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The Three Witches, also known as the Weird Sisters, Weyward Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth (c. 1603–1607). The witches eventually lead Macbeth to his demise, and they hold a striking resemblance to the three Fates of classical mythology.
Actors also avoid even quoting the lines from Macbeth before performances, particularly the Witches' incantations. Outside a theatre and after a performance, the play can be spoken of openly. If an actor speaks the word "Macbeth", or quotes the play, in a theatre other than in performance, they must perform a ritual to remove the curse.
Scholars believe Macbeth, of all the plays that Shakespeare wrote during the reign of King James I, contains the most allusions to James, patron of Shakespeare's acting company. [2] In the play, a brave Scottish general named Macbeth receives a prophecy from a trio of witches that one day he will become King of Scotland.
Lord Macbeth, the Thane of Glamis and quickly the Thane of Cawdor, is the title character and main protagonist in William Shakespeare's Macbeth (c. 1603–1607). The character is loosely based on the historical king Macbeth of Scotland and is derived largely from the account in Holinshed's Chronicles (1577), a compilation of British history.
Gu Wuwei's 1916 play The Usurper of State Power adapted both Macbeth and Hamlet as a parody of contemporary events in China. [13] Dev Virahsawmy's Zeneral Macbeff, first performed in 1982, adapted the story to the local Creole and to the Mauritian political situation. [14] He later translated Macbeth itself into Mauritian creole, as Trazedji ...
The play burlesques Shakespeare's Macbeth, with lines drawn from other plays such as Hamlet, and Richard III, with Texas and Boston accents. The plot follows MacBird from the 1960 Democratic National Convention, when he becomes John Ken O'Dunc's Vice President ("Hail, Vice-President thou art!"), to Ken O'Dunc's assassination, at the urging of Lady MacBird.
The traditional origin is said to be a curse set upon the play by a coven of witches, angry at Shakespeare for using a real spell. [2] One hypothesis for the origin of this superstition is that Macbeth, being a popular play, was commonly put on by theatres in financial trouble, or that the high production costs of Macbeth put theatres in financial trouble.
Carol Chillington Rutter, author of Enter the Body: Women and Representation on Shakespeare's Stage (2001), focuses for instance on the body of Cordelia, as her father, King Lear, carries her on to the stage; on the body of Ophelia in the grave; and on the bodies of the two women on the bed at the end of Othello, "a play that destroys women."