Advertisement

Macbeth: A Dramaturgy of Deceit

  • Ulla Kallenbach
Chapter

Abstract

This chapter analyzes the representation and the theatrical practice of imagination in William Shakespeare’s Macbeth (c. 1606). Imagination is explicitly a key topic of the play, both internally (in the psychology of Macbeth) and externally (with references to the contemporary, political context). And it is implicitly an essential part of the dramaturgy of spectatorship employed in the play. Kallenbach argues that the imagination of the spectator is intrinsically connected to the imagination of the title character; a relation which is also reflected in the physicalization of the play, that which is staged for the audience. The representation and practice of imagination in Macbeth thus involve an interweaving of many forms of imagination, from the physiological and epistemological to the aesthetic and political.

References

  1. Assmann, Aleida. “Spirits, Ghosts, Demons in Shakespeare and Milton.” In Renaissance Go-Betweens: Cultural Exchange in Early Modern Europe, edited by Andreas Höfele and Werner von Koppenfels, 200–13. Berlin; New York: Walter de Gruyter, 2005.Google Scholar
  2. Barish, Jonas A. The Antitheatrical Prejudice. Berkeley; London: University of California Press, 1981.Google Scholar
  3. Bloch, Marc. The Royal Touch. Sacred Monarchy and Scrofula in England and France [Les rois thaumaturges]. Translated by J. E. Anderson. London: Routledge and Kegan Paul, 1973. 1924.Google Scholar
  4. Booth, Stephen. King Lear, Macbeth, Indefinition, and Tragedy. Christchurch, NZ: Cybereditions, 2001.Google Scholar
  5. Brockett, Oscar G., and Franklin J. Hildy. History of the Theatre. 9th ed. Boston: Allyn and Bacon, 2003.Google Scholar
  6. Brown, John Russell. Shakespeare and the Theatrical Event. Basingstoke: Palgrave Macmillan, 2002.CrossRefGoogle Scholar
  7. Burton, Robert. The Anatomy of Melancholy. Everyman’s University Library. London: Dent, 1977. 1621.Google Scholar
  8. Clark, Stuart. Vanities of the Eye: Vision in Early Modern European Culture. Oxford: Oxford University Press, 2007.Google Scholar
  9. Coleridge, Samuel Taylor. Coleridge’s Criticism of Shakespeare: A Selection. London: Athlone, 1989.Google Scholar
  10. Diehl, Huston. “Horrid Image, Sorry Sight, Fatal Vision: The Visual Rhetoric of Macbeth.” Shakespeare Studies 16 (1983): 191–203.Google Scholar
  11. Duncan, A. A. M. The Kingship of the Scots, 8421292 Succession and Independence. Edinburgh: Edinburgh University Press, 2002.Google Scholar
  12. Forman, Simon. “The Book of Plays and Notes thereof per Forman for Common Policy.” In William Shakespeare’s Macbeth, edited by Alexander Leggatt, 95. Abingdon, Oxford New York: Routledge, 2006.Google Scholar
  13. Fox, Michael David. “Like a Poor Player: Audience Emotional Response, Nonrepresentational Performance, and the Staging of Suffering in Macbeth.” In Macbeth: New Critical Essays, edited by Nicholas Rand Moschovakis. Shakespeare Criticism, 208–23. New York: Routledge, 2008.Google Scholar
  14. “From an Homily against Disobedience and Willful Rebellion.” In Macbeth: Texts and Contexts, edited by William C. Carroll, 238–41. Boston, New York: Bedford/St. Martin’s, 1999.Google Scholar
  15. Gaskill, Malcolm. Crime and Mentalities in Early Modern England. Cambridge Studies in Early Modern British History. Cambridge, UK and New York: Cambridge University Press, 2000.CrossRefGoogle Scholar
  16. Hobbes, Thomas. Leviathan, or the Matter, Forme, & Power of a Common-Wealth Ecclesiasticall and Civill. London: Andrew Crooke, 1651.Google Scholar
  17. Holinshed, Raphael. “The Chronicles of England, Scotlande, and Ireland.” In William Shakespeare’s Macbeth, edited by Alexander Leggatt, 15–24. Abingdon, Oxford New York: Routledge, 2006.Google Scholar
  18. Johnstone, Nathan. The Devil and Demonism in Early Modern England. Cambridge Studies in Early Modern British History. Cambridge: Cambridge University Press, 2006.Google Scholar
  19. Kantorowicz, Ernst Hartwig. The King’s Two Bodies: A Study in Mediaeval Political Theology. Princeton University Press: Princeton, 1957.Google Scholar
  20. “King James Bible.” http://www.kingjamesbibleonline.org/.
  21. King James VI of Scotland and I of England. “From A Speech to the Lords and Commons of the Parliament at Whitehall.” In Macbeth: Texts and Contexts, edited by William C. Carroll, 219–20. Boston, New York: Bedford/St. Martin’s, 1999.Google Scholar
  22. Kinney, Arthur F. “Imagination and Ideology in Macbeth.” In The Witness of Times: Manifestations of Ideology in Seventeenth Century England, edited by Katherine Z. Keller and Gerald J. Schiffhorst. Duquesne Studies. Language and Literature Series V. 15, 148–73. Pittsburgh, PA: Duquesne University Press, 1993.Google Scholar
  23. ———. Lies Like Truth: Shakespeare, Macbeth, and the Cultural Moment. Detroit: Wayne State University Press, 2001.Google Scholar
  24. Mandel, Jerome. “Dream and Imagination in Shakespeare.” Shakespeare Quarterly 24, no. 1 (1973): 61–68.CrossRefGoogle Scholar
  25. Mullaney, Steven. The Place of the Stage: License, Play, and Power in Renaissance England. Chicago, London: University of Chicago Press, 1988.Google Scholar
  26. Orgel, Stephen. The Authentic Shakespeare, and Other Problems of the Early Modern Stage. New York: Routledge, 2002.Google Scholar
  27. Pico della Mirandola, Gianfranxesco. On the Imagination [De Imaginatione]. Translated by Harry Caplan. Cornell Studies in English. New Haven: Yale University Press, 1930. 1501.Google Scholar
  28. Puttenham, George. The Art of English Poesy. Cornell Paperbacks. Ithaca: Cornell University Press, 2007. 1589.Google Scholar
  29. Scribner, Bob. “Reformation and Desacralisation: From Sacramental World to Moralised Universe.” In Problems in the Historical Anthropology of Early Modern Europe, edited by R. Po-Chia Hsia and R. W. Scribner, 75–92. Wiesbaden: Harrassowitz, 1997.Google Scholar
  30. Shakespeare, William. Macbeth. Arden Shakespeare. London: Arden Shakespeare, 2005.Google Scholar
  31. ———. Macbeth. The New Cambridge Shakespeare. Cambridge: Cambridge University Press, 1997.Google Scholar
  32. ———. The Tragedy of Macbeth. The Oxford Shakespeare. Oxford; New York: Oxford University Press, 2008.Google Scholar
  33. Shakespeare, William, and William C. Carroll. Macbeth: Texts and Contexts. Boston, New York: Bedford/St. Martin’s, 1999. c. 1606.Google Scholar
  34. Sophocles. Oedipus the King. Translated by Stephen Berg and Diskin Clay. Greek Tragedy in New Translations. Oxford, New York: Oxford University Press, 1988.Google Scholar
  35. Spurgeon, Caroline. Shakespeare’s Imagery and What It Tells Us. Reprinted ed. Cambridge: Cambridge University Press, 1971. 1935.Google Scholar
  36. Szondi, Peter. Theorie des Modernen Dramas. Edition Suhrkamp 27. Frankfurt am Main: Suhrkamp, 1981. 1956.Google Scholar
  37. Thomas, Keith. Religion and the Decline of Magic: Studies in Popular Beliefs in Sixteenth and Seventeenth Century England. London: Weidenfeld and Nicolson, 1980.Google Scholar
  38. Thomson, Peter. Shakespeare’s Theatre. Theatre Production Studies. London: Routledge & Kegan Paul, 1983.Google Scholar
  39. Weimann, Robert. Author’s Pen and Actor’s Voice. Cambridge Studies in Renaissance Literature and Culture. Cambridge: Cambridge University Press, 2000.Google Scholar
  40. Weimann, Robert, and Robert Schwartz. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Baltimore, MD: Johns Hopkins University Press, 1987.Google Scholar
  41. Wickham, Glynne. “Hell-Castle and Its Door-Keeper.” Shakespeare Survey 19 (1966): 68–74.Google Scholar
  42. Wills, Garry. Witches and Jesuits. New York, Oxford: The New York Public Library, Oxford University Press, 1995.Google Scholar
  43. Wright, Iain. ““Come Like Shadows, So Depart”: The Ghostly Kings in Macbeth.” The Shakespearean International Yearbook 6 (2006): 215–29.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Ulla Kallenbach
    • 1
  1. 1.University of Southern DenmarkOdenseDenmark

Personalised recommendations