1,360,842 research outputs found
MacBeth as a MCDA Tool to Benchmark the Iberian Airports
No full textThis work relates to airports benchmarking which is a very important issue for stakeholders. Airports benchmarking depends on airport performance indicators which are also important issues for business and operational management, regulatory bodies, airlines and passengers. There are several sets of indicators to evaluate airports performance and also there are several techniques to benchmark airports. This work uses MacBeth - a MCDA (Multi-Criteria Decision Analysis) tool, to evaluate the attractiveness of the most important Iberian Airports. This approach is a new one and the preliminary results are very promising when compared with some traditional studies of airports benchmarking. Key words: Airports Benchmarking, MCDA/MacBeth, Iberian Airports
Macbeth
No full textA 150-minite film version directed by Rupert Goold of his highly-acclaimed production with Patrick Stewart as Macbeth and Kate Fleetwood as Lady Macbeth. Originally staged by Chichester Festival Theatre, the production was a sell-out hit in the West End and on Broadway. Shot on location in the mysterious underground world of Welbeck Abbey in Nottinghamshire, the film is set in an undefined and threatening central European world. Immediate and visceral, this is a contemporary presentation of Shakespeare’s intense, claustrophobic and bloody drama. The film extends John Wyver's engagement, begun with Hamlet (2009) with ways of producing stage productions for the screen, creating a film language that respects the work's origins but achieves a dynamic and accessible screen form
Unsex me here. Ambivalenza e metamorfosi di Lady Macbeth
No full textMacbeth is the tragedy of desire. Lady Macbeth’s identity is a fiction of closure, namely a metonymic part that cannot represent the whole, the predetermined complexity with which being coincides with its subjectuality, made even more evident by the non-allocation of a name from the author. Being of Lady Macbeth is an aporia that says the true, because it built on an identification of opposites and destined inevitably to death to get a resolution of the internal conflict that embodies
Macbeth
No full text120 minute film reworking of the Royal Shakespeare Company stage production of Macbeth, co-produced by Wyver and
commissioned by Channel Four. Macbeth aimed to produce a vivid and dynamic translation to screen of an existing RSC stage production. It built on Wyver’s
previous stage-to-screen translations of theatrical productions, including “Richard II” and “Gloriana”, to develop new production
methods and a single-camera film language.
The original stage production was acknowledged as one of the best of its generation. The screen version involved imaginative
re-thinking of this for a different media form, whilst retaining the core concerns and qualities of the stage production. The screen
production is one of fewer than a half dozen Shakespeare productions produced within British television in the past decade. Its
success led to Channel 4 commissioning a film opera of The Eternity Man, with Wyver as co-producer.
Almost all translations of theatrical productions created for television have employed multiple-camera live recording strategies.
While such productions have an important archival value, they rarely capture the excitement and interest of the original stage
presentation. Macbeth explored how filming a stage production with a single camera and collaborating closely with the stage
cast and production team (including employing the stage director as the screen director) can produce a screen version for an
extensive broadcast audience (800,000 on C4) and for other viewers, including within education, via DVD distribution. Another
key component was bringing the stage production into a single environment, in this case London’s Roundhouse, for the filming.
Wyver conceived this process during extensive collaborative work with the RSC and other theatre professionals. Co-producer
Sebastian Grant line-produced shoot and post-production.
The screen translation retained all of the play’s text and was produced to the highest broadcast production values. It was filmed
with a full professional team and achieved, without compromising the drama, on an unusually fast production schedule
Chapter 10 Shakespeeding into Macbeth and The Tempest
No full textThe Australian “Better Strangers” project has begun exploring the potential of gamified learning scenarios to enrich teacher professional development and student learning at high school and university. In May 2016, Shakeserendipity became the subject of an unsolicited newspaper review by 16-year-old South Australian student Dylan Carpinelli. Australian high school teacher Catherine Hicks shared the Macbeth Shakespeed module with her Year 12 class in North Queensland as part of a larger learning activity. Students were to write a memoir from the perspective of a minor character in Macbeth and Hicks used Shakespeed “as an activity to help them brainstorm the themes and ideas and create modern interpretations of the play.” In the Macbeth Shakespeed game the Wild Card is a YouTube audio clip of the song “Metaphor” by Swedish alternative metal band In Flames. The song’s persona reflects on the pain, sickness, and entrapment of his desire
Macbeth in Nineteenth-Century Bengal: A Case of Conflicted Indigenization
No full textAdaptation, a complex bilingual and bicultural process, is further problematised in a colonial scenario inflected by burgeoning nationalism and imperialist counter-oppression. Nagendranath Bose’s Karnabir (1884/85), the second extant Bengali translation of Macbeth was written after the First War of Indian Independence in 1857 and its aftermath - the formation of predominantly upper and middle class nationalist organisations that spearheaded the freedom movement. To curb anti-colonial activities in the cultural sphere, the British introduced repressive measures like the Theatre Censorship Act and the Vernacular Press Act. Bengal experienced a revival of Hinduism paradoxically augmented by the nationalist ethos and the divisive tactics of British rule that fostered communalism. This article investigates the contingencies and implications of domesticating and othering Macbeth at this juncture and the collaborative/oppositional strategies of the vernacular text vis-à-vis colonial discourse. The generic problems of negotiating tragedy in a literary tradition marked by its absence are compounded by the socio-linguistic limitations of a Sanskritised adaptation. The conflicted nature of the cultural indigenisation evidenced in Karnabir is explored with special focus on the nature of generic, linguistic and religious acculturation, issues of nomenclature and epistemology, as well as the political and ideological negotiations that the target text engages in with the source text and the intended audience
Macbeth, James, 1851-1947
No full textTypescript of a biographical sketch of James Macbeth, from an interview. He was born in Scotland in 1851, and came to Utah in 1883, opening a plumbing business at Ogden. Typed by Maurice L. Howe in 193
"Unveiling Evil: Nihilism in Shakespeare's Macbeth"
No full textopenShakespeare’s Macbeth is a play abounding with philosophically significant questions which find their crystallised form in Nietzsche’s nihilism. This paper attempts to delineate a correspondence between the Bard and the German philosopher, thus applying modern philosophical theory to the aesthetic realm of early modern literature. The research centres on a handful of staple themes such as the role of time, the evil dilemma, the opaqueness of free will, the transvaluation of values and the merging of truth and appearance. The same themes are confronted with Nietzsche’s constructs of the Overman, the will to power and the eternal recurrence of the same, by analysing some of his most fortunate works such as The Birth of Tragedy, Human All Too Human, Thus Spoke Zarathustra and Beyond Good and Evil. Therefore, this paper selects a corpus of both Shakespearean Studies and Nietzschean commentaries to build a comparative and interdisciplinary study, possibly offering a new perspective on one of the four major tragedies in Shakespeare’s production.Shakespeare’s Macbeth is a play abounding with philosophically significant questions which find their crystallised form in Nietzsche’s nihilism. This paper attempts to delineate a correspondence between the Bard and the German philosopher, thus applying modern philosophical theory to the aesthetic realm of early modern literature. The research centres on a handful of staple themes such as the role of time, the evil dilemma, the opaqueness of free will, the transvaluation of values and the merging of truth and appearance. The same themes are confronted with Nietzsche’s constructs of the Overman, the will to power and the eternal recurrence of the same, by analysing some of his most fortunate works such as The Birth of Tragedy, Human All Too Human, Thus Spoke Zarathustra and Beyond Good and Evil. Therefore, this paper selects a corpus of both Shakespearean Studies and Nietzschean commentaries to build a comparative and interdisciplinary study, possibly offering a new perspective on one of the four major tragedies in Shakespeare’s production
Towards a Differently Politicised Shostakovich:an Analytical, Hermeneutical and Feminist Exploration of the Opera Lady Macbeth of the Mtsensk District
No full textThis thesis provides a feminist interpretation of Shostakovich’s opera, Lady Macbeth of the Mtsensk District (1932) that draws on musical analysis – particularly of tonality – and explores cultural contexts – particularly the history of Soviet women – in order to do so. If Shostakovich scholarship has been dominated by overtly politicised readings hitherto, this study contributes to the broadening of research methods and areas through which we might examine these compositions – yet for its own, differently political ends. Similarly, it adds to that limited body of literature – in the field of Shostakovich specifically, yet also in musicology in general – that profitably combines both analytical and hermeneutical approaches.
Lady Macbeth is often held to be a ‘feminist’ opera: an assessment that is highly problematic. A conventional feminist musical analysis of the work reveals its fundamental tonal-dramatic narrative to tell a familiar story of the heroine Katerina’s struggle and subjugation; moreover, her final defeat is endorsed by aspects of the musical setting in a manner that is regressive. A richer contextual reading demonstrates that more is at stake here: Shostakovich’s opera is shown to embody a shift from experiment to thermidor that took place in the 1920s and 1930s in various cultural and social spheres, and its strategies of endorsement also work to celebrate a move to traditionalism with far-reaching historical implications. Yet several analytical and hermeneutical readings of short extracts from the piece uncover moments in which its monolithic and pessimistic message is complicated: a project in line with other recent feminist and critical musicological developments
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