The Masks of Macbeth

by Marvin Rosenberg

The mysteries of Macbeth have long fascinated actors, critics, spectators, and readers. By what art did Shakespeare design two terrible murderers (Macbeth and Lady Macbeth) who would earn the compassion of almost four centuries of audiences of many cultures? Does the very magnitude of the criminals and their crimes stir deep layers in us of recognition and empathy? Do they kill, as well as suffer, for us? Are we mistaken in sympathizing? Are we rocked between sympathy and revulsion, as we see-saw among so many opposites that tense the play? To explore the multiplying mysteries of the play, this book examines major interpretations of distinguished actors, directors, scholars, and critics from England, the United States, France, Belgium, Holland, Japan, India, Sweden, Norway, Denmark, Germany, Italy, the Soviet Union, Czechoslovakia, Hungary, Poland, Yugoslavia, Turkey, and South America. In the differences, as well as the striking similarities, of these worldwide interpretations, Mr. Rosenberg finds many illuminations of Macbeth's beckoning complexities. He joins these to his own study and experience of the play, enriched by his opportunity to observe rehearsals and performances of the production at Stratford-upon-Avon, when Peter Hall directed Paul Scofield and Vivien Merchant in the leading roles. This method follows Mr. Rosenberg's practice of integrating critical and theatrical for his The Masks of Othello he acted in and directed the play; and he observed a production of Lear through rehearsal and performance for The Masks of King Lear. As with the latter study, Rosenberg designed an experiment in audience response to discover afresh the effect of Shakespeare's art in arousing expectation about his characters and their action. He arranged three dramatizations of Macbeth for audiences that had never read or seen the play. The often surprisresponses of these "naive" audiences gland) were particularly enlightening for Macbeth, the only major tr

Genres: Shakespeare, Literary Criticism

802 pages, Hardcover

First published January 1, 1978

Reviews

[Erik Larsson · Rating 5 out of 5]

Taught me Macbeth (the play and the person). An authoritative study, and invaluable to the actor in appreciating the polyphony of this play. Explores nuances, doesn’t simplify them.

“to dare to inhabit Macbeth, to stretch imagination, feeling, and understanding to the last reaches of this character design, is to adventure toward the limits of artistic experience”

[Selin Apaydin]

DAMN now I'm really excited to direct Macbeth AND super inspired