Synopses & Reviews
In this expanded analysis of
Macbeth in performance, Bernice W. Kliman examines a number of major productions of the play on stage and screen, inviting the reader to contemplate and compare directors' and actors' choices for what is arguably Shakespeare's most compelling play. Kliman's in-depth analysis of Orson Welles's 1948 film version as well as his earlier stage production, Roman Polanski's famous film, and several different television versions from America and Britain offers an invaluable guide to the most prominent performances across a range of media. She also considers Yukio Ninagawa's staging, which provides an exciting and novel Japanese perspective on the play for Western audiences.
Review
"The body of criticism covering aspects of Shakespeare in performance continues to grow apace and MUP's admirable series makes a significant contribution..."--
Notes and Queries
Synopsis
This title explores the myriad decisions directors and actors make to produce a version of Shakespeare's play. It's full discussions of eighteen productions from the UK, Italy, Japan and the US empower readers to appreciate the many choices Shakespeare's text supports.
About the Author
Bernice W. Kliman is Professor Emeritus at Nassau Community College, State University of New York.
Table of Contents
Series Editors' Preface * Acknowledgements * Introduction *
Part I: The Protagonists and the Production 1606-1623 * Davenant and Betterton * David Garrick * Sarah Siddons * Macready and Forrest *
Part II: Operato * Operatic
Macbeth: What We Could Still Learn from Verdi * Conical Hats and Broomsticks * Thinking about
Macbeth * Performance as Representation: Metaphor V. Mimesis *
Part III: The Protagonists: Chiasmus Interpretation on Stage * Laurence Olivier and Vivien Leigh Directed by Glen Byam Shaw *
Part IV: The Protagonists: Chiasmus Interpretations on Television * Maurice Evans and Judith Anderson Directed by George Schaefer * Eric Porter and Janet Suzman Directed by John Gorrie * Nicol Williamson and Jane Lapotaire Directed by Jack Gold *
Part V: The Production: Visionary Directors on Stage and Screen * Orson Welles' 1936
Voodoo *
Macbeth and Its Reincarnation on Film * Trevor Nunn's Production with Ian McKellan and Judi Dench * Ron Daniels's Ensemble Production * Ninagawa Macbeth: Fusion of Japanese and Western Theatrical Styles--Paul A. S. Harvey and Bernice W. Kliman *
Part VI: The Production: Visionary Directors on Film * Akira Kurosawa's
Throne of Blood * Roman Polanski * Epilogue * Appendix * Bibliography * Index Series Editors' Preface * Acknowledgements * Introduction *
Part I: The Protagonists and the Production 1606-1623 * Davenant and Betterton * David Garrick * Sarah Siddons * Macready and Forrest *
Part II: Operato * Operatic
Macbeth: What We Could Still Learn from Verdi * Conical Hats and Broomsticks * Thinking about
Macbeth * Performance as Representation: Metaphor V. Mimesis *
Part III: The Protagonists: Chiasmus Interpretation on Stage * Laurence Olivier and Vivien Leigh Directed by Glen Byam Shaw *
Part IV: The Protagonists: Chiasmus Interpretations on Television * Maurice Evans and Judith Anderson Directed by George Schaefer * Eric Porter and Janet Suzman Directed by John Gorrie * Nicol Williamson and Jane Lapotaire Directed by Jack Gold *
Part V: The Production: Visionary Directors on Stage and Screen * Orson Welles' 1936
Voodoo *
Macbeth and Its Reincarnation on Film * Trevor Nunn's Production with Ian McKellan and Judi Dench * Ron Daniels's Ensemble Production * Ninagawa Macbeth: Fusion of Japanese and Western Theatrical Styles--Paul A. S. Harvey and Bernice W. Kliman *
Part VI: The Production: Visionary Directors on Film * Akira Kurosawa's
Throne of Blood * Roman Polanski * Epilogue * Appendix * Bibliography * Index