The tragic play Macbeth by William Shakespeare has appeared and been reinterpreted in many forms of art and culture since it was written in the early 17th century.
The tragic play Macbeth by William Shakespeare has appeared and been reinterpreted in many forms of art and culture since it was written in the early 17th century.
The earliest known film Macbeth was 1905's American short Death Scene From Macbeth, and short versions were produced in Italy in 1909 and France in 1910. Two notable early versions are lost: Ludwig Landmann produced a 47-minute version in Germany in 1913, and D. W. Griffith produced a 1916 version in America featuring the noted stage actor Herbert Beerbohm Tree. [1] Tree is said to have had great difficulties adapting to the new medium, and especially in confining himself to the small number of lines in the (silent) screenplay, until an ingenious cameraman allowed him to play his entire part to an empty camera, after which a real camera shot the film. [2]
In 1947, David Bradley produced an independent film of Macbeth, intended for distribution to schools, most notable for the designer of its eighty-three costumes: the soon-to-be-famous Charlton Heston. [3]
Orson Welles' 1948 Macbeth , in the director's words a "violently sketched charcoal drawing of a great play," [4] was filmed in only 23 days and on a budget of just $700,000. These filming conditions allowed only a single abstract set, and eclectic costumes. Dialogue was pre-recorded, enabling the actors to perform very long individual takes, including one of over ten minutes surrounding the death of Duncan. [5] Welles himself played the central character, who dominates the film, measured both by his time on screen, and by physical presence: high-angle and low-angle shots and deep-focus close-ups are used to distort his size in comparison to other characters. [6] Welles retained from his own 1936 stage production the image of a Voodoo doll controlling the fate of the central character: and at the end it is the doll we see beheaded. [7] The film's allegorical aspect is heightened by Welles' introduction of a non-Shakespearean character, the Holy Father (played by Alan Napier), [8] in opposition to the witches, speaking lines taken from Shakespeare's Ross, Angus and the Old Man. [9] Contemporary reviews were largely negative, particularly criticising Welles' unsympathetic portrayal of the central character. Newsweek commented: "His Macbeth is a static, two-dimensional creature as capable of evil in the first scene as in the final hours of his bloody reign." [10]
Joe MacBeth (Ken Hughes, 1955) established the tradition of resetting the Macbeth story among 20th-century gangsters. [11] Others to do so include Men of Respect (William Reilly, 1991), [12] Maqbool (Vishal Bhardwaj, 2003) [13] and Geoffrey Wright's Australian 2006 Macbeth . [14]
In 1957, Akira Kurosawa used the Macbeth story as the basis for the "universally acclaimed" [15] Kumunosu-jo (in English known as Throne of Blood or (the literal translation of its title) Spiderweb Castle). [16] The film is a Japanese period-piece (jidai-geki), drawing upon elements of Noh theatre, especially in its depiction of the evil spirit who takes the part of Shakespeare's witches, and of Asaji, the Lady Macbeth character, played by Isuzu Yamada, [17] and upon Kabuki Theatre in its depiction of Washizu, the Macbeth character, played by Toshiro Mifune. [18] In a twist on Shakespeare's ending, the tyrant (having witnessed Spiderweb Forest come to Spiderweb Castle) is killed by volleys of arrows from his own archers after they come to the realization he also lied about the identity of their former master's murderer. [19]
George Schaefer directed Maurice Evans and Judith Anderson in a 1960 made-for-TV film which later had a limited European theatrical release. (The three had also worked together on the earlier Hallmark Hall of Fame 1954 TV version of the play.) [20] Neither of the central couple was able to adapt their stage acting style to the screen successfully, leading to their roles being described by critics as "recited" rather than "acted". [21]
Roman Polanski's 1971 Macbeth was the director's first film after the brutal murder of his wife, Sharon Tate, and reflected his determination to "show [Macbeth's] violence the way it is ... [because] if you don't show it realistically then that's immoral and harmful." [22] His film showed deaths only reported in the play, including the execution of Cawdor, and Macbeth stabbing Duncan, [23] and its violence was "intense and incessant." [24] Made in the aftermath of Zeffirelli's youthful Romeo and Juliet , and financed by Playboy mogul Hugh Hefner, Polanski's film featured a young sexy lead couple, played by Jon Finch (28) and by Francesca Annis (25), who controversially performed the sleepwalking scene nude. [25] The unsettling film score, provided by the Third Ear Band, invoked "discord and dissonance." [26] While using Shakespeare's words, Polanski alters aspects of Shakespeare's story, turning the minor character Ross into a ruthless Machiavellian, [27] and adding an epilogue to the play in which Donalbain (younger son of Duncan) arrives at the witches' lair, indicating that the cycle of violence will begin again. [28]
In 1973, the Virginia Museum Theater (VMT, now the Leslie Cheek Theater), presented Macbeth, starring E.G. Marshall. Dubbed by the New York Times as the "'Fowler' Macbeth" after director Keith Fowler, it was described by Clive Barnes as "splendidly vigorous, forcefully immediate... probably the goriest Shakespearean production I have seen since Peter Brook's 'Titus Andronicus'." [29]
Trevor Nunn's RSC Other Place stage performance starring Ian McKellen and Judi Dench as the leading couple was adapted for TV and broadcast by Thames Television (see Macbeth (1978 film) ). [30]
William Reilly's 1991 Men of Respect , another film to set the Macbeth story among gangsters, has been praised for its accuracy in depicting Mafia rituals, said to be more authentic than those in The Godfather or GoodFellas . However the film failed to please audiences or critics: Leonard Maltin found it "pretentious" and "unintentionally comic" and Daniel Rosenthal describes it as "providing the most risible chunks of modernised Shakespeare in screen history." [31] In 1992 S4C produced a cel-animated Macbeth for the series Shakespeare: The Animated Tales , [32] and in 1997 Jeremy Freeston directed Jason Connery and Helen Baxendale in a low budget, fairly full-text, version. [33]
In Shakespeare's script, the actor playing Banquo must enter the stage as a ghost. The major film versions have usually taken the opportunity to provide a double perspective: Banquo visible to the audience from Macbeth's perspective, but invisible from the perspective of other characters. Television versions, however, have often taken the third approach of leaving Banquo invisible to viewers, thereby portraying Banquo's ghost as merely Macbeth's delusion. This approach is taken in the 1978 Thames TV production, Jack Gold's 1983 version for BBC Television Shakespeare, and in Penny Woolcock's 1997 Macbeth on the Estate. [34] Macbeth on the Estate largely dispensed with the supernatural in favour of the drug-crime driven realism of characters living on a Birmingham housing estate: except for the three "weird" (in the modern sense of the word) children who prophesy Macbeth's fate. [34] This production used Shakespeare's language, but encouraged the actors – many of whom were locals, not professionals – to speak it naturalistically. [35]
Twenty-first-century cinema has re-interpreted Macbeth, relocating "Scotland" elsewhere: Maqbool to Mumbai, Scotland, PA to Pennsylvania, Geoffrey Wright's Macbeth to Melbourne, and Allison L. LiCalsi's 2001 Macbeth: The Comedy to a location only differentiated from the reality of New Jersey, where it was filmed, through signifiers such as tartan, Scottish flags and bagpipes. [36] Alexander Abela's 2001 Makibefo was set among, and starred, residents of Faux Cap, a remote fishing community in Madagascar. [37] Leonardo Henriquez' 2000 Sangrador (in English: Bleeder) set the story among Venezuelan bandits and presented a shockingly visualised horror version. [38]
Billy Morrissette's Scotland, PA reframes the Macbeth story as a comedy-thriller set in a 1975 fast-food restaurant, and features James LeGros in the Macbeth role and Maura Tierney as Pat, the Lady Macbeth character: "We're not bad people, Mac. We're just under-achievers who have to make up for lost time." Christopher Walken plays vegetarian detective Ernie McDuff who (in the words of Daniel Rosenthal) "[applies] his uniquely offbeat menacing delivery to innocuous lines." [39] Scotland, PA's conceit of resetting the Macbeth story at a restaurant was followed in BBC Television's 2005 ShakespeaRe-Told adaptation. [40]
Vishal Bhardwaj's 2003 Maqbool , filmed in Hindi and Urdu and set in the Mumbai underworld, was produced in the Bollywood tradition, but heavily influenced by Macbeth, by Francis Ford Coppola's 1972 The Godfather and by Luc Besson's 1994 Léon . [41] It deviates from the Macbeth story in making the Macbeth character (Miyan Maqbool, played by Irfan Khan) a single man, lusting after the mistress (Nimmi, played by Tabbu) of the Duncan character (Jahangir Khan, known as Abbaji, played by Pankaj Kapoor). [13] Another deviation is the comparative delay in the murder: Shakespeare's protagonists murder Duncan early in the play, but more than half of the film has passed by the time Nimmi and Miyan kill Abbaji. [42]
In 2004 an "eccentric" Swedish/Norwegian film, based on Alex Scherpf's Ice Globe Theatre production of Macbeth, was said by critic Daniel Rosenthal to owe "more to co-director Bo Landin's background in natural history documentaries than to Shakespeare." [43] More conventional adaptations of 21st-century stage productions to television include Greg Doran's RSC production filmed in 2001 with Antony Sher and Harriet Walter in the central roles, [44] and Rupert Goold's Chichester Festival Theatre Macbeth televised in 2010 with Patrick Stewart and Kate Fleetwood as the tragic couple. The cast of the latter felt that the history of their stage performance (moving from a small space at Chichester to a large proscenium arch stage in London to a huge auditorium in Brooklyn) made it easier for them to "re-scale", yet again, their performances for the cameras. [45]
In 2006, Geoffrey Wright directed a Shakespearean-language, extremely violent Macbeth set in the Melbourne underworld. Sam Worthington played Macbeth. Victoria Hill played Lady Macbeth and shared the screenplay credits with Wright. [14] The director considered her portrayal of Lady Macbeth to be the most sympathetic he had ever seen. [46] In spite of the high level of violence and nudity (Macbeth has sex with the three naked schoolgirl witches as they prophesy his fate), intended to appeal to the young audiences that had flocked to Romeo + Juliet , the film flopped at the box office. [47]
The 2011 short film Born Villain , directed by Shia LaBeouf and starring Marilyn Manson, was inspired by Macbeth and features multiple scenes where characters quote from it.
In 2014, Classic Alice wove a 10 episode arc placing its characters in the world of Macbeth. The adaptation uses students and a modern-day setting to loosely parallel Shakespeare's play. It starred Kate Hackett, Chris O'Brien, Elise Cantu and Tony Noto and embarked on an LGBTQ plotline.
Justin Kurzel's feature-length adaptation Macbeth , starring Michael Fassbender and Marion Cotillard, was released in October 2015.
The 2015 American black and white film, Thane of East County , features actors in a production of Macbeth who mimic the characters they portray. [48]
Also in 2015, Brazilian film A Floresta que se Move (The Moving Forest) premiered at the Montreal World Film Festival. [49] Directed by Vinícius Coimbra and starred by Gabriel Braga Nunes and Ana Paula Arósio, the film uses a modern-day setting, replacing the throne of Scotland with the presidency of a high-ranked bank. [50] [51] [52]
The 2021 Malayalam-language film Joji directed by Dileesh Pothan is a loose adaptation of Shakespeare's Macbeth. [53]
Denzel Washington was nominated to an Academy Award for his performance in the title role of Joel Coen's The Tragedy of Macbeth (2021).
The 2021 Bengali web-series Mandaar on Hoichoi, directed by Anirban Bhattacharya and starring Debasish Mondal and Sohini Sarkar, is a loose adaptation of Shakespeare's Macbeth. [54]
There have been numerous literary adaptations and spin-offs from Macbeth. Russian novelist Nikolay Leskov told a variation of the story from Lady Macbeth's point of view in Lady Macbeth of the Mtsensk District , which itself became a number of films [55] and an opera by Shostakovich. [56] Maurice Baring's 1911 The Rehearsal fictionalises Shakespeare's company's inept rehearsals for Macbeth's premiere. [57] Gu Wuwei's 1916 play The Usurper of State Power adapted both Macbeth and Hamlet as a parody of contemporary events in China. [58] The play has been used as a background for detective fiction (as in Marvin Kaye's 1976 Bullets for Macbeth) [59] and, in the case of Ngaio Marsh's last detective novel Light Thickens , the play takes centre stage as the rehearsal, production and run of a 'flawless' production is described in absorbing detail (so much so that her biographer describes the novel as effectively Marsh's third production of the play). [60] But the play was also used as the basis of James Thurber's parody of the whodunit genre The Macbeth Murder Mystery, in which the protagonist reads Macbeth applying the conventions of detective stories, and concludes that it must have been Macduff who murdered Duncan. [61] Comics and graphic novels have utilised the play, or have dramatised the circumstances of its inception: Superman himself wrote the play for Shakespeare in the course of one night, in the 1947 Shakespeare's Ghost Writer. [62] A cyberpunk version of Macbeth titled Mac appears in the collection Sound & Fury: Shakespeare Goes Punk. [63] Terry Pratchett reimagined Macbeth in the Discworld novel Wyrd Sisters (1988). In this story 3 witches, led by Granny Weatherwax, attempt to put a murdered king's heir on the throne. [64]
Macbeth has been adapted into plays dealing with the political and cultural concerns of many nations. Eugène Ionesco's Macbett satirised Macbeth as a meaningless succession of treachery and slaughter. [65] Wale Ogunyemi's A'are Akogun, first performed in Nigeria in 1968, mixed the English and Yoruba languages. [66] Welcome Msomi's 1970 play Umabatha adapts Macbeth to Zulu culture, and was said by The Independent to be "more authentic than any modern Macbeth" in presenting a world in which a man's fighting ability is central to his identity. [67] Joe de Graft adapted Macbeth as a battle to take over a powerful corporation in Ghana in his 1972 Mambo or Let's Play Games, My Husband. [68] Dev Virahsawmy's Zeneral Macbeff, first performed in 1982, adapted the story to the local Creole and to the Mauritian political situation. [69] (The same author later translated Macbeth itself into Mauritian creole, as Trazedji Makbess.) [70] And in 2000, Chuck Mike and the Nigerian Performance Studio Workshop produced Mukbutu as a direct commentary on the fragile nature of Nigerian democracy at the time. [71] In 2018, Jo Nesbø wrote Macbeth , a retelling of the play as a thriller. The novel was part of Hogarth Shakespeare. [72] [73] The lines from the play have inspired titles of many works of literature, for example Agatha Christie's By the Pricking of My Thumbs . [74] : 164 The title of the book comes from Act 4, Scene 1 of Macbeth , when the second witch says:
By the pricking of my thumbs,
Something wicked this way comes.
In Tripp Ainsworth's novel Six Pistols and a Dagger, Smokepit Fairytales Part VI, the events of Macbeth are meshed with those of Blackbeard as the wife of a feared space pirate initiates his downfall.
Macbeth is, with The Tempest , one of the two most-performed Shakespeare plays on BBC Radio, with over 20 productions between 1923 and 2022, [75] the most recent production starring David Tennant in 2022. [76] Other BBC Radio productions include:
One of the best-known recorded productions, starring Anthony Quayle and Gwen Ffrangcon-Davies, was released as part of the Shakespeare Recording Society unabridged productions in 1960 by Caedmon Records (SRS-M-231). Other unabridged recorded productions have been released by the Marlowe Society (Argo Records ZPR 201-3), the Old Vic Company (HMV ALP 1176) with Alec Guinness and Pamela Brown, and the Complete Arkangel Shakespeare with Hugh Ross and Harriet Walter
The extant version of Macbeth, in the First Folio, contains dancing and music, including the song "Come Away Hecate" which exists in two collections of lute music (both c.1630, one of them being Drexel 4175) arranged by Robert Johnson. [88] And, from the Restoration onwards, incidental music has frequently been composed for the play: including works by William Boyce in the eighteenth century. [89] Davenant's use of dance in the witches' scenes was inherited by Garrick, which in turn influenced Giuseppe Verdi to incorporate a ballet around the witches' cauldron into his opera Macbeth . [90] Verdi's first Shakespeare-influenced opera, with libretto by Francesco Maria Piave, incorporated a number of striking arias for Lady Macbeth, giving her a prominence in the early part of the play which contrasts with the character's increasing isolation as the action continues: she ceases to sing duets and her sleepwalking confession is starkly contrasted with the "supported grief" of Macduff in the preceding scene. [91] Other music influenced by the play includes Richard Strauss's 1890 symphonic poem Macbeth . [92] Duke Ellington and Billy Strayhorn incorporated themes depicting the female characters from Macbeth in the 1957 Shakespearean jazz suite Such Sweet Thunder : the weird sisters juxtaposed with Iago (from Othello ), and Lady Mac represented by ragtime piano because, as Ellington put it, "we suspect there was a little ragtime in her soul". [93] Another Jazz collaboration to create hybrids of Shakespeare plays was that of Cleo Laine with Johnny Dankworth, who in Laine's 1964 Shakespeare and All That Jazz juxtaposed Titania's instructions to her fairies from A Midsummer Night's Dream with the witches' chant from Macbeth. [94] In 2000, Jag Panzer produced their heavy metal concept-album retelling Thane to the Throne . [95] In 2017, pianist John Burke scored an outdoor production of Macbeth. [96]
In the musical Hamilton by Lin-Manuel Miranda several characters and a direct quote from the second line of Macbeth's Act 5 soliloquy ("Tomorrow and tomorrow and tomorrow...") are referenced in the song "Take a Break." The titular character also states his enemies see him as Macbeth, grabbing power for power's sake. [97]
The play has inspired numerous works of art. In 1750 and 1760 respectively, the painters John Wootton and Francesco Zuccarelli portrayed Macbeth and Banquo meeting the Three Witches in a scenic landscape, both likely having been inspired by Gaspard Dughet's 1653–4 painting Landscape in a Storm. While Wootton's extended visualization was ultimately more significant, Zuccarelli's allegorical version became available to a much wider constituency, through its 1767 exhibition with the Society of Artists and its subsequent engraving by William Woollett in 1770. [98] The scene in which Lady Macbeth seizes the daggers, as performed by Garrick and Mrs. Pritchard, was a touchstone throughout Henry Fuseli's career, including works in 1766, 1774 and 1812. [99] The same performance was the subject of Johann Zoffany's painting of the Macbeths in 1768. [100] In 1786, John Boydell announced his intention to found his Shakespeare Gallery. His chief innovation was to see the works of Shakespeare as history, rather than contemporary, so instead of including the (then fashionable) works depicting the great actors of the day on stage in modern dress, he commissioned works depicting the action of the plays. [101] However the most notable works in the collection disregard this historicising principle: such as Fuseli's depiction of the naked and heroic Macbeth encountering the witches. [102] William Blake's paintings were also influenced by Shakespeare, including his Pity, inspired by Macbeth's "Pity, like a naked new-born babe, striding the blast." [103] Sarah Siddons' triumph in the role of Lady Macbeth led Joshua Reynolds to depict her as The Muse of Tragedy. [104]
Unless otherwise specified, all citations of Macbeth refer to Muir (1984), and of other works of Shakespeare refer to Wells and Taylor (2005).
LordBanquo, the Thane of Lochaber, is a semi-historical character in William Shakespeare's 1606 play Macbeth. In the play, he is at first an ally of Macbeth and they meet the Three Witches together. After prophesying that Macbeth will become king, the witches tell Banquo that he will not be king himself, but that his descendants will be. Later, Macbeth in his lust for power sees Banquo as a threat and has him murdered by three hired assassins; Banquo's son, Fleance, escapes. Banquo's ghost returns in a later scene, causing Macbeth to react with alarm in public during a feast.
Macbeth is a tragedy by William Shakespeare. It is thought to have been first performed in 1606. 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. It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy.
Othello is a tragedy written by William Shakespeare, around 1603. The story revolves around two characters, Othello and Iago.
Romeo and Juliet is a tragedy written by William Shakespeare early in his career about the romance between two Italian youths from feuding families. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed. Today, the title characters are regarded as archetypal young lovers.
King Lear is a tragedy written by William Shakespeare. It is loosely based on the mythological Leir of Britain. King Lear, in preparation for his old age, divides his power and land between his daughters Goneril and Regan, who pay homage to gain favour, feigning love. The King's third daughter, Cordelia, is offered a third of his kingdom also, but refuses to be insincere in her praise and affection. She instead offers the respect of a daughter and is disowned by Lear who seeks flattery. Regan and Goneril subsequently break promises to host Lear and his entourage, so he opts to become homeless and destitute, goes insane, and the French King married to Cordelia invades Britain to restore order and Lear's rule. In a subplot, Edmund, the illegitimate son of Gloucester, betrays his brother and father. Tragically, Lear, Cordelia and several other main characters die.
Romeo and Juliet is a 1936 American film adapted from the play by William Shakespeare, directed by George Cukor from a screenplay by Talbot Jennings. The film stars Leslie Howard as Romeo and Norma Shearer as Juliet, and the supporting cast features John Barrymore, Basil Rathbone, and Andy Devine.
Macbeth is a 1971 historical drama film directed by Roman Polanski, and co-written by Polanski and Kenneth Tynan. A film adaptation of William Shakespeare's tragedy of the same name, it tells the story of the Highland lord who becomes King of Scotland through treachery and murder. Jon Finch and Francesca Annis star as the title character and his wife, noted for their relative youth as actors. Themes of historic recurrence, greater pessimism and internal ugliness in physically beautiful characters are added to Shakespeare's story of moral decline, which is presented in a more realistic style.
Fleance is a figure in legendary Scottish history. He was depicted by 16th-century historians as the son of Lord Banquo, Thane of Lochaber, and the ancestor of the kings of the House of Stuart. Fleance is best known as a character in William Shakespeare's play Macbeth, in which the Three Witches prophesy that Banquo's descendants shall be kings. Some screen adaptations of the story expand on Fleance's role by showing his return to the kingdom after Macbeth's death.
Macbeth is a 1948 American historical drama directed by Orson Welles. A film adaptation of William Shakespeare's tragedy of the same name, it tells the story of the Scottish general who becomes the King of Scotland through treachery and murder. The film stars Welles in the lead role and Jeanette Nolan as Lady Macbeth.
Lady Macduff is a character in William Shakespeare's Macbeth. She is married to Lord Macduff, the Thane of Fife. Her appearance in the play is brief: she and her son are introduced in Act IV Scene II, a climactic scene that ends with both of them being murdered on Macbeth's orders. Though Lady Macduff's appearance is limited to this scene, her role in the play is quite significant. Later playwrights, William Davenant especially, expanded her role in adaptation and in performance.
Romeo and Juliet is a 1954 film adaptation of the Shakespearean tragedy of the same name. It is directed and written for the screen by Renato Castellani, and stars Laurence Harvey as Romeo and newcomer Susan Shentall as Juliet, with Flora Robson, Mervyn Johns, Bill Travers, Sebastian Cabot, Enzo Fiermonte and John Gielgud. A British and Italian co-production, it was released in the United Kingdom by General Film Distributors on September 1, 1954.
William Shakespeare's Romeo and Juliet may be one of the most-screened plays of all time. The most notable theatrical releases were George Cukor's multi-Oscar-nominated 1936 production Romeo and Juliet, Franco Zeffirelli's 1968 film Romeo and Juliet, and Baz Luhrmann's 1996 MTV-inspired Romeo + Juliet. The latter two were both, at the time, the highest-grossing Shakespeare films. Cukor featured the mature actors Norma Shearer and Leslie Howard as the teenage lovers while Zeffirelli populated his film with beautiful young people, and Baz Luhrmann produced a heavily cut fast-paced version aimed at teenage audiences.
Over fifty films of William Shakespeare's Hamlet have been made since 1900. Seven post-war Hamlet films have had a theatrical release: Laurence Olivier's Hamlet of 1948; Grigori Kozintsev's 1964 Russian adaptation; a film of the John Gielgud-directed 1964 Broadway production, Richard Burton's Hamlet, which played limited engagements that same year; Tony Richardson's 1969 version featuring Nicol Williamson as Hamlet and Anthony Hopkins as Claudius; Franco Zeffirelli's 1990 version starring Mel Gibson; Kenneth Branagh's full-text 1996 version; and Michael Almereyda's 2000 modernisation, starring Ethan Hawke.
Macbeth is a silent, black-and-white 1916 film adaptation of the William Shakespeare play Macbeth. It was directed by John Emerson, assisted by Erich von Stroheim, and produced by D. W. Griffith, with cinematography by Victor Fleming. The film starred Herbert Beerbohm Tree and Constance Collier, both famous from the stage and for playing Shakespearean parts. Although released during the first decade of feature filmmaking, it was already the seventh version of Macbeth to be produced, one of eight during the silent film era. It is considered to be a lost film.
The Three Witches, also known as the Weird Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth. The witches eventually lead Macbeth to his demise, and they hold a striking resemblance to the three Fates of classical mythology. Their origin lies in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland. Other possible sources, apart from Shakespeare, include British folklore, contemporary treatises on witchcraft as King James VI of Scotland's Daemonologie, the Witch of Endor from the Bible, the Norns of Norse mythology, and ancient classical myths of the Fates: the Greek Moirai and the Roman Parcae.
The Tempest is a play by William Shakespeare, probably written in 1610–1611, and thought to be one of the last plays that he wrote alone. After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two servants: Caliban, a savage monster figure, and Ariel, an airy spirit. The play contains music and songs that evoke the spirit of enchantment on the island. It explores many themes, including magic, betrayal, revenge, and family. In Act IV, a wedding masque serves as a play-within-a-play, and contributes spectacle, allegory, and elevated language.
The Voodoo Macbeth is a common nickname for the Federal Theatre Project's 1936 New York production of William Shakespeare's Macbeth. Orson Welles adapted and directed the production, moved the play's setting from Scotland to a fictional Caribbean island, recruited an entirely Black cast, and earned the nickname for his production from the Haitian vodou that fulfilled the role of Scottish witchcraft. A box office sensation, the production is regarded as a landmark theatrical event for several reasons: its innovative interpretation of the play, its success in promoting African-American theatre, and its role in securing the reputation of its 20-year-old director.
The Third Murderer is a character in William Shakespeare's tragedy Macbeth (1606). He appears in one scene (3.3), joining the First and Second Murderers to assassinate Banquo and Fleance, at the orders of Macbeth.
Ghost Light is a 2018 American horror comedy film directed by John Stimpson and written by Stimpson and Geoffrey Taylor. Starring Roger Bart, Tom Riley, Shannyn Sossamon, Danielle Campbell, Carol Kane, and Cary Elwes, the film follows a travelling Shakespeare troupe whose production of Macbeth falls victim to the play's superstitious curse. The title of the film refers to the electric light left on stage while a theater is unoccupied.
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Macbeth public domain audiobook at LibriVox 
