Cultural references to Macbeth
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.
In film
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]
Twentieth century
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]
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
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
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]
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,
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
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]
In literature
There have been numerous literary adaptations and spin-offs from Macbeth. Russian novelist
Macbeth has been adapted into plays dealing with the political and cultural concerns of many nations.
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.
In music and audio
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:
- 1934 - Charles Laughton[77]
- 1944 - Leslie Banks[78]
- 1947 - Howard Marion-Crawford[79]
- 1956 - Michael Hordern[80]
- 1966 - Paul Scofield[81]
- 1971 - Joss Ackland[82]
- 1984 - Denis Quilley[83]
- 1991 - Ian Holm
- 1991 - Tim McInnerny[84]
- 1995 - Steven Berkoff[85]
- 2000 - Ken Stott[86]
- 2015 - Neil Dudgeon[87]
One of the best-known recorded productions, starring
The extant version of Macbeth, in the
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]
In the visual arts
The play has inspired numerous works of art. In 1750 and 1760 respectively, the painters
-
John Wootton's 1750 Macbeth and Banquo meeting the Weird Sisters.[105]
-
Francesco Zuccarelli's 1760 rendition of Macbeth and the Witches.[106]
-
-
James Caldwell's engraving, after Henry Fuseli, of Macbeth's encounter with the witches.[102]
-
Pity by William Blake, based on Macbeth's "Pity, like a naked new-born babe, striding the blast."[103]
-
Joshua Reynolds depicted Sarah Siddons as The Muse of Tragedy, largely due to her triumph in the role of Lady Macbeth.[104]
-
John Singer Sargent's painting of Ellen Terry as Lady Macbeth, in a gown decorated with green beetle wings.[109]
-
The "MacBeth Chair" on display in the Special Collections Department of Cleveland Public Library. The plate affixed to the chair identifies it as being crafted from "Burnam Wood" oak, and it is inscribed with "Fear not till Birnam Wood do come to Dunsinane." (Act V, Scene 5, line 2405–6)
Notes
Citations
Unless otherwise specified, all citations of Macbeth refer to Muir (1984), and of other works of Shakespeare refer to Wells and Taylor (2005).
- ^ Brode (2001, 177)
- ^ Freedman (2000, 49)
- ^ Brode (2001, 178–179)
- ^ Orson Welles, cited by Rosenthal (2007, 99)
- ^ Rosenthal (2007, 98–99)
- ^ Guntner (2000, 124)
- ^ Forsyth (2000, 284–285)
- ^ Rosenthal (2007, 99)
- ^ Mason (2000, 188–189)
- ^ Brode (2001, 183)
- ^ Rosenthal (2007, 100–102)
- ^ Rosenthal (2007, 110–111)
- ^ a b Rosenthal (2007, 123–124)
- ^ a b Rosenthal (2007, 127–128)
- ^ Guntner (2000, 125)
- ^ Rosenthal (2007, 103)
- ^ Rosenthal (2007, 103–104)
- ^ Howard (2003, 617)
- ^ Rosenthal (2007, 105)
- ^ McKernan & Terris (1994, 93)
- ^ Brode (2001, 185–187)
- ^ Rosenthal (2007, 107–108)
- ^ Rosenthal (2007, 108)
- ^ Brode (2001, 189)
- ^ Brode (2001, 187–189), Rosenthal (2007, 107–109)
- ^ Sanders (2007, 147)
- ^ Brode (2001, 191)
- ^ Guntner (2000, 126–127)
- ^ CLIVE BARNES Special to The New York Times (1973-02-12). "Stage - Fowler 'Macbeth' - A Vigorous Production Staged in Richmond The Cast - Article - NYTimes.com" (PDF). New York Times. Retrieved 2013-04-27.
- ^ Willems (2000, 36); McKernan & Terris (1994, 99)
- ^ Brode (2001, 193); Rosenthal (2007, 110)
- ^ Holland (2007, 43)
- ^ Rosenthal (2007, 112–3)
- ^ a b Forsyth (2000, 289–290)
- ^ Howard (2003, 618)
- ^ Jess-Cooke (2006, 174–175)
- ^ Rosenthal (2007, 114–117)
- ^ Rosenthal (2007, 118–120)
- ^ Rosenthal (2007, 121–122)
- ^ Rosenthal (2007, 122)
- ^ Jess-Cooke (2006, 177–178)
- ^ Rosenthal (2007, 124)
- ^ Rosenthal (2007, 125–126)
- ^ Walter (2002, 65)
- ^ Interview with Kate Fleetwood on DVD of Macbeth (2010 film)
- ^ Interview with Geoffrey Wright in "Making of Documentary" on DVD of Macbeth (2006 film)
- ^ Rosenthal (2007, 127)
- ^ Coddon, David L. (2014-08-20). "San Diego filmmakers mine 'Macbeth' for 'Thane of East County'". San Diego CityBeat. Archived from the original on 2014-09-09. Retrieved 2022-01-10.
- ^ "A Floresta que se Move / The Moving Forest". Montreal World Film Festival webpage. Retrieved 11 October 2015.
- ^ Lynn Colling. "Ana Paula Arósio volta ao cinema em 'A Floresta que se Move', filme dirigido por Vinícius Coimbra". Película Criativa (in Portuguese). Archived from the original on 22 February 2016. Retrieved 11 October 2015.
- ^ Flavia Guerra. "Ana Paula Arósio volta às telas em 'A Floresta que se Move'". O Estado de São Paulo (in Portuguese). Retrieved 11 October 2015.
- ^ Flavia Guerra. "Ana Paula Arósio é Lady Macbeth em 'A Floresta que se Move'". Carta Capital (in Portuguese). Archived from the original on 13 October 2015. Retrieved 11 October 2015.
- ^ "Joji' trailer: Fahadh Faasil stars in modern-day 'Macbeth' adaptation". The Hindu. 2 April 2021.
- ^ "Mandaar trailer: Macbeth meets Byomkesh in Anirban Bhattacharya's directorial debut". OTTplay. Retrieved 8 November 2021.
- ^ Brode (2001, 192)
- ^ Sanders (2007, 156)
- ^ Lanier (2002, 119)
- ^ Gillies (2002, 267)
- ^ Osborne (2007, 129)
- ^ Margaret Lewis 'Ngaio March: A Life'
- ^ Lanier (2002, 85)
- ^ Lanier (2002, 136–137)
- ^ Sound & Fury: Shakespeare Goes Punk
- ISBN 978-1-4022-2679-3. Retrieved 18 August 2020.
- ^ Hortmann (2002, 219)
- ^ Banham (2002, 292)
- ^ Banham (2002, 286–287), citing The Independent 8 August 1997
- ^ Banham (2002, 296)
- ^ Banham (2002, 289–292)
- ^ Banham (2002, 289)
- ^ Banham (2002, 297)
- ^ Larman, Alexander (1 April 2018). "Macbeth by Jo Nesbø review – something noirish this way comes". The Observer. Retrieved 18 August 2020.
- ^ Drabelle, Dennis. "Review | Jo Nesbo puts a Nordic chill on 'Macbeth'". Washington Post. Retrieved 18 August 2020.
- ISBN 0-312-28130-7.
- ^ Greenhalgh (2007, 186 and footnote 39 on 197)
- ^ "BBC Radio 4 - Macbeth".
- ^ "BBC Programme Index". 8 April 1934.
- ^ "BBC Programme Index". 27 February 1944.
- ^ "BBC Programme Index". 14 October 1947.
- ^ "BBC Programme Index". 2 September 1956.
- ^ "BBC Programme Index". 22 May 1966.
- ^ "BBC Programme Index". 25 July 1971.
- ^ "BBC Programme Index". 23 April 1984.
- ^ "BBC Programme Index". 16 February 1992.
- ^ "BBC Programme Index". 28 December 1995.
- ^ "BBC Programme Index". 10 September 2000.
- ^ "BBC Programme Index". 17 May 2015.
- ^ Brooke (2008, 225)
- ^ Sanders (2007, 32)
- ^ Sanders (2007, 60)
- ^ Sanders (2007, 83 & 112–116)
- ^ Sanders (2007, 16)
- ^ Sanders (2007, 17 & 20)
- ^ Macbeth 1.1.10–11; A Midsummer Night's Dream 3.1.154–166); Sanders (2007, 22–23)
- ^ Lanier (2002, 72)
- ^ "MACBETH, Starring Justin Deeley, Slashes Into Serenbe Playhouse". Broadway World Atlanta. 2017-06-06. Retrieved 2016-06-14.
- ^ "Take a Break lyrics by Lin-Manuel Miranda". Retrieved 2019-08-07.
- ^ Sillars (2006, 1–2, 77–79)
- ^ a b Orgel (2007, 74)
- ^ Orgel (2002, 247–249)
- ^ Orgel (2007, 75)
- ^ a b Orgel (2007, 76)
- ^ a b Macbeth 1.7.21–22; Orgel (2007, 77)
- ^ a b Gay, Penny. "Women and Shakespearean Performance", in Wells and Stanton (2002, 155–173) p159.
- ^ Sillars (2006, 158)
- ^ Sillars (2006, 77)
- ^ Orgel (2002, 248)
- ^ Orgel (2007, 74); Orgel (2002, 246–247)
- ^ Schoch (2002,59)
References
- Bald, Robert Cecil (1928). "Macbeth and the "Short" Plays". ISSN 1471-6968.
- Banham, Martin; Mooneeram, Roshni and Plastow, Jane Shakespeare and Africa in Wells and Stanton (2002, 284–299)
- ISBN 978-0451524447.
- Clarendon Press.
- Billington, Michael Shakespeare and the Modern British Theatre in Wells and Orlin (2003, 595–606)
- ISBN 1-57322-751-X.
- Bloom, Harold (2008). Introduction. In Macbeth: Bloom's Shakespeare Through the Ages. Ed. Harold Bloom. New York: Chelsea House. ISBN 978-0791098424.
- Booth, Michael R. (1995) "Nineteenth-Century Theatre" in Brown (1995, 299–340)
- Braunmuller, Albert R. (1997). "Introduction". In Braunmuller, Albert R. (ed.). Macbeth. ISBN 0-521-22340-7.
- Brode, Douglas (2001). Shakespeare at the Movies: From the Silent Era to Today. Berkley Boulevard.
- Brooke, Nicholas, ed. (1990). The Tragedy of Macbeth. By William Shakespeare. The Oxford Shakespeare ser. Oxford: Oxford University Press. ISBN 978-0199535835.
- Brown, John Russell, ed. (1995). The Oxford Illustrated History of the Theatre. Oxford University Press. ISBN 0-19-285442-9.
- Brown, Langdon (1986). Shakespeare around the Globe: A Guide to Notable Postwar Revivals. Greenwood Press.
- Bryant, J. A. Jr. (1961). Hippolyta's View: Some Christian Aspects of Shakespeare's Plays. University of Kentucky Press. Retrieved 1 November 2009.
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- Clark, Sandra and Pamela Mason, eds. (2015). Macbeth. By William Shakespeare. Arden Third ser. London: The Arden Shakespeare. ISBN 978-1-9042-7140-6.
- Coddon, Karin S. (1989). "'Unreal Mockery': Unreason and the Problem of Spectacle in Macbeth". JSTOR 2873194.
- Coursen, Herbert R. (1997). Macbeth: A Guide to the Play. ISBN 0-313-30047-X.
- Dunning, Brian (7 September 2010). "Skeptoid #222: Toil and Trouble: The Curse of Macbeth". Skeptoid. Retrieved 22 June 2017.
- Faires, Robert (13 October 2000). "The curse of the play". The Austin Chronicle. Retrieved 19 August 2012.
- Forsyth, Neil Shakespeare the Illusionist: Filming the Supernatural in Jackson (2000, 274–294)
- Freedman, Barbara Critical Junctures in Shakespeare Screen History: The Case of Richard III in Jackson (2000, 47–71)
- Garber, Marjorie B. (2008). Profiling Shakespeare. Routledge. ISBN 978-0-415-96446-3.
- Gay, Penny Women and Shakespearean Performance in Wells and Stanton (2002, 155–173)
- Gillies, John; Minami, Ryuta; Li, Ruri and Trivedi, Poonam Shakespeare on the Stages of Asia in Wells and Stanton (2002, 259–283)
- Greenhalgh, Susanne Shakespeare Overheard: Performances, Adaptations and Citations on Radio in Shaughnessy (2007, 175–198).
- Guntner, J. Lawrence Hamlet, Macbeth and King Lear on Film in Jackson (2000, 117–134), especially the section Macbeth: of Kings, Castles and Witches at 123–128.
- ISBN 0-521-42240-X.
- Halliday, F. E. (1964). A Shakespeare Companion 1564–1965. Penguin.
- Hawkes, Terence Shakespeare's Afterlife: Introduction in Welles and Orlin (2003, 571–581)
- Hodgdon, Barbara and Worthen, W. B. (eds.) (2005). A Companion to Shakespeare and Performance. Blackwell Publishing Limited. ISBN 978-1-4051-8821-0.)
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- Holland, Peter Shakespeare Abbreviated in Shaughnessy (2007, 26–45)
- Hortmann, Wilhelm Shakespeare on the Political Stage in the Twentieth Century in Wells and Stanton (2002, 212–229)
- Howard, Tony Shakespeare on Film and Video in Wells and Orlin (2003, 607–619)
- Jackson, Russell, ed. (2000). The Cambridge Companion to Shakespeare on Film. Cambridge University Press. ISBN 0-521-63975-1.
- Jess-Cooke, Carolyn Screening the McShakespeare in Post-Millennial Shakespeare Cinema in Burnett and Wray (2006, 163–184).
- Kermode, Frank (1974). "Macbeth". In Evans, C. Blakemore (ed.). The Riverside Shakespeare. Houghton Mifflin. pp. 1307–11. ISBN 0-395-04402-2.
- Kliman, Bernice; Santos, Rick (2005). Latin American Shakespeares. ISBN 0-8386-4064-8.
- Lanier, Douglas (2002). Shakespeare and Modern Popular Culture. Oxford Shakespeare Topics. Oxford University Press. ISBN 0-19-818703-3.
- Marsden, Jean I. “Improving Shakespeare: From the Restoration to Garrick.” The Cambridge Companion to Shakespeare on Stage, Cambridge UP, Cambridge, England, 2002, pp. 21–36.
- Maskell, David W. (1971). "The Transformation of History into Epic: The 'Stuartide' (1611) of Jean de Schelandre". JSTOR 3722467.
- Mason, Pamela Orson Welles and Filmed Shakespeare in Jackson (2000, 183–198), especially the section Macbeth (1948) at 184–189.
- McKernan, Luke and Terris, Olwen (1994). Walking Shadows: Shakespeare in the National Film and Television Archive. British Film Institute. ISBN 0-85170-486-7.)
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- Moody, Jane Romantic Shakespeare in Wells and Stanton (2002, 37–57).
- Morrison, Michael A. Shakespeare in North America in Wells and Stanton (2002, 230–258)
- ISBN 978-1-90-343648-6.
- Nagarajan, S. (1956). "A Note on Banquo". JSTOR 2866356.
- O'Connor, Marion Reconstructive Shakespeare: Reproducing Elizabethan and Jacobean Stages in Wells and Stanton (2002, 76–97)
- Orgel, Stephen (2002). The Authentic Shakespeare. Routledge. ISBN 041591213X.
- Orgel, Stephen Shakespeare Illustrated in Shaughnessy (2007, 67–92)
- Osborne, Laurie Narration and Staging in Hamlet and its Afternovels in Shaughnessy (2007, 114–133)
- Palmer, J. Foster (1886). "The Celt in Power: Tudor and Cromwell". Transactions of the Royal Historical Society. 3 (3). S2CID 162969426.
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- Perkins, William (1618). A Discourse of the Damned Art of Witchcraft, So Farre forth as it is revealed in the Scriptures, and manifest by true experience. Cambridge University Press. Retrieved 24 June 2009.
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- Sanders, Julie (2007). Shakespeare and Music: Afterlives and Borrowings. Polity Press. ISBN 978-07456-3297-1.
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External links
- Performances and Photographs from London and Stratford performances of Macbeth 1960–2000 – From the Designing Shakespeare resource
- Macbeth at the British Library
- Macbeth on Film
- PBS Video directed by Rupert Goold starring Sir Patrick Stewart
- Annotated Text at The Shakespeare Project – annotated HTML version of Macbeth.
- Macbeth Navigator – searchable, annotated HTML version of Macbeth.
- Macbeth public domain audiobook at LibriVox
- Macbeth Analysis and Textual Notes
- Annotated Bibliography of Macbeth Criticism
- Macbeth - full annotated text aligned to Common Core Standards
- Shakespeare and the Uses of Power by Steven Greenblatt