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Produktbeschreibungen
Pressestimmen
"Macbeth is a blast...ghoulish...beguiling...sardonic...an expression of how captivating an evening of crackling Shakespeare can be." -- Peter Marks, The Washington Post
"The explosive and overwhelming effect of a truck bomb...this horrific, riveting Macbeth ought to be seen by as many people as possible." -- Terry Teachout, The Wall Street Journal
"The explosive and overwhelming effect of a truck bomb...this horrific, riveting Macbeth ought to be seen by as many people as possible." -- Terry Teachout, The Wall Street Journal
Kurzbeschreibung
• Freshly edited text based on the best early printed version of the play
• Full explanatory notes conveniently placed on pages facing the text of the play
• Scene-by-scene plot summaries
• A key to famous lines and phrases
• An introduction to reading Shakespeare's language
• An essay by an outstanding scholar providing a modern perspective on the play
• Illustrations from the Folger Shakespeare Library's vast holdings of rare books
Essay by Susan Snyder
The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit www.folger.edu.
In diesem Buch
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Einleitungssatz
Thunder and lightning. Enter three Witches. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
Thunder and lightning. Enter three Witches. Lesen Sie die erste Seite
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Ausgewählte Seiten ansehenWortanzeiger
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
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11 von 11 Kunden fanden die folgende Rezension hilfreich
A good show
10. Dezember 2009
Format:Taschenbuch|Von Amazon bestätigter Kauf
This review will focus on the enclosed DVD of the 2008 Folger Theatre production directed by Aaron Posner and Teller, since that's the real reason why I bought this product. I found the decision to package it with the Folger paperback edition of Macbeth somewhat odd, since I suspect most people who would be interested in the DVD already own at least one copy of the play. That said, the bundled edition is a great choice for a newcomer to Shakespeare; like all of the Folger editions, the book is very user-friendly, with facing-page notes and a running plot summary.
As one might expect, this production provides plenty of illusion and spectacle: witches vanish, air-drawn daggers hover, and by the end of the sleepwalking scene Lady Macbeth is drenched with blood that seems to come from nowhere. The central idea is that the audience sees what Macbeth and Lady Macbeth are seeing. This is a fast-paced, action-driven Macbeth, and I found it an interesting contrast to the dark, minimalist 1979 version with Ian McKellen and Judi Dench, in which nearly everything is left to the imagination. I recommend seeing both; the acting in the McKellen / Dench version is stronger, but I liked the energy, momentum, and inventive staging of the Folger production, and Ian Merrill Peakes is an excellent, unexpectedly sympathetic, Macbeth. He's a soldier, a bit inarticulate (his fumbling for words provides a touch of comedy in the early scenes), and clearly over his head in the tangled web of prophecy and murder in which he finds himself; his "She should have died hereafter" speech, addressed to a frightened, teenaged Seyton, is particularly powerful. Kate Eastwood Norris's performance as Lady Macbeth is more uneven, and some of the minor characters are rather weak, but on the whole it's well worth seeing. I have a soft spot for stage productions filmed in front of a live audience, and the actors and audience at the Folger are clearly enjoying themselves hugely.
This production takes a freehand approach to Shakespeare's text. Some scenes overlap or are spliced together; Lady Macduff appears in some of the early scenes and is given a couple of her husband's lines; the Porter scene is rewritten with bonus knock-knock jokes; and there are a number of cuts. For the most part, these changes work, but there are a few missteps; e.g., Macbeth's vision of Banquo's descendants in 4.1 is cut, leaving the reason for his anger at the witches and increasing paranoia unclear. This is one place where the characterization seems to be sacrificed to the production's focus on visual spectacle, although these elements are generally well balanced.
As one might expect, this production provides plenty of illusion and spectacle: witches vanish, air-drawn daggers hover, and by the end of the sleepwalking scene Lady Macbeth is drenched with blood that seems to come from nowhere. The central idea is that the audience sees what Macbeth and Lady Macbeth are seeing. This is a fast-paced, action-driven Macbeth, and I found it an interesting contrast to the dark, minimalist 1979 version with Ian McKellen and Judi Dench, in which nearly everything is left to the imagination. I recommend seeing both; the acting in the McKellen / Dench version is stronger, but I liked the energy, momentum, and inventive staging of the Folger production, and Ian Merrill Peakes is an excellent, unexpectedly sympathetic, Macbeth. He's a soldier, a bit inarticulate (his fumbling for words provides a touch of comedy in the early scenes), and clearly over his head in the tangled web of prophecy and murder in which he finds himself; his "She should have died hereafter" speech, addressed to a frightened, teenaged Seyton, is particularly powerful. Kate Eastwood Norris's performance as Lady Macbeth is more uneven, and some of the minor characters are rather weak, but on the whole it's well worth seeing. I have a soft spot for stage productions filmed in front of a live audience, and the actors and audience at the Folger are clearly enjoying themselves hugely.
This production takes a freehand approach to Shakespeare's text. Some scenes overlap or are spliced together; Lady Macduff appears in some of the early scenes and is given a couple of her husband's lines; the Porter scene is rewritten with bonus knock-knock jokes; and there are a number of cuts. For the most part, these changes work, but there are a few missteps; e.g., Macbeth's vision of Banquo's descendants in 4.1 is cut, leaving the reason for his anger at the witches and increasing paranoia unclear. This is one place where the characterization seems to be sacrificed to the production's focus on visual spectacle, although these elements are generally well balanced.
16 von 20 Kunden fanden die folgende Rezension hilfreich
Yale's may be the best edition of Macbeth
31. Dezember 2005
Format:Taschenbuch
Virtually all editions of Macbeth will have at least some annotations. Rummaging through five different editions, I preferred the Yale University Press version, edited by Burton Raffel, as having the most comprehensive and comprehensible notes, as well as an excellent introduction to Shakespeare's play. Raffel not only explains the meanings of obscure words, but also gives brief notes pertaining to relevant history, geography, stage directions, etc, that are rarely addressed as fully by other editors. In addition, Raffel frequently gives the proper way to stress the syllables in a line when reading it aloud, which can be extremely helpful. (However, in most places these stresses need to be very subtle, so that you don't sound like "taDUM taDUM taDUM".) And Yale's page layout is among the clearest that I've seen.
(To find this edition: at Avanced Search, enter ISBN 0300106548; or, enter Macbeth as title, and either Raffel as author or Yale as publisher.)
As a bonus, this edition includes at the back a long essay on the play by Harold Bloom. This is not an uninteresting commentary, but Bloom desperately needs a good editor. His essay is not only at least three times longer than it should be, but is startlingly repetitious. Yale would have been wise to have asked Bloom for a rewrite.
(To find this edition: at Avanced Search, enter ISBN 0300106548; or, enter Macbeth as title, and either Raffel as author or Yale as publisher.)
As a bonus, this edition includes at the back a long essay on the play by Harold Bloom. This is not an uninteresting commentary, but Bloom desperately needs a good editor. His essay is not only at least three times longer than it should be, but is startlingly repetitious. Yale would have been wise to have asked Bloom for a rewrite.
9 von 11 Kunden fanden die folgende Rezension hilfreich
A Masterpiece "To the last syllable of recorded time."
10. April 2005
Format:Taschenbuch
"Macbeth" comes out as one of William Shakespeare's darkest and murkiest plays, most likely as a result of being written during one of Shakespeare's darkest times in his own life. This play strays away from the more common Shakespearean formula that contains a hero and his demise resulting from a specific tragic flaw. In "MacBeth", the title character is not a hero, but rather a villian. MacBeth murders the king of Scotland to bring truth to a prophecy given to him by three witches (the famous "toil and trouble" sisters). After assuming the throne, MacBeth returns to the witches and requests to hear the circumstances of his own death. The witches tell MacBeth he cannot be killed by any "man of woman born." Under a false assumption of near immortality, MacBeth relaxes his gaurd and perhaps displays his own tragic flaw of over confidence.
Focusing on the power corrupt and merciless villain MacBeth and his dastardly and influential wife Lady MacBeth, this play works as a twisted look into a mind poisioned with greed and hate. Though pessimistic and disturbing, this play must not be dismissed. It contains some of the most poetic language and beautiful lines ever to be written. It is no mystery that MacBeth stands as one of the most quoted works in literature. It is however a mystery that Shakespeare could create something so magnificient in a period when he saw life as "...a tale told by an idiot, full of sound and fury, signifying nothing."
Focusing on the power corrupt and merciless villain MacBeth and his dastardly and influential wife Lady MacBeth, this play works as a twisted look into a mind poisioned with greed and hate. Though pessimistic and disturbing, this play must not be dismissed. It contains some of the most poetic language and beautiful lines ever to be written. It is no mystery that MacBeth stands as one of the most quoted works in literature. It is however a mystery that Shakespeare could create something so magnificient in a period when he saw life as "...a tale told by an idiot, full of sound and fury, signifying nothing."
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