Macbeth and the Spanish Tragedy Viewed Through Female Eyes
Women and power are often viewed as anathema in the conventional view of Jacobean drama, although ironically the dramatic form reached its height during the reign of Elizabeth. Lady Macbeth is often cited as proof positive that women in tragedy are seen as sources of negative, rather than positive power when they exercise statesmanship and personal choice. But Shakespeare's Lady and also the lesser known Bel-Imperia of Thomas Kyd's earlier revenge play both function not so much as negative sources of power, but as the moral reflections of the men in their lives and the world in which they live, both for good and for ill.
According to the common conception of Lady Macbeth, the wife of the Thane of Cawdor is an evil, malicious shrew, full of gall rather than the "milk of human kindness." (1.1.15) However, although Lady Macbeth is hardly the type of woman one might want to have hosting one's dinner party, her inner complexity is much deeper. She is not like the witches who lure Macbeth to his doom. Rather, she like her...
A hut on top of the 'Tiring House' was there for apparatus and machines. Flag above the hut was there to indicate concert day. Musicians' veranda was beneath the hut at the third level and spectators would have to sit on 2nd level. (the Elizabethan Theatre: Introduction to Theatre Online Course) The performance sites are also original. First managed in suitable public places like inn courtyards, in the fashion of
As mentioned earlier on, the new political dispensation that took off is 1994 opened the "gates of creative possibility" (Roos,2010) for the opera producers since they were therefore able to juxtapose the Western and African art scenes. This was fueled by the sense of renewed intellectual and artistic access that way created by the new political dispensation. According to Roos (2010), theoretically, the new political dispensation culminated into an
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