Macbeth, of course, is not a book to be
read in a classroom (Shakespeare would roll over in his grave!) but a living,
dynamic play to be performed.
Therefore…
As a final
project for our unit on this play, you are going to get the rare opportunity to
delve deeply inside a single scene of the Bard's Scottish play, find out what
makes it tick, see how it fits into the whole of the script, and, yes, perform it.
:-) Through your interaction with
this scene, I want to see how well you understand Shakespeare’s themes,
structures, and language.
Acting
This is not an acting class, but, as I said above and have said before, Macbeth is first and foremost a play. Therefore I am asking that each group present a brief scene from it to see that you can work with it as a scene from a play. The performance counts 2/5 of the grade for this project.
You will not be required to memorize lines. Though it is desirable, memorization at times becomes an end in itself, and that is not what anyone is looking for here. However, you should also not be over-reliant on scripts. I strongly recommend that you make your scripts as “invisible” as possible, even if you must have them in your hands. That is, do not allow yourself to be staring at them; it will kill the scene. Of course, some burdens are more than others, and I recognize this, so those with fewer lines should be more memorized than others with many lines. Groups should designate these players as “directors” of the scene, making them responsible for pulling the whole thing together and organizing the project, to create balance and equity.
All players should be thoroughly familiar with the lines they speak as well as the lines others speak; each player’s clear understanding of each element of the scene is a part of the project. Though (again) you may not be actors, you should work to present the scene, to the extent possible, naturally. We want to understand the lines and to see that you understand them. Groups may determine for themselves how they wish to stage the scene (period? gangster? modern? old west?), how it should be costumed, what props are needed, etc. (Though elaborate costuming is neither required nor, in most cases, possible, you should remember that these scenes need to be visually focused, so--at least within each individual scene--costuming should make sense. Do not worry about how other groups’ scenes are costumed; concepts do not need to match throughout the class.)
I recommend that, if possible, you do the project on DVD or videotape. This will allow you to have maximum control over the final product and minimize the chance of something going wrong on the performance day that could jeopardize your grade. Through editing or reshooting, you can alter or fix any problems that might occur in a recorded scene; in a live one, that is not the case. Of course, you always have the option of going live.
Getting Started
Select a group and a scene. I have listed several suggested scenes below. Each is a decent length for the number of people in it and has a strong dynamic to play, allowing you to have some fun with it. You are not limited to these, but be wary of others; there are reasons I avoided them. For this project, you are not limited to your own section of E3H; if you are doing your project on video, you may cross over to my other class. In fact, you may add group members who are not in this class at all, but they may not play roles that are more significant than those taken by class members. It is also possible, if you are good enough, to play a scene yourself as more than one character, though I don’t think I’d recommend it.
Start this weekend: identify your group and
select a scene; get this going!
The next step (after selecting your group and your scene) should be dedicated to individual prep. Each actor should begin exploring his or her character, lines, and thematic connections in order to foster clear comprehension. (One goal to keep in mind: you need to be able to explain everything to your group mates and question their interpretations knowledgeably.)
- Begin work on a “translation” of your lines into modern vernacular.
- Explore how your character’s lines indicate connections to the play as a whole, both what precedes this scene and what follows it.
Designate someone as
scene “director.” (If someone has a
smaller role, he or she should assume this additional responsibility.) That person should take charge of getting
information flowing among group members. Contact each other this weekend
in person, by phone, by e-mail, or by IM and start discussing connections you
see and ideas for presentation. Use your time wisely: get together as
much as possible to do the work on weekends or, if you cannot, at least be in
constant contact with each other. This is not meant to be an individual
project. You are not to divide the work
among the group members and then piece it together at the end. It is a support system in which you all help
each other to understand the scene fully.*
Interpretation
Each group will put together a packet which illustrates its prep work for the scene performance. This will count as the remaining 3/5 of the project grade* (so do it well), and should clearly show understanding of scene and play elements, organization, language, character and structures. Packets are informal to an extent, but must be neat (typed, preferably) and well-organized. They should include, but are not limited to, the following:
• Discussion of individual characters, what we find out in this scene and how it connects to the play as a whole (both forward and backwards from your scene);
• Discussion of language, metaphor, symbolic structure, and content of the scene in itself, and as it relates to the play as a whole, including a detailed “translation”;
• Special problems in staging: what would a director have to watch for in this scene? How does the concept you’ve selected work with the rest of the elements of the play?
• Why did you make the choices you did re: costumes, staging, scenery, incidental music, etc?
* Most of this grade will be the packet
itself; however, as much as 1/5 of your grade may be determined by how well all of your group members know all of your information, so remember
again: this is NOT a series of individual efforts that are to be combined at
the last minute.
Specific elements of project
1. Text analysis
a. Meaning of words and phrase
“Translation” of text into modern vernacular
b. Proper pronunciation
All performers are responsible for each other
c. Examination of character through lines
d. Examination of symbols, metaphors, etc within text
2. Exploration of scene
a. Connection to play (both forward and backward)
How does this inform what follows it?
How does it come from what precedes it?
b. Development of character
c. Thematic undertones
3. Integration into concept
a. Thorough description of concept for production
b. How does it affect other scenes in the play?
c. How does this scene fit into the concept?
4. Performance
a. Lines do not need to be memorized but script must be unobtrusive
b. Pay attention to blocking (movement) so that it enhances the scene
c. Costuming and props should connect to concept and enhance the scene
d. There should be clear demonstration of
Group effort
Group comprehension
Scenes
Suggested scenes for this project are as follows. (Note that, unless otherwise dictated by circumstances, all group members are equally responsible for the written work as well as the performance and all members should receive the same grade. I do, however, reserve the right to alter this philosophy for cause.) You may assign the roles within the scene as you desire. Special instructions for scene, if any, are included.
IV.i Characters:
3 witches, Macbeth,
Apparitions,
Instructions: One actor should
handle both apparitions and
II.ii Characters: Macbeth, Lady Macbeth
Instructions: Don't forget: she doesn't
see the daggers until line 47.
V.iii. Characters: Macbeth,
Doctor, Seyton, Servant
Instructions: Recruit a sibling or friend to play Seyton and Servant
II.iii Characters: Macbeth, Macduff,
Porter,
Instructions: Play only through line 92.
IV.ii Characters: Lady Macduff, Son, Ross, Messenger, Murderers
Instructions Actors who play Ross and
Messenger should also play Murderers.
V.i. Characters: Lady Macbeth, Doctor, Gentlewoman
Instructions: Play Lady M. very sincerely; she is
at her most raw here.
V.vi/vii Characters: Macbeth, Young Siward, Macduff,
Siward (combine the scenes)
Instructions: Young and old Siward
could and probably should be played by the same actor, but you have to do it
well
Packets
for this project are dues on Friday, May 2.
Scenes
may be presented at any time beginning on April 28, but must be completed by May
4.