duncan•peaceful and refined;•shows poor judgement of human nature.

Banquo•a contrast to Macbeth in his modesty;•does not follow temptation like Macbeth.

6. The characters

Performer Culture & Literature

Page 20: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

Macduff• becomes important after Banquo’s murder.• noble, loyal, patriotic• kills Macbeth at the end.

6. The characters

Performer Culture & Literature

Page 21: Performer - Culture & Literature Marina Spiazzi, Marina Tavella,

Macbeth

• The Three Witches and their prophecies lead Macbeth to success.

• The chaos of nature on the night of Duncan’s murder.

• Banquo’s ghost.

7. The supernatural

Henry Fuseli, The Three Witches, 1788, Zurich, Kunsthaus

Performer Culture & Literature