THE ADAPTATION AND DIRECTION OF SHAKESPEARE‘S MACBETH FOR BAY CITY HANDY HIGH SCHOOL A Thesis Presented to the School of Graduate Studies Michigan Stage College In Partial Fulfillment of the Requirements for the Degree Master of Arts by Clarence R. Murphy July l95h ACKNOWLEDGEMENTS When a school as large as Handy can get behind a project and work as we did, actually over a thousand when you consider all of the departments involved, then we have a school that has ”school spirit.” The Thespians with their production of Macbeth have demonstrated this to us. -— from an anonymous student review. Acknowledgements are hereby made to those “over a thousandI whose time, enthusiasm, and effort made the production of Macbeth possible. Especial acknowledgement is made to Mr. Ernest J. Mauer for his many hours of devoted labor and complete cooperation on the design and construction of the setting. His willingness to adapt ideas for the plan of the production was in no small measure responsible for the net results. To Mr. Arthur H. Cansfield, principal of T. L. Handy High School, for his encouragement and support of an improved program at Handy High School, as illustrated by this experimental production of Macbeth, grateful acknowledgement is due. Acknowledgement is made, also, to the many fellow members of the staff who cOOperated in so many ways and especially to Miss Florence Sutton for the supervision of the costumes and their construction. At Michigan State College, acknowledgement is made to Dr. Wilson B. Paul, head of the Department of Speech, for making possible this off campus production. Recognition is due, also, to Dr. David Potter and Dr. Robert Crawford for their assistance and supervision in the completion of this thesis and to Dr. Herbert Weisinger of the English Department for assistance with the background study for the adaptation of the script. Especial acknowledgement is made to Mr. D. O. Buell for his supervision and assistance in the writing of this thesis. 5 t2{3.,""J-. 311m???“ ‘3 ACT I, Scene 5 "My dearest love!" CHAPT I. TABLE OF CONTENTS ER SHAKESPEARE AT T. L. HANDY HIGH SCHOOL INTRODUCTION PART A. THE PURPOSE IN ADAPTING AND DIRECTING A SHAKESPEAREAN PLAY IN A HIGH SCHOOL PART B. A BRIEF ANALYSIS OF THE PLAY SELECTION PROBLEMS AS INDICATED BY T. L. HANDY HIGH SCHOOL AND THE COMEUNITY IT SERVES II. ADAPTED SCRIPT FOR ggcasTH PART A. AN INTRODUCTION TO THE SCRIPT PART B. THE SCRIPT FOR NACBETH AS ADAPTED FOR HIGH SCHOOL PRODUCTION III. AN ANALYSIS OF THE PROBLEKS IV. OF SCRIPT ADAPTATION DIRECTING AND REHEARSING PROBLEMS PRELIMINARY PREPARATION PART A. TRYOUTS PART B. INDIVIDUAL PROBLEMS PART C. SCHEDULING PROBLEKS PART D. READING REHEARSALS PART E. BLOCKING REHEARSALS PART F. MEMORIZATION REHEARSALS AND RELATED PROBLEMS PAGE 20 26 86 106 108 111 117 I21 138 TABLE OF CONTELTS C HAPTER IV. DIRECTING AND REIEARSING PROB ENS PART G. "POLISHING" REHEARSALS PART H. DRESS REHEARSALS AND PRE-VIEW PERFORNANCES PART I. PERFORMANCE ANALYSIS PRODUCTION NOTE PART A . COSTUMES PART B. PROPERTIES PART C. THE STAGE SE PART D. LIGHTING VI. STUDENT REACTIONS AND DIRECTOR‘S CONCLUSIONS PART A. STUDENT REACTIONS PART B. DIRECTOR'S CONCLUSIONS BIBLIOGRAPHY APPENDIX AGE 151 155 157 158 163 167 170 172 176 180 183 LIST OF ILLUSTRATIONS Frontispiece .... .......... Macbeth and Lady Macbeth Play contract for Macbeth ......................... . Floor plan... ........ .........I..................... The Three Wierd Sisters............................. King Duncan, Malcom, and Donalbain.................. Macbeth and Lady Macbeth as King and Queen,......... The banquet scene .......... ...... .................. The murder of Lady Macduff and her son . ...... ...... The sleep walking scene ............................ Rehearsal schedule for Macbeth ......... ........... . Floor plan .... ........... ..... ................... .. Final tableau 0.0.0.0000...0000.00.00...0.0.0.000... Light plan ............... ..... ... ........... ....... Newspaper publicity ... ....... ...... .......... ...... TeleV181on pictures .00....0.0.00.0.........OOOOOCOO PAGE 17 23 30 35 52 59 71 77 120 166 168 171 183 188 LIST OF PLOTS PAGE Costume plot .. ................ ...... ........... .. 161 Properties plot ...... ..... . ..... ................. 16h CHAPTER I SHAKESPEARE AT T. L. HANDY HIGH SCHOOL INTRODUCTION Plays selected from the works of William Shakespeare are studied in most of the high schools of the State of Michigan. The authority for making this statement lies in the requirement as stated by the North Central Accrediting Association in its pamphlet entitled Preparation for College English: The candidate for college entrance should have secured familiarity with a reasonable amount of significant literature . . . He should have read intelligently and if possible appreciatively some famous poems, plays, novels, essays, and biographies. Characteristic and notable works should be selected from the writings of such aufhors as the following: Shakespeare, Goldsmith . . . Since all high schools seek the accreditation of the association, the requests of the association are met in the planning of the curriculum in the English departments. In the English department of T. L. Handy High School, gulius Caesar is taught in the tenth grade, Macbeth in the eleventh grade, and Hamlet in the twelfth grade. 1The Michigan Committee on the Articulation of High School and College English, Preparation for College English, An Interpretation of College Entrance Standards in English (Ann Arbor: University of Michigan Press, 1945), p. 103. In the same aforementioned pamphlet, the following is stated as to the study of drama in the high schools: Plays are intended for presentation on the stage by living actors whose art consists fundamentally in the interpretation of character through speech and pantomime. . . . As a rule there can be no complete or perfegt understanding of the play away from the theatre. As for the high school student becoming an actor of Shakespeare's lines, Katherine Ommanney states: The lover of the drama must be a lover of Shakespeare; the actor, an actor of his roles; the student of the drama, a student of his plays. In the school, Shakespeare plays a three-fold role. Of all dramatic literature, his plays offer the richest reward to intensive study; his roles afford the finest opportunity for impersonation; and his text furnishes the most varied material for practice of vocal and pantomimic technique.3 The conclusion, then, is: if the study of Shakespeare is required on the high school level, the plays will be more meaningful to the students if they are acted on the high school stage by high school students. As a teacher of English and dramatics in T. L. Handy High School, the writer decided that the students were not being served as well as they might be in the presentation of Shakespearean drama in a class room situation. Thus, this project and the writing of this thesis. 2Ibid., 84. 3Katherine Ommanney, The Stage and the School (New York: Harper & Brothers Publishers, 1932), p. 352. PART A: THE PURPOSE IN ADAPTING AND PRODUCING A SHAKESPEAREAN PLAY IN A HIGH SCHOOL The purpose in adapting and producing Shakespeare's Macbeth in a high school has been five-fold: to introduce a high school audience to Shakespeare as a living playwright, to demonstrate that a high school group can produce a tragedy of Shakespeare successfully, to prove that an elaborate type of production can be done in a high school with moderate facilities, to open the way for more experimental staging in high schools, and to provide other high school dramatics directors and high school casts with a useable script and production plans for Macbeth. The aim of this thesis is to show how these objectives were met. The students of T. L. Handy High School, Bay City, Michigan, were introduced to Shakespeare as a living playwright when Macbeth was presented, January ninth and tenth, 1953, on the stage of their high school. Comment by community leaders, school administration, teachers, and unsigned opinions from the student body of the high school, which will be found in the concluding chapter of this thesis, will show that Handy's school community was successfully introduced to a Shakespearean tragedy. The production plans for this presentation, which will be found in Chapter V, will demonstrate that a more I b '." u elaborate type of production can be done in a high school with moderate facilities. These plans will show that a departure from the traditional “box-type“ of staging to a more experimental type of staging is possible in a high school. Chapter II will contain the adapted script for Macbeth as it was used by the director along with the director's notes on the direction used. This is in a form usable by other high school directors and other high school students interested in performing Macbeth. The director believes that a high school dramatics program should provide for the performance of the classics in drama as well as the works of the later writers. The director is not only a teacher of dramatics but also a teacher of English literature. He feels that there is a need to perform the classics in the theatre so as to demonstrate that the selections read in the English classes are not only examples of good literature but examples of good.theatre as well. He wanted to show that the writers of the dramas studied.wrote the selections to be performed and not read. As Margaret Webster states: The plays can be kept alive, in the fullest and most vivid sense, only through the medium of the living theatre. . . They were written to be acted, to be seen and,heard. ”Margaret Webster, Shakespeare without Tears (New York: McGruwhHill Book Co., Inc. 19b2), p. 3. Realizing that there was an educational need of the students which was not being met, the director set about making his choice of the play. Shakespeare seemed to be a logical choice of author, but the determination of Macbeth brought further complications which merit an explanation. The choice of Macbeth was the result of several factors: First, this play had a wide audience interest in the community, for it is studied in the eleventh grade classes in English in Handy High School and Bay City Central, the other public high school in the city.5 The Catholic parochial high schools, seven in number, also follow the same plan of study.6 This made a potential audience of twelve hundred high school students outside of Handy High School who knew and were interested in the tragedy. Second, the challenge of the characters in Macbeth was one which the director felt the high school students could meet in their character portrayals, for the major group of characters in the play are no older than middle age with the sole exception of old King Duncan whose part is small and occurs only in the beginning of the selection. 5Courses of Study for High School Classes in Eleventh Grade English (mimeographed pamphlet), Board of Education, Bay City, Michigan, 1952. 6Personal Interview with Sister Scholastica, Supervisor of Teachers of English, Catholic High Schools, Bay City, Michigan, October, 1952. Third, the director believed that high school students are capable of undertaking any type of play which does not have objectionable material inherent within its plot. He believes high school students capable of portraying drama and tragedy as well as comedy and contends that only through the effort involved in creating a character with complexity of personality do the students benefit from the time involved in the preparation of a production. And fourth, when the director announced the intention of producing a Shakespearean play, a comedy, The Taming g£_§he_ EQEEELVaB first considered. The students active in dramatics and the members of Thespian Troupe 1&3 who would sponsor the production voiced a unanimous Opinion and plea to amend the choice to Macbeth.with which they were more familiar and which they felt they would enjoy presenting more because of its story. The director was consequently convinced and persuaded. The play was selected and presented. PART B: A BRIEF ANALYSIS OF THE PLAY SELECTION PROBLEMS AS INDICATED BY T. L. HANDY HIGH SCHOOL AND THE COMMUNITY IT SERVES A brief description of Bay City and T. L. Handy High School will serve for better understanding the play selection problems. The school is a Class A high school, located in a town of approximately fifty thousand in population, situated on Saginaw Bay. The city area which it serves lies west of the Saginaw River which cuts the town into two parts approxi- mately equal in size and population. However, over fifty percent of its students are brought to the school each day by buses, because the school serves over one hundred and fifty square miles of territory outside the city limits to the north, south, and west. The total enrollment of the school is one thousand six hundred and forty-three students in its ninth, tenth, eleventh, and twelfth grades. Even though it is a large city school, it has an agriculture department and very active chapters of the Future Farmers and Future Homemakers of America. These facts indicate the unusual cross-section which Handy High School serves in spite of its large enrollment. Play presentations of T. L. Handy High School are prepared largely with the student body in mind, for the town offers its citizens the following means of entertainment: seven movie houses, a civic theatre group which offers five plays yearly, Bay City Central High School which presents two plays 8 yearly in an eétablished drama program of merit, and two plays yearly offered by each of the seven Catholic parochial high schooll. Over a period of the last seven years none of these groups has presented a play which was chosen from the classics of literature. Other forms of recreation which the city offers are three bowling alleys, two roller skating rinks, an amusement park, and various fraternal organizations. There are definite nationality groups in the school community. The southern city and rural area is made up of peOple who are of second and third generation Germanic descent. The northern area is largely of Swedish descent and the western area is largely Polish descent. There are very small groups of Mexican and Indian descent which are located in no particular area. The school has no Negro students. Because of this nationality predominance, the city has a more cosmOpolitan attitude toward festivals, dances, music, and dress than would be expected from its size. The city's religious life is divided in the following manner: seven Catholic parishes and churches, seven Lutheran churches, four Methodist churches, two Congregational churches, two Presbyterian, and two Churches of God. Each of the Catholic parishes has its own elementary school and high school. Each of the Lutheran churches has its own elementary school but sends its students to the public high schools upon graduation from the eighth grade. At no time has any of these religious organizations-interferred with the policies of the public schools or tried to impose their interpretation of censorship on the schools. In certain ways the school imposes censorship with.what it believes is conformity with the general community feeling. Students are not permitted to smoke on the grounds of the school and their smoking within the building is strictly prohibited. Teacher supervision is required for any group activity which takes place within the school at any time. Drinking is not tolerated at any time by students or adults.7 This self-imposed censorship carries over into the dramatic productions. Since the audience is primarily made up of students from the school, no smoking or pantomiming of it is permitted on the stage. The rule about drinking is not quite so rigid. The only difference is that the glasses and decanters and bottles are permitted if they are necessary to the plot, but no actual drinking is allowed. Further, the director has extended the censorship to Obscenities of language, suggestiveness of line, and plot suggestions. These are considered to be a matter of good taste. The attitude of the administration of the school is such that the production of plays is on an educational basis 7Information given to faculty of T. L. Handy High School, Faculty Meeting, T. L. Handy High School, Mr. Arthur H. Cansfield, principal, Bay City, Michigan, September, 1950. 10 rather than on the level of a money-making prOposition. The administration had stated three years earlier as the philosophy for the dramatics program in the school, “Dramatics as a part of our curriculum and a part of our extra-curricular program is to be considered primarily as an educational activity not a money making activity. Our students should learn from it through participation and attendance at your performances."8 Since Macbeth posed a great many production problems, a word about the dramatic organization and the facilities for production in Handy High School will be in order. Prior to the production of Macbeth, the yearly drama program at Handy High School had consisted of a fall play and a spring play. The school curriculum included a full-year class in dramatics. As part of the extra—curricular activity of the school, a unit of the National Thespian Society had been organized. Since Handy High School had been a high school for only one year upon the arrival of the director, firmly-rooted precedence did not dictate the manner of casting the fall and spring plays. All~school casting was discussed with the administration and the director was able to institute it from the beginning of his work in the school. Even though the fall and spring plays were cast on an all—school basis, they were 8Personal interview with Mr. Arthur H. Cansfield, Priscipal of T. L. Handy High School, Bay City, Michigan, June, 19 . . . . A I I h . I > . | ‘ ' I ‘ ' ... ‘ . r— - . ~ . . . 1 n . I ( h I ~ \) v . . k ‘ I . u ' - H ' I ‘ ‘ I" . l ' . - . - v , . l . ‘ I ' I ‘ ‘ n . ~ \ v I ‘ -. - . . v , . . r W I I k . - . . . v . ‘ I . ' i a - , n n ' . I I ' ’ - ’ ‘ O . . y ' I. v '- o . . « I . ' ‘ ‘ I ' . « . I J l _ . _ _ . ‘ - . l v- I ' - I , , ‘ . ‘ ‘ . a ’ A, l . l - - ‘ I ' r \_ . ' v . l o I ‘ ‘ I .‘ ‘ ‘ . A f - A ' ‘v . t _ ‘ . . ‘ - u - . . . . . ‘ f V D b y 0 — - a . . ‘ . ‘ ' . . . . ‘ x U L l . ' v r ‘ I ‘ I I ‘ . { l . ’ k U . . - .- . . ‘ ’ -, ' ’ F , I I f 5 v . ( ¢ ‘ ( A _ . 5 . . . - . L ‘ ‘ . r I- t _ h ' I . ‘ - I ' . . ' . ‘ - . I ‘ v ‘ . w ' , ‘ ' ‘ ‘ 1 I . . . . ‘ J . ‘ - l . r y , .g ' w k. ‘ l - ' . « ~ > . . . I 0 L. ' I . g 1 - . . I ~ o r y ' ‘ ‘ ' _ ,- ~ . , . . I I I . . II - . c a - _ .. - v - g ' . - ‘ . ‘ - . Iv . ' o ' n O . N ( I . ‘ . o _ - ‘ - . A y . . ’. t ( t 11 'sponsored by the senior and Junior classes. In return for assuming all financial responsibility and responsibility for advertising, ticket sales, ushering, and the securing of necessary properties and costumes the class sponsoring the play secured the money realized as profit on the production. Sponsorship has not been automatic. The director makes the play choice, presents it to the class in class meeting, asks for a definite working budget, and inquires if the class wants to assume the financial responsibility and sponsor the play. The classes have always done this without question. The plays have been financially successful, clearing no less than four hundred dollars profit. The director realized that the two-play-a-year system was working successfully, but it was not offering the students of the school a well-rounded experience in drama, for the classics of drama and literature were not being performed. The idea of a third play in the yearly program with the classics in mind was discussed with the administration. Approval was granted.. The students in the Thespian Society were consulted and they eagerly agreed to sponsorship. The class in dramatics has been a fully-accredited class in the school's curriculum and has been a year, or two semesters, in length. It is an elective course open to all grades but is made up largely, ninety percent, of ninth graders. The course matter consists of‘a brief history of 12 drama, the reading and discussion of plays, and laboratory classes in stage design, costume design, make—up, and production of one act plays which are used as a means of teaching the fundamentals of stage movement, voice control, and acting. These plays are selected from the literature books used in the English classes or are dramatized incidents from American and world history. When preparations are complete and a play is ready, it is presented in the class— rooms where the subject is being studied. The chapter of the National Thespian Society, even though it is an extra—curricular activity, has been the back bone of the dramatics organization at Handy High School. Because the National Thespian Society recognizes the importance of every individual necessary to a dramatic production and because membership implies they have earned their way, students have come to covet their Thespian memberships. A student gains membership by earning ten points, each point signifying ten hours of work in the fields of acting, costuming, make-up, stage construction or design, or committee work on properties, advertising, ticket sales, or lighting. These points are granted for any of the full-length or one act plays which are jpresented during the year. In the yearly drama program, play production has been regarded as an important educational activity by the students and the faculty of the school. This attitude was demonstrated 13 by the fact that the crews for all phases of these productions were made up of students from other than the dramatics department. The art department designed and executed the stage sets and.posters. The wood shop constructed any stage pieces needed. The home making department sewed the costumes. The printing department printed tickets and.programs. The metal department manufactured any metallic properties needed. The commercial department typed any scripts or publicity letters requested. Dramatics at Handy High School is truly all-school in every facet of the activity. Support of dramatics was brought about mainly by the attitude of the administration, which has already been stated, and.by the philosophy of the director as to play selection. The director's plan was to produce a play of literary merit by a recent author for the fall play. The spring playivas to be a modern comedy or mystery of good quality. The play director had gone a step further in his fall play selections and had kept in mind the subject matter taught within the departments of the school. With the classes in family living, John Van Dreuten's 1 Remember Mama was the first choice. With the classes in eleventh grade English, Thorton Wilder‘s _Qur Town was the second.choice. With the classes in American history, Sidney Kingsley's The Patriots was the next choice. Dramatics became recognized by the students and the faculty as a definite part of the educational activity of Handy High 1h School, and attendance has been increased by the school community, since the public realizes that a good type of play is being performed. For the first of the series of third plays, Macbeth was the final choice. Through the dramatics program already discussed, the director knew that the school was ready for this type of play. The English department was enthusiastic about helping to promote attendance through the department's classes. The director knew from the experience of working with the students on the all-school casting principal that actors were available to fill the demands of the play adequately. Interest in such a production was great as was indicated by the students and the faculty. From casting plays with large numbers of boys in the caste in the past, the director knew that there would.be no difficulty in filling the many male parts in the play. To better understand other problems of productions which Macbeth entailed, the reader will need to know the general organization at Handy High School and the facilities available. The auditorium is used during the day by the music department for band and orchestra rehearsals and section rehearsals. Out of an eight period day, the auditorium is used for the showing of movies during the three noon hours to over a thousand students who eat in the cafeteria and do not go home at noon. These activities make any work on the stage during the day impossible. 15 The music department has always been very cooperative in the use of the stage. Stage sets were put up a week before production for the use of the caste in rehearsals, and the music activities accommodated themselves to the stage set by either practicing on the floor of the auditorium or within the setting. The evening hours were found to be the best time for play rehearsals. There were several reasons for this: the school is run on a “staggered" schedule with half of the students beginning school in the morning at eight and going until three in the afternoon; the other half were beginning at nine and were going until four in the afternoon. There were two reasons for this: one, the school was built for nine hundred students and accommodates over sixteen hundred; and, two, as has been previously indicated, over half of the students come varying distances to school by buses. Considering these circumstances, afternoon rehearsals did not seem practicable. Since the policy of the Board of Education of Bay City has been to make the schools centers of community activity,9 the school is open every week-day night for various community activities which include night school classes, committee meetings, and community gatherings of all kinds. There was no question about the building being available. The only conflict on the use of 9Policies of the Board of Education (mineographed pamphlet) Board of Education, Bay City, Michigan, November, 1950. 16 the auditorium was that on Tuesday nights the stage was used for practice by a night school class in band. Other rooms were available for line rehearsals, however, so that an evening was not lost. Rehearsals were held Monday, Wednesday, and Thursday nights on the stage from seven until nine-thirty o'clock. Even though evening rehearsals were necessary and the students lived great distances from the school, securing pupil participation has never been a problem. The students have been interested and enthusiastic enough about the program in dramatics to participate in large numbers. Approximately eighty-five students try out for every play, and before a finished production is presented approximately a hundred students participate in the various phases of preparation. However, there being a wide variety of schedules and travels among the students, the director thought it necessary to devise a play contract form which he has adapted for each of the productions during the last four years at Handy High School. A cOpy of the contract form.used at try-outs for Macbeth reads as follows: l l 7- 1? PLAY CONTRACT FOR MACBETH In trying out for a part in the play Macbeth, I hereby agree to live up to the following conditions if I am assigned a part: 1. I will be on time for all rehearsals. 2. I will schedule all outside engagements in such a manner so that they will not conflict with the rehearsal schedule. 3. I assume the responsibility for learning my lines outside of rehearsals and at the times designated by the director. h. I will so conduct myself as to contribute in every way to making this play an excellent production and a co-operative project. 5. I understand the only acceptable reason for absence from a rehearsal is illness, and I will contact the director as soon as possible to inform him beforehand of an absence. 6. I will take direction from the director and any students assisting him as direction and not as personal criticism. 7. I will assume the sole resposibility for the care of my costumes. ~ 8. I will not use play rehearsals as an excuse for absence from school or for not doing school work that is required of me by my teachers. Signed Grade NECESSARY INFORMTI ON 1. I wish to be considered for the following parts: 2. My scholastic average last marking period was . 3. Did you receive below a 'C' in any subject? Yes No 4. What activities must you attend during the week on Monday, Tuesday, Wednesday, or Thursday nights that might interfere with evening rehearsals on these evenings from 7 to 9:30? 18 This contract form is useful for several reasons: it states the responsibilities of the student in accepting a part in the play, lets the director know the scholastic ability and standing of the student, and informs the director as to any possible conflicts which may arise as to scheduling rehearsals. These contracts are adhered to very rigidly by the director and the students realize their responsibilities in signing them. For the production of any play at Handy High School the following facilities were available to use. The auditorium is located in a wing separate from the rest of the school. It seats eight hundred and seventy-five peOple on its inclined main floor; there is no balcony. The stage has a proscenium arch thirty-six feet wide and sixteen feet high. The stage apron from the act curtain to the outer edge is six feet deep. From.the act curtain to the back wall the stage is twenty—four feet deep three feet of this depth is taken off by six foot high.wooden cabinets which are used for the storage of musical instruments. There is an area of six feet by ten feet on each side of the stage which is the off stage space. On stage left most of this space is taken up by a permanent box in which the grand piano is stored. On stage right there is a seven foot high metal catwalk about one-half the depth of the stage from 'which most of the over head rigging is controlled. This rigging is fastened to the grid which is twenty-four feet from the floor of the stage making the grid too low for the flying of scenery 19 into the left but usable for hanging ceiling pieces and lighting equipment. On stage left eight feet off of the floor and above the piano case is a scenery storage loft which is not usable for storage during the progress of a show because of its inaccessibility. Stage pieces such as platforms and steps are stored on the tap of the music cabinets and the piano case. In the off stage area on stage right is located the light control board. The stage is equipped with three border strips overhead and one foot light strip; each of these strips has an independentally controlled bank of red, white, and blue lights. The controls consist of twelve rheostats. Other lighting equipment consists of six five hundred watt baby spot lights and twelve one hundred and fifty watt show case lights. This is the equipment that was used for lighting the production of Macbeth. Below the stage are two dressing rooms. The larger one is thirty-six feet long and twelve feet wide. This is used for costume storage and as a make-up room. Off of this room is a lavatory which includes three lavatories with hot and cold water besides its toilet facilities. The second dressing room is next to the larger one and is a bare room with dimensions of eighteen feet by eighteen feet. CHAPTER II ADAPTED SCRIPT FOR MACBETH PART A. AN INTRODUCTION TO THE SCRIPT A brief description of the staging evolved would be an aid to better understanding the script as it was adapted by the writer for high school production. The writer, as director of the production, was aware that the arrangement of the scenes would be conditioned by the limitations posed by the proscenium stage of T. L. Handy High School. He knew, also, that the fluidity of scene movement and simplicity of scene shifting would decide whether the production would be smooth running or not. Margaret Webster in her book Shakespeare without_Tears states: Shakespeare's time rhythm is badly Jarred by our scene waits, which in his theatre did not exist. The scenes flowed into each other, often marked by a musical Iflour sh“ or “sennet' to introduce fresh sets of characters. The scene divisions indicated in almost all modern editions are the entirely gratuitous invention of an eighteenth century editor, Nicholas Rowe . . . It is important that we clear our minds of anything which obstructs the unbroken flow of Shakespeare's writing, and that in staging we should eliminate as far as humanly possible the Breaks and checks which scene changes impose on it. 1Webster, g2, cit., page 57. 2Ibid., page 58. 21 Realizing these problems, the director consulted his stage designer, the art teacher in Handy High School. The basic needs of the script were considered and a stage plan was developed to meet them. A detailed discussion of these plans will be found in Chapter V. The plan which was develOped to meet the needs of the script can be divided into two parts. The first part includes that portion of the staging which was permanent. Three pairs of flats were installed in wing position to form three false proscenium arches and platforms were arranged to form a triangle with its apex upstage and the legs open to the audience. There were two series of hinged folding pieces. The first pair was hinged to the flats forming the first down stage false proscenium arch. 'When either of these was unfolded it formed a small acting area downstage. The other hinged folding pieces were fastened to the upstage flats forming the third false proscenium arch and formed a backing for outdoor scenes against the apex of the triangle of the platforms. There were four moveable pieces of scenery which.were set against the outside of the apex of the triangle of the platforms to make castle walls, a castle tower, and an arched castle doorway. Overhead, pieces of scenery were lowered from the fly position to complete the false proscenium arches. These were designed to coincide with outdoor and indoor scenes. 22 The stage as thus set up for the production of Macbeth had four areas in which scenes could be acted: number one, the stage right area formed by the folding wing was used for scenes which involved few people; number two, the stage left area formed by the other folding wing was used to alternate with area one; number three, the area on top of the platforms, was used mainly for the witches' scenes; and, number four, the entire stage, was used for scenes demanding wide movement or large numbers of people. The following is the plan of production that was used with these areas: ACT I Scene 1. A desert place ................. area 3. Scene 2. A camp near Forres ............. area 1. Scene 3. A heath near Forres ............ area #. Scene h. Forres. The palace ............ area 2. Scene 5. Inverness. Macbeth's castle.... area 1. Scene Curtain ' Scene 6. Macbeth's castle ............... area 4. Scene 7. The same ....................... area b. ACT II Scene 1. Macbeth's castle ............... area A. Scene 2. The same ....................... area A. Scene 3. The same ....................... area b. Act Curtain '21 _ k . I ! - - I b ‘ s o 0 ..fl 0 O O I O. I P Q a b O O _ I O o O 0 I O O O o -. . . \ \_i . r e ‘ ‘ ' u Iv ( \ . _ ‘ l . ‘ . . e k, . Q '4 t . . y - ,. , l x. . l . ~- ‘ - O I . J .. O 0 . o v' A ...-......IODOC ' v ' U - e o .....ICVQC. . ‘1 - I .‘I‘Cvt... ‘ i ' - .v .._.~ . . ‘1 OODOOOovvo -~ 0 O - II v U u ’ s . O I I ,I OIOCOCIIOQ‘OQ v .. ,x . ‘7 I I DOD-IcoovIIa-Ioeooict -l 4 OCOcOOIQOOOOO ‘- L ' o r A“. OVOOCOOvIICOeOQ-oolcO w o 7‘ a . C'00000vooonevuo-ssoo- s M..A: ”0? 0T. FRAME \I-llf will 0 FNN®W AZ Cm.mm.:..l!\ “Ln...“ DNOV .z Cwm fiéqnzmm mx4mN5n nOszcn. S . i@. 20.1 :2 cmm 331020 0“ wemifioz 0...... .n0<.cx.r.>m< mama... .HHH.-.:i.muH:.Ix . \ I _ . W: :H. . Known... W. on 5.3 mm . swarm; m7”, twee. : 394.0,... 0.... .....nm \HHHHHHu n...:n.:......:........::../ mrzupmm 6213 \\~\ AMA: I: Iguz cmm ..- -..... ....Hfiflsn... 30$me M. ...»... hmmxn‘ INN. xzuhmOHm.ZMlCMWI I... .. ...... ...... -..... -nr: 3.... maven . C. $9.8 J . .M. m ”xx/...... .... ...... ... a: T» -3..-” . HFOQW Gr}? sham rabwflmafiuml (I I .\. I: .| IL erccg .MMVrlsvlfinPI Kalb? mm: m... ILI: ...I .IPE...7:W7n T...“ Tim/x1}: 3......le :51”... I’)r\’ ”Us "I s u'- 91“. 24 ACT III Scene 1. The palace ..................... area 4. Scene 2. The same ....................... area 4. Scene 3. The same ....................... area 4. Scene Curtain ACT IV Scene 1. The heath ...................... area 4. Scene 2. Fife. Macduff's castle ........ area 2. Scene 3. England. Before king's palace . area 1. Act Curtain ACT V Scene 1. Dunsinane. In the castle ...... area 4. Scene 2. The same ....................... area 4. Scene Curtain Scene 3. Country near Dunsinane ......... area 4. Scene 4. Another part of the field ...... area 4. Scene 5. Another part of the field ...... area 4. Act Curtain The term IScene Curtain" indicates the act curtain was closed for one minute to execute scenery'changeg, It was closed and opened again without turning on the house lights. Likewise, “Act Curtain" signifies closing the curtain for a ten minute intermission. Any stage movements or placements which are given for the actors within a scene are designated for the given area in which the scene was played. D C C o O Q . O O O O I O O C O . . O C O . _. \' 0-00.00. - 0.... ' ‘ v F “ " COCO. ‘ ‘ .. .. I. I L 25 These movements and placements are confined to the following terms: stage right, the actors' right; stage left, the actors' left; downstage, toward the audience; upstage, toward the back of the stage and away from the audience; and center stage, the center of the area which is being used for the scene. As may be seen by the accompanying diagram of the floor plan used in the production, the letters a, b, c, d, e, f, g, and h denote entrance and exit placements on the set. The numbers which appear in red ink at the right hand of the script indicate the changes that were made in the adapt— ation. The following numbers refer to the indicated changes: 1. Speech or speeches out for faster movement. 2. Substitution for words or word meanings no longer used, or deletion or substitution because of vocabulary limitations of cast and audience. 3. Minor changes in sentence structure to make dialogue more intelligible to the audience. 4. Words or lines deleted to make speech more acceptable to the school audience: profanity, Obscenities. 5. Scene cut to expedite production. 6. Scene omitted to expedite production. 7. Scene combined to aid in staging the play. A full discussion of these changes will be found in Chapter III under the title "Script Adaptations.” , PART B: THE SCRIPT FOR NACBETH AS ADAPTED FOR HIGH SCHOOL PRODUCTION uceie l. A neeert place. (3,0,0) r and lightning.(l) Enter three witches.)(2) 7“ H :-_a :5 O. (D First Witch: then she 11 we three meet again In thinder, lightnin', or in rain? Second Witch: ”len the flurlviurl"'s done, I." men the battle' 5 lost and won. Third Witch: That will be ere the set of sun. Fi st Witch: Where the place? Sec0nd Witch: Upon the heath. :hird Witch: There to meet with hacbeth. (3) First Vitch: I com , Graymalkin. (4) econd Witch: Pafdoe k calls. (5) tch: Anon. All: Fair is foul, (6)(6) .9,n6 foul is fair Hover through the fog and filthy air. (7)(e) ( Yé-u1‘r:\TT- T1 ) ...J. e ...I ‘.I . _.. Scene 2. A camp near Forres. (Atienx dITTIi. (a) )(b) SYTFP D" CAV, rALC o1, DorALsAIEQ errox. Z?ETIJS A BL?F DI”G S‘“?€A”" )1) Duncan: The“ bloody man is that? (2) He can report, U Ac s emeth by his plight, of the revolt The newest state. Kalcom: This is the gorges ant Who like a goo 06 an d hardy solcier fought 'Sainet my ca tivit . (3) IE brave friend! Say to the king the kroxlec e of the broil As thou didst le owe it. (b) Doubtful i stood, As cw o eoent swimmers, that do cling-z; together And cho Le tr eir art. The merciless neoconwaldf 7.3 CI’ ‘FI’“'(‘ ": O‘\ Area III :usiness Cues l. "itchec one? e 2. Start drum roll 2. Witches errenfied in trienenler b. Open curtain order: witch ore, witch three, witch two. 0. Bring uh lights on Area III. Stop Erum. . Lifts L henC to accent “ ecbeth". d. ?tert dr‘rT roll. L. Looks to L. e. Take lirhts dorn on APE? III. 5. Looks to P. 6. ”eeve in unison. 7. Pemain in place for Scene 3. tit/1‘ I, icene 2 - Area I entrance: Duncen, Lennox from I. Order of Lelcom, Donalbein, 3-? to Area I. from F-G I\) . Sergeen . Relcom helps sergeant to floor OSOC. Cj \A) h. ‘_. Sergeant on B side held up by Calcom. 0 1! a. Alerum from trumpet. b. Lights up on Area I. ACT I, Scene 2 - Area I usiness Cues CU 7-1 '1‘ "U O U) U) m L r m H m [‘3 Ross bows and kneels. ACT I: Scene 2 Sergeant: Duncan: Sergeant: Duncan: Sergeant: Duncan: Duncan: Malcom: Duncan: Ross: Duncan: Boss: (EIIT 2? €howed like a rebel's wench.4'But all's too week; For brave Kacbeth—-vell he deserves that name-- Disaaining fortune, with his brandished steel, Which snoked with bloody execution! Till he unsesmed him from the nave to the chaps, And fixed his head upon our battlements. O valiant cousin! worthy gentleman!’ (5)Merk, kins of Scotland, mark! No sooner Justice had with valor armed Compelled these skipping kerns to trust their heels, But the Iorwryan lord, surveying vantage, With furbished arms and new supplies of men Began a fresh assault. Dismayed not this Cur captains, Lacbeth and Banquo? Yes;’ As sparrows eagles, or the here the lion. But I am faint, my gsshes cry for help. 80 well thy words become thee as thy wounds; They smack of honor both. Go get his surgeons.(6) SERGEANI ATTEN ED BY DONALBAIN.)(7) (8) Who comes here? (ENTER soss.)(9) The worthy Thane of Ross. what a haste looks through his eyes! So should he look That seems to speak things strange. God save the kinf!(10) Whence comest thou, worthy thane? From Fife, great king! Where the Norweyan banners flout the sky And fan our people cold. Norway himself, with terrible numbers, Assisted by the most disloysl traitor, The thane of Cawéor, began a eisuel conflict;9 Till valor's minion, hecbeth, leopec in proof, Confronted him with self-comparisons Business Cues -alcon exeunt A-B. b. Lishts dim out on ACT I, Scene 3 - Area III hiss from witch 2, a growl 2. Begin {rum roll witch 3. b. Three witches i 1 three ceckle with laughter. Area III where they have been since Scene 1. 2.3 . Lore laughter. c. Ligh.s u; on Area III. Duncan: Ross: Duncan: First Second Third First Second Witch: First Thir‘ Cl First “A‘A (¢VTK Tfitch: “it Cu. Hitch: ifitch: fiitch: Tfitch: 'Uitch: 98 Po int eyeinst saint rerellioue-Bcnd, to conclude, The victory fell on us. Great happiness! But, now 5 Yo more that there of Cewdor shall deceive Our bosom interest. (ll) Go nronounce his oresent death, And with his former title greet Necbeth. I‘ll see it done. (12) What he hath lost noble l ecbeth hath won. (13) (E‘EKH'E. )(b) Scene 3. A heath near Forres. SE. (a) ET“ER WEE THREE ”TCCI+5 )(b)(c) Where has ct thou been, sister? Killing swine. Sister, .heie thou? A sailor's wife had chestnuts in her lap, And hunched, and hunched, and munched. "Give me," cuoth I. "Aroint thee, witch!"(l) the rump-fed ronyon cries, Her husband's to Aleppo gone, master of the Tiger; But in a seive I'll thither sail, And, like a rat without a tail, I'll do, and I'll do, and I'll do.(2) I'll give thee a wind. Thou'rt kind. And I another. I myself have allt he other, And the very ports the}; slow, All the quarters that they know I! the shipman's card. (3) I will drain him dry as hay: Sleeo shall neither night nor Cay hanr uion his penthouse lid; He shall live a man fCTbiCL. Weary se 'rni~; ghts nine times nine ”£808 Business 20 Area III Cues __ —— -——- _— r . First witch fumbles in pocket. \J‘ . Folding it up. (‘ ,q.--.‘- ‘ x: -. ' ..;~C¢-'.£1;JCI’ to 5.14 :1? :7} form .AA 0 (7.- O circle clespin; hands. ' x . 7. Form a (1‘) 9. Circle L. 10. Circle R. ll. Stop. Look off R. 12. Scsuper back to origirel laughing. Lecbeth and then to XL. 0 4— ... 4. L) L- w I" 'u and 'r) d O ' I) U) lb. Bencuo sees witches v. ‘1 a fi V . 15 A .ressihg witcnes from oh I 1 On to DL platform. astonishment from 1 1:. Bencuo X L to lscbetn. 1?; Turns R to witches. 0. Drum beat ACT I: Scene 3 L9 First Witch: Shall he Chi .cle peak Inc p ne; “ihouth his car: cannot be lost, Yet it shall be tenpest-tost. Lonk what I have. (E) Second Witch: Show me, show me. First Witch: Here I have a pilot's thumb, (5) Wrecked as homewsrd he did come. (397':ng 'IITFTIT.. )(d)(e) Third Witch: A drum, 0 Gruml 2e coeth Coth come. (6)(7) All: The ”eiri s‘st ers, hand in hand, Posters of the sea and lano_, (8) Thus 60 I30 about, about; (9) Th.ice to thine and thrice to mine (1 Ann thrice age n, to meke uo nine. (11) Pea ce the charm‘s wound up. (f)(12) (EITHER I- ACEET}? A D Bs'iTQ'TC) (13) Kacheth: So foul 'nd fair a day I have not seen. (lb) Bancuoz How fazr is' t called to Forres? (15) What are these So withe..ed and so wild in their attire, That look not like the inhabitants of the earth, And yet are on it? Live you? or are you ought, That men may question? You seem to uncerstsnd me, By each at once her choppy finger laying coon her skinny lips. You should be women, And yet your beeres forbid me to interpret "Let you Pre SO. Kacbeth: (16 )S eek, if you csn. What are you? First Witch: All Hail, Kecbethl hail to thee thene of Glarisl Second Witch: All hail, r_cheth! hail to the e, these o Cswéor! -hird Witch: All Hail, hacheth! inst shalt he king hereafter! (17) Ban quo: Good sir, (13) why 60 you start, and seen to fear Thin s thst do sound so fair? (10) I' the heme of t uth, o ssticn , or thet indeed . _ I“ Are ye fcnt 1 Which outvaroly ye show? Ky noble psrtn ACT I, Scene 3 ”The weird sisters, hand in hand, Posters of the sea and land....." 30 Area IV / CECE \ l a r1 Cues fin. S n .1 I v! E ’0"- *- S . I on ROVES ."1/‘ 1 P/ 0,. CO. .\1 iJTi? V. n" .‘../O ”.3 First Witch: Second Wit ch: Third Witch: First Witch: Second Witch Third Witch: by} irst Witch: $33 cceth: :' 1 8110110. ° (1) Kscbeth: Banquo: O O 31 You greet 1": h present grace and great pre- diction Cf noble having and of royal hope, That he seems rapt withal; to me you speak not. If you can look into the seeds of tine, And say which grain will grow and which rill not, S eah then to me, who neither oeg nor fear Iour fzvors nor your hate. Hail! He il! Hail! Lesser than Lacbeth, and greater. Wot so happy, yet much hapuier. Thou shalt set kings, though thou be none;(20) So all hail Iacbeth and Banquo! Banquo and Macbeth, all hail! (21) Stay, you imperfect steakers, (22) tell me more. By cinel's death I lznow I am thane of Glamis; But how of Cawdor? (23) The thane of Cswdor lives A prosperous :entleman; and to be king Stands not b 'thin the oros -ct of belief, Ho more than to be Catdor. Say from whence You owe this strange intelligence, or IJhy Ueen this blasted heath you stop our way With such prophetic greeting? Speak, I charge 3ou. (2L) ("I’iCHSS VAIIS H.) The earth hath bubbles, as the water has, And these are of them. (25) Wither are they vanished? Into the a r- and what seemed as realzmelted ‘L 1 As breath into the wind. Would they had stayed! Were such thin s here as we co sneak about? (26) Or have we eaten on the insane root That takes the reason prisoner? Cues 0 V‘- TILE.“ (us .p ——.—--—'-—.—— ..m- 4 E- l" OTIL p I V 0". ACT I: 7' J- . .C‘A‘De‘Jh: 1 U 0 (n 0') p 0 CD "1 O O h 9.3 1.) ,(‘J 3.3 O I so 138th: Lacbeth: Seen A 3 Your children shall be kings. You shall be king. it not so? And the thane of Cawdor too: went To the selfsane tune and words. here? EITER ROSS AWD AEGUS.) (28) Th, 1win hath nap' ily received, Iacbeth, The news of hy succes and :.hen he reads Thy pere sonal venture in the rebels' fight, His nonc:ers and praises do contend we ch should be thine or his.’ As thick as hail Came post with post; and every one did bear Thy praises in his kinsdom's great defense, And poured them down before him. We are sent To give thee from our royal master thanks Only to hear 1d thee into his sight Iot nay thee. greater honor, all thee thane of Ce téor; (2 9) most worthy thane. And, for an ear.est of a He bade me, from him, In which addition, hail, For it is thine. speak true? (ASIDE.) Whtt, can the devil The thane of Cawdor lives; why do you dress me In borrowed robes? Who was the thane lives yet; But under heav;.' Judinnent bears the t life Whic he deserves to lose. Whether he was combined With those of Norway, With hidden help and the rebel that with both or did line vente’e or He labored in his coun try's wreck, I know not; But treasons capital, confessed and proved, Have overthrown him. (ASIDE.) Glar is , aid thane of Cawdor! The greatest is behind. (’30 1:30:15 AND AVG-”SJ Thanks for your pains. All turn to look at Yecbeth. V4. _ ,' " fl V Steps toners Lecceti. c. (1 .‘ 3 H Scene 3 33 t f (To EZMTQUO .) DO you not hope your children shall be kings, hhen those that gave the thane of Cewdor to me Promised no less to them? Banouo: But 'tis strenge;( And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betray 's In deepest consequence. Cousin, a word, I pray you. (30) hacbeth: (ASIDE.) Two truths are told, As happy prologues to the swelling act Of he imperial theme.--I thank you gentlemen. (ssIe".) This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me prophecyzof success, Commencing in a truth? I am thsne of Cawdor; If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs?- hy thoughts, whose murder yet is but fantastical, Shakes so my single state of man that function Is smothered in surmise, and nothing is But what is not. c+ Eanguo: Look, how our partner's rapt. (31) Kacheth: (A%IDE.) If chance will have me king, why, chance may crown me, Without my stir. Banquo: haw honors come upon him, Like our strange garments, cleave not to their mold But with the aid of use. Hacbeth: (ASIDE.) Come wha t come may, Time and honor runs through the roughest day. Banquo: Worthy hacbeth, (32) we stay upon your leisure. Lacbeth: Give me your favor. (33) My dull brain was wrought With things forgotten.’ Let us toward the king. A ACT I, Scene 3 - Area IV Business Cues _». Off L at E-F. f. Lights down on Area IV. h. Curtain closes. Folding pieces f r m nd a are brought out for nert scenes. Chair stage B an Duncan seated on throne . a. urtain o: i on to R, Donalhain to L when lights oms on. b. Lights up on Area II. 2. To islcom. e.EUourish sounded. F o L... “5 d ’T) *3 * *3 * < O :1 :1, I U; 0 KR o D Vneels before sing- O\ o Lsobeth rises. 7. Bsnouo enters A-B. : fi-, 1 e. Dancuo fineels. o. King rises and extends hand to lid Baneuo in rising. -- J ACT I: Scene 3 I-lacbeth: m to r. Minn (lo D!1L.‘o",L, O .) Think upon what hath chanced, and, at more time, The interim having weighed it, let us speak Our free hearts to each other. Very gladly. Till then, enough. Come, friends (3b)(g) (EKEtsT.)(h) Scene u. Forres. The palace. (a)(b) (FLOURISH.(c) ENTER DTKCAF, sALccn, DCNALBAIE.)(1) Duncan: :1: ...J o «3 B Duncan: haobeth: Duncan: Is execution done on Cawdor? (2) Are not Those in commission yet returned? My liese, (3) They are not yet come back. But I have spoke With one that saw him dead; who did report That very frankly he confessed his treasons, Implored your highness' pardon and set forth A deep repentance. Nothing in his life Became it like the leaving it; he died As one that had been studied in his death To throw away the dearest thing he owned2 As 'twere a careless trifle. . There's no art To find the mind's construction in the face; He was a gentleman on whom I built An absolute trust. ~ (ENTER MACBETH.)(4) O worthieet cousin! The sin of my irrratitude even now Was heavy on me. Only I have left to say, here is thy due than more than all can pay. The service and loyalty I owe, In doing it, pays itself. (5) Your highness' part Is to receive our duties;l(6) and our duties(7) Are to your throne and state children and servants. Welcome hither; (8) I have begun to plant thee, and will labor To make thee full of growing. Noble Banquo,(9) That hast no less deserved, nor must be known ACT I, Scene b "There's no art To find the mind's construction in the face..." 35 ACT I, Scene b - Area II nusiness Cues T‘ l "9 IO. Kine holds Han sleit. 0 D 11. A TOVGEER Of Joy from falcom; a start and a scowl from Lacbeth. cf y 12. Duncan to gacbeth. Duncan site. 13. Bows. hoves to S R. Ealcom, Bancuo, Donalbain turn to king. Pantomime conversation. lb. Amide direct to audience from D S L. 'r—J .\P\ 0 Exit A-B. lf. Rises as if to go. Hold positiors while liints go cown and out. fihts down and out on There is no wait betweei scenes. The lights go down on one scene and up on the other. ACT I, Scene 5 - Area I 7y hacbeth is seated in chair while a. Lights up on Area I. ACT I: Scene 4 Duncan: Banquo: Duncan: Eacbeth: Duncan: hacbeth: Duncan: Scene 5. 36 To less to have done so, let me infold thee And hold thee to my heart. Ii‘lere if I ,E‘I'OW, ”' b r at to vow 1n up .LAl-e -ar‘ es! *0 9" -IV.)_ 0" c. (10) Sons, kinsmen, thanes/ And you whose places are the nearest, know We will establish our estate upon Cur eldest, Malcom (ll) whom we name hereafter The Prince of Cumberland. (12) From hence t0! Inverness, And bind us further to you. I'll be myself the harbinger and make JoyfulZ The hearing of my wife with your approach; So humbly take my leave. My worthy Cawdor! (ASIDE.)(1L) The Prince of Cumberland! That is a step On which I must fall down, or else o'erleap, For in my way it lies. Stares hide your fires; Let not light see my b ack and deep desires; The eye wink at the hand; yet let that be Which the eye fears, when it is done, to see. (EXIT LACBETH.)(15) True, worthy Banouo; he is full so valiant, And in his commendations I am fed; It is a banquet to me. Let's after him,(16) Whose care is gone before to bid us welcome. He is a peerless kinsman. (EXIT ALL.) Inverness. Macbeth's castle. (a) (ENTER LADY NACBETH, FEADIFG A LETT?F.) (1) ‘1 Lady nacbeth: "They met me in the day of success; and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire to Question them further, they made themselves air, into which they vanished. Thiles I stood rapt in the wonder of it, came miseives from the king, rho all- hailed me 'Thane of Cawdor'; (2) by which \ -0 (D C? *Q (7‘. \n }—J 7“ o O o (T) ' '~ a) Business ‘4 Fisinq inflection. r \ * \ u ‘ ‘1 a asses over remaincer o- .e' hurriecly. +Hj (. Crushes letter in 5ends. ‘ \ . r“ Afi R $.‘Jvth D s o Seyton enters L at F-C. He X her and kneels. Eeyton rises. Seyton bows. aCT I, Scene 5 - Area Cues ACT I: Scene 5 Lady Tacbeth: Seyton: Lady Kacbeth: Seyton: Lady Lacbeth: 37 title, before, tr ese weird sisters saluted me, and referred to me the coming on of time, with 'Hail, king that shalt be.‘ (3) This have (“5 I thou3ht good to CeliVer thee, my dearee t partner of greatness, that thou mightest not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell."(5) Glamis thou art, nd Cawdor; and shalt be What thou art promised. (6) Yet do I fear thy nature; It is too full 0' the milk of human lindness To catch the nearest way. Thou wouldst be great; Art not without ambition, but without The illness should attend it. What thou wouldst highly That wouldst thou holily; wouldst not play false, And yet wouldst wrongly win. Thou 'ldst have, great Glamis, hat which cries, “Thus thou must do, if thou have it“, nd that which rather thou dost fear to do fl *3 an wishe st should be undone. Hie thee hither, net I may pour my spirits in thine ear, And chastise with the valor of my tongue All that impedes thee from the golden round, .“ ich fate and metajphys ical aid doth seem To have crowned thee withal. (7) H] e3» fi‘ “" LJt‘ L— ’b p H [‘1 to *1 :3. ' ) L‘l p,..:_R...?EYTCN.) What is your tidings? The king comes here tonight. Thou'rt mad to say it. Is not thy master with him? Who, were't so, Would have informed for preparation. So please you, (8) it is true; our thane is oming. One of my fellows had the speed of him, Who, almost deadafor breath, had scarcely more Than would make up his message. Give him tending; (9) He brings great news. Business ‘Cues H [—1 . O (D }._l C) O :‘1‘ 'n ’U n ' b d (I) *‘5 Seyton. 13. Lifts imaginary dagger in L hand. Then she sees lacbeth who enters E—F. 0. lb. Deep curtsey to floor. 1%. He helps her up. Embraces her. 16. Breaks 8TbP€C€. Steps D S L. 1?. Turns R, looks at her, X back to chair and site. I 9 Lady sacbeth moves to back of chair. Talks to him over his L C 70. Turns L from him, walks b S R, turns been. 20. Hold positions while curtain is c.awn. b. Draw Curtain. V7 folded back. The witches folding pieces at D and 4 ar back. The castle walls and tower are put in place. While curtain is drawn, the folding pieces at A and E are e ACT I: SCENE 5 Lady hacbeth: Macbeth: Lady Hacbeth: Kacbeth: Lady 3--a c beth: Lady Macbeth: 38 EXIT SEYT N.)(lO) (11) The raven himself is hoarse That croe ks the fa ta 1 entrance of Duncan Under my battle.nents. Come, you sp oirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-ful Of direst cruelty' make thick my blood; Stop up the access and passa.ge to remo orse, That no com unctuous visitints of nature Shake my fell purp JOSE. (12) Cone thick night,‘4 And pall thee in the dunnest smoke of hell, (13) That my keen knife see not the wound it makes, Nor Heaven peep through the blanket of the dark, To cry, "Hold, hold!" ( NTER EACBE TH. ) m Great Glamisl worthy Cawdor! (lb) Greater than both, by the all-hail hereafter! Thy letters have transported‘me beyond This ignorant present, and I feel now The future in the instant. (15) Ny dearest love, (16) Duncan comes here tonight. And when goes hence? Tomorrow, (17) as he purposes. 0, never (18) Shell sun that morrow see! Your face, my thane, is a book where men Nay read strange matters. To beguile the time Look like the time; bear welcome in your eye, Your hand, your tongue; look like the innocent flower But be the serpent under it. (19) He that's coming lust be provided for; and you shall puta This night' 5 business into my dispatch' We will speak further. Only look up clear; To alter favor ever is to fear. Leave all the rest to me. (20) (Ek EUNT.)(b) ACT I, Scene 6 - Area IV Business Cues b. Open curt sin. 2. Gestures J S C to wells and tower. c. Liar ts out on L. Deep curtsey fron D 3 F platform. X to “latf era and helps J. 6. Slight curtsey. see her R ha dwith his L and ney lead the rest 0out 5-0. ACT I, Scene 7 - Area IV . Two servants bring in bench from 5—0 and place it D R. Exit E-F. . flacbeth enters B—C. Fe looks ick off 8-0 from ale tform. (:- o‘ko . Advances D S R to bench. l. Servants enter 3-3, X, and a. Lights up on Area exit B—C ca rying dishes and tI'PyS 0 3r between F-E 1n order 9. Lights us on Area IV. IV. ACT I: Scene 6 39 Scene 6. Before Kacbeth's Castle. (a)(b) (ENTER DUNCAN, NALCOE, DCNALBAIN, BANQUO, LENUOX, RACDUFF, ROSS, ANGUS.)(1) Duncan: This castle (2) hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses.’ (ENTER LADY KACBETH.)(3) Duncan: See, see, our honored hostess. The love that follows us sometime is our trouble, Which still we thank as love./ Lady Nacbeth: All our service (n) In every point twice done and then done double Were poor and'single business to contend Against those honors deep and broad wherewith Your majesty loads our house; for those of old, And the late dignities heaped up to them We will pray for you. (5)% Duncan: Where's the thane of Cawdor? We coursed him at the heels, and had a purpose'— To be his purveyor; but he rides well; And his great love, sharp as his spur, hath helpedz Him to his home before us. Fair and noble Hostess, We are your guest tonight. Lady Macbeth: Your servants, ever. (6). Duncan: Give me your hand; (7) Conduct me to mine host. We love him highly, And shall continue our graces toward him. By your leave, hostess. (EKEUNT.) Scene 7.. Macbeth's castle. (a) (ENTER A sswss, (1) AND DIVERS STFVANTS WITH DISHES AND SIRVICE, AND PASS OVIP THE STAGE. (2) THEW Innss LACBETH.)(3)(L) hacbeth: If it were done when 'tis done, then 'twere well It were done quickly. If the assassination ACT I, Scene 7 - Area IV Eusiness Cues Sits on bench. inter from 3-0. Comes down to his. He turns sway from her. Advances closely to him. further away. Turns back to her. ACT I: lacbeth: Lady Macbeth: Macbeth: Lady Racbeth: hacbeth: Lady Hacbeth: Macbeth: Lady Macbeth: Scene 7 b0 Could trammel up the consecuence, and catch With his surcease success;2(5) this even- handed justice Commends the ingredients of our poisoned chalice To our own lips. He's here in double trust; First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Nor bear the knife myself. Besides this Duncan Hath born his faculties so meek, hath been 80 clear in his great office, that his virtues Will plead like angels.” I have not a spur To prick the sides of my intent, but only Vaulting ambition, which o‘erleaps itself And falls on the other. (ENTER LADY NACBETH.)(6) How Now! what news? He has almost supped. (7) Why have you left the chamber? Hath he asked for me? Know you not he has? We will proceed no further in this business. (8) Is hath honored me of late. (9)2 Was the hope drunk Wherein you dressed yourself? Hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valor As thou art in desire?! I pray thee, peace.Z-(lO) I dare do all that may become a man; Who dares do more is none. What beast was't, then That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be more the man.2 I have given birth;Tand know How tender 'tis to love the babe that milks me; I would, while it was smiling in my face, Business Cues ll..3urst of laughter from off stage P. 15. She releases his hands. 16. Gestures P hani to 3-0. 17 Off B-C together b. LlChtS slowly down to ..... e e no time wait between these scenes. The n‘xt scene began as soon as the light: were dimmed. ACT I: Scene 7 Lady kacbeth: hacbeth: Lady kacbeth: Lady Macbeth: Lacbeth: bl Have plucked my'breastyfrom out his boneless gums, And dashed the brains out, had I so sworn as you Have done to this. If we should fail? We fail! But screw your courage to the sticking-place And we'll not fail. (11) When Duncan is asleep-- Whereto the rather shall his day's hard Journey Soundly invite him-~his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain Shall be as a fume.’i Wien in swinish sleep Their drenched nature lies as in death, What cannot you and I perform upon The unguarded Duncan? What not put upon His spongy officers, who shall bear the guilt Of our great quell? (12) Bring forth men-children only; For thy undaunted mettle should compose Nothing but males. (13) Will it not be re— ceived, When we have marked with blood those sleepy two Of his own chamber and used their very daggers, That they have done 't? (1h) Who dares receive it other, hall make our griefs and clamor roar 8 death? I am settled, (15) and bend up Each corporal agent to this terrible feat. Away, (16) and mock the time with the fairest show; False face must hide what the false heart doth know. (EKELHT.)(17) .30? II, Scene 1 - Area IV Business Cues 1. From F-G to D S L. Banouo a. Light? remain at one R and Fleance L. half through the scene 2. ¢tarts R to 188V 3. Rania sword to F 7. X R to Lacbeth. E. Takes jewel from ‘f e. M up to 333 leance. Fleance. pocket. Hands it to hacbeth. ( 37:.T Banquo: Fleance: Banquo: Fleance: Banquo: 'L. Nacoeth: Banquo: Banquo: Lacbeth: m f‘ inquo: ACT II Scene 1. Court of Lacbeth's castle. (a) P EAFQUO, AND FLEAECE (l) BFAFIIG A TCFCK BEFQFE LIE.) How goes the night, boy?3 The moon is down; I have not heard the clock. And she goes down at twelve. I take 't, 'tis later, sir. (2) Hold, take my sword. (3) There's husbandry in heaven; Their candles are all out. Take thee that too. A heavy summons lies like lead upon me, And yet I would not sleep. ENTER EACBETH AHD SEYTON)(u) Give to me my sword. (5) Who's there? A friend. (6) What, sir, not yet at rest? (7) The kin abed. ' He hath been in unusual pleasure, and Sent forth great honors to your offices. (8) This diamond he sends your wife Withal, In the name of the most kind hostess.2 Unprepared, Our will became the servant to defect; Which else should free have wrought. aAll‘ S “Yell. I dreamt last night of the three weird sisters: To you they have showed some truth. A I think not of thee; Yet, when we can spend‘an hour together, We could spend it in some words upon that business, If you would grant the time. At your kind'st leisure. ACT II, Business 9. Dismisses them. 10. denguo bows. Cut A-B. 12. Hands jewel to Seyton. 13. Lotions him off 3-0. lb. Exit Seyton 8-0. 15. walks musingly to Area II. 16. ?tarts violently. l7. Beeches for dagger. E.C~estures 1.- hard to tower I? 19. Turns a away 20. Kneels on R knee. 1.- 1 o P hi9 Rd 1; O t Over 0 hacbeth listens. 23. To audience. gecbeth turns slowly to L, O 5.3 Scene 1 — C. Area IV Cues b. Start to dim all lights but Area I to one fourth. c. Bell rings off stage R. ACT II: 14301:.- et h: Banquo: Macbeth: #3 If you shall cleave to my consent, when 'tis, Shall make honor for you. Good repose th while. (9) Thanks, sir; the like to you. (10) ( Go bid they mistress, (12) when my drink is ready, She strike upon the bell, Get thee to bed. (13) F1 , .r (“KIT sERVATT.)(iu)(15)(t )(16) [1 Is this a dagger which I see before me, The handle toward my hand? (1?) Come, let me clutch thee I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A daggar of the mind, a false creation, Proceeding from the heat-opressed brain? I see thee yet, in form as palpable As this which now I cratr Thou marshal'st me the way that I was goin:;(l€) And such an instrument I was to use. Mine eyes are made the fools o' the other senses, Or else worth all the rest. I see thee still, And on thy blacte and cud; eon aouts of blood, Which was not so before. (19) There is no such thing. It is the bloody business which informs This to mine eyes.e(20) Thou sure and firmset earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my whereabouts, And take the present horror from the time, Which now suits with it. Whiles I threat, he (21) lives, Words to the heat of deeds too cold breath gives. (c)(22) (A BELL RIIIGS.) (23) I so, and it is done; the bell invites me. (2“) Hear it not, Duncan; for it is a knell That summons thee to heaven or to hell. (25) (13 ACBETE EIITS.) 3A )dT ‘ bnA out! 1 1819 10 , no bnA .sw dotdW dove ed: at 31 nlm o: ath .dtmso a tm 30a 1593 «as! aeno:a 210v th amq ad: 9133 bnA I adtna won doldw .aovll (IS) J 339d ed: 0: abtow (SS)(o) .aevlg _-—-‘ ACT II, Scene 2 - Area IV busiress Cues 1. No time lapse. Action was a. Lights up on Area continuous. IV. . From B-C. Stops on D R platform. Pauses, listens. D S to Area I. To 3 S C. From G-H to D S C. Points to tower. ACT II: kacbeth: Lady Macbeth: Lady Kaobeth: ‘Lacbeth: Lady kacbeth: Macbeth: Lady Macbeth: Hacbeth: Lady Macbeth: Scene 2 (t‘iYITH :3 0 Lb Scene 2.(l) The same. (a) (““7"H LADY: ACE? TH.)(2) That which h bold; What hath quenched Ha Peac c: It w~s the owl the which gives the at about it The doors are open; and the surfeited grooms Do mock their char rge with snores. I have druged their possets. That death and nature do contend about them, ”hether they live or die. ) who's there? what, ho! ath made them drunk hath made me tihe m hath given me fire. (3) (h t hr eiked, the fa ta al bellman, er ht. st sood nig He is they have aM' ked, (5 ) The attempt and not the Alack, I am afraid And 'tis not done. deed Confounds us. Hark ready; He could not miss 'em. Ly father as he slept, I laid their daggers Had he not resembled I had done 't. (ti-TTER HACBET.I. )(6 ) Ky husband: I have done the deed. Didst thou not hear a noise? I heard the owl scream and the crickets cry. Did not you speak? When? ET ow . As I descended? Ay. Hark: Who lies 1' the second chamber? (7) Donalbain. Business Case O C 3 {J3 [-4 3. Turrs L and walks t 9. Follows him. ll. Hands 0t his E arr to console 12. Head in :rms crying. l3. She sees the daggers. ACT II: Scene Kachetn: Lady hacbeth: Kacbeth: Lady hacbeth: Lacbeth: Lady Macbeth: l-‘Ia Cb e t h: Lady Macbeth: hacbeth: Lady Macbeth: “5 This is a sorry sight. (8) (LOOKING AT HIS HAT s.) (9) A foolish thought to say a sorry sight. There's one did laugh in '8 sleep, and one cried, "hurder!" That they did wake each other. I stood heard them; But they did say their prayers, and addressed them To sleep again.. There are two lodged together. One cried "God bless us!" and "Amen“ the other, As they had seen me with these hangman's hands. Listening their fear, I could not say "Amen," When they did say "God bless us!" Consider it not so deeply. (10) But wherefore could not I pronounce "Amen?" I had most need of Stuck in my throat. blessing, and "Amen" (11) This deed must not be thought After these ways; so, it will make us mad. Methought I heard a voice cry "Sleep no more! Macbeth does murder sleep," The innocent sleep Sleep that knits up the reveled sleeve of care, The death of each day's life--Z What do you mean? Still it cried to all the hous ; "Glamis hath murdered sleep, Cawdor Shall sleep no more; Ma beth shall sleep no more."(12) "Sleep no more!" and therefore Who was it that thus cried? Why, worthy thane, You do unbend your noble strength, to think 80 brainsickly of things. Go get some water, And wash this filthy witness from your hand.(13) Scene 2 - Business lb. She grasps the daggers from him. 15. Starts level. to G-H. Stops on D S L 16. Out at G-H. l7. Whirls L in surprise. ld. Sees bloody hands. 19. ‘L .ll.. ”"5 . 4‘ 3 - , v. - " inrusts hands away and in been 90. P‘ronl G-Ho Q A '1 {131108 0 Holds out bloody 21. X to Eacbeth. Fin Area IV of e. L. Cues Knocking off stage Knocking off stage nrockiri off stage Knocking off stage ACT II: Scene 2 M6 Lady hacbeth: Why did you bring these daggers from the place? They must lie there; go carry them; and smear The sleepy grooms with blood. Hacbeth: I'll go no more. I am afraid to think what I have done; Look on 't again I dare not. Lady hacbeth: Infirm of purpose. Give me the daggers. (1b) The sleeping and the dead Are but as pictures; ‘tis the eye of childhood That fears a painted devil. (15) If he do bleed, I'll gild the faces of the grooms withal; For it must seem their guilt. (16) (LADY NACBETH EIITS. (b) KNOCKIYG wITHII‘T.) Macbeth: (17) Thence is that knocking? How it 't with me, when every noise appals me? (18) What hands are here? (19) Ha! they pluck out mine eyes Will all great Neptune's ocean wash this blood Clean from my hand? (Pu-ENTEF LADY hACBETH.)(20) Lady Eacbeth: Hy hands are of your color; but I shame To wear a heart so white. (KNOCKIHG WITHIN.)(c) I hear a knocking At the south entry. (21) Retire we to our chamber; A little water clears us of this deed. How easy is it then. Your constancy Hath left you unattended. KI‘EOCKII‘IG WIT EEII‘I . ) ( d) Hark more knocking. (22) Get on your night gown, lest occasion call us, And show us to be watchers. (23) Be not lost So poorly in your thoughts. (2L) To know my deed, 'twere best not know myself. - ’33 O (3‘ (D cf ’3‘ (HHCCKITG WITHIN.)(e)(?5) ACT II, Scene 2 ‘1 i c; to 5.4. :1 ’D m m — Area IV Cues A _’ fl 4. -. I gt. btsagers off 5-0. There is no time lapse between the playing of these scenes. action is continuous. ACT II, Scene 3 - Area IV 1. Action continuous. Ho pause. 2. From A-B. tumbles to self as X from R to L. J 3. stops D S R in Area II. b. Pantomiees escorting farmer to D S C. 6. ”elcomes equivicator, escorts to D 8‘ Co 7. Back to gate L. 5. Helcomes tailor, escorts to h S C. U‘ Q. ~’ac}: to gate L. 10. Shivers. 11. Goes off stage L at E-F. 12. Enter nacduff and Lenox from E-F followed by Porter. 13. “owing, holding out R hand. ‘1 Cl 8. Knocking off stage b. Ynocrins off stnfe c. Dim all lights but Area II. . Knocking off stage . Knocking off stage . Knocking off stage . Ynocking off stage h. Brira up all lights for Ares IV. ACT II: Scene 2 47 Wake Duncan with thy knoclzirél I VOUld thou COUldSt EICEUIT . ) ( 26) Scene 3. The same. (1) (HHOCKIT: WITHIN. ENTER A PCCTER.)(2) Porter: Here's a knocking inéeedi If a men were 2 porter o hell—gate, he should become old turning the key. (HHOCKIHG HITHIN.)(b)(c) Knock, knock, knock! Who's there, i' the name of Bellzebub? (3) Here' 9 e fe armer, that hangec himself on the expectation of plenty. (U) Come in time; have napkins enonrnbebout you; here you‘ll sweat for 't (”'(CFIVG HITHIN.)(d)(5) Knock, knock. Who's there in the other devils name? Faith, here's an equivicator, that ould swear in both scales against either scale. (6)2 0 come in, equivicator. rxocxIro n THIN.)(e)(7) Knock, knock, knock' Vho' 8 there? Fe ith, here's an Entrlish tailor come hig-er, for stealing out of a French hose. (o ) Come in, tailor; here you may roast your goose. (KFOCKI G ‘VITI iIN.)(f)(9) Knock, rfnock; never at quiet. NIIat are you? (10) But this place is too cold for Hell. I'll devil- porter it no further; I had thought to have let in some all professions that go the primrose Way to the everls.sting bonfire. (KHOCKIHG v THIN.) )(g)(h) Anon, anon, I pray you. (11) OFF AYD CPENS GATE. (12) FOLLOWS I? AFTEP PF AND LE ”IO-") Remember the porter. (13) ACT II, Scene 3 - Ares IV Cues 21. .7 ‘ ..Jo Lacbeth. Strrts X to G-H. Cut G—H. )Ito Lccbeth. Eursts in fror G-H to D L 19V910 ACT II: Eacduff: Porter: Macdu‘f: Porter: Facduff: jun-fir 1.;qu ..u Lennoz: Lacbeth: hacduf‘: Facbeth: Kacduff: Macbeth: hacduff: (EXIT Lennox: hacbeth: Lennox: Macbeth: Lennox: Scene 3 us What it so late friend, That you lie so late? ere you went to bed, till the break of Paith,sir, we were carousing is a.great provoker.4 day; and drink, sir, I believe drink gave thee the lie last night. That it did, sir.2- Is thy master stirring? EACSETH.)(1L) Our knocking has awaked him; here he comes. Good morrow, noble sir. (15) Good morrow, both. (16) Is the king stirring, worthy tiane? (I?) Not yet. He did command me to call timely on him. I have almost slipped the hour. I'll bring you to him. I know this is a Joy But yet 'tis one. (I call, For ‘tis my limited service. ul trouble to you; ) I'll make so bold to? f 8 MACDUFF.)(1?) (20) Goes the king hence today? He does - he did appoint SC. The night has been unruly; where we lay, Our chimneys were blown down.’ 'Twas a rough night. rememorance cannot parallel to it. "v v (3‘ 1‘.»yv J Olin; A fellow (RE-EI‘TTER I-ACDUFF . ) ( 21) ACT II, Scene 3 - Area IV Business Cues Turn L toward hacduff. i. Alerum bell rings. X D to D S R. Points L to G-H. Exit G-H hurriedly. - . Shoutin: off stage P at A-B. From B-C to D S R level. He truns L to her. From A—E. He turns L to Banquo. From G-H to D S level. ACT II: Scene 3 V9 Iacduff: 0 horror, horror, horror. Tongue nor heart Cannot conceive nor name thee! hacbeth & Lennox: (22) What's the matter? kacduff: (23) Confusion now hath made his masterpiece. Lost sacrilegious murder hath broke ope The Lord's anointed temple, and stole thence The life 0' the building. Macbeth: (23) What is 't you say? The life? Lennox: keen you his majesty? hacduff: Approach the chamber, (25) and destroy your sight With a new Gorgon. Do not bid me speak; See and then speak yourselves. (s mU"T races-H ATD LEFT x.)(26) (27) Awake, awake! Ring the alarum-bell. Murder and treason!l (BELL RITGS.)(1) (:TTTH LADY races--.)(28) Lady Macbeth: What's the business, That such a hideous bellzruns calls to parley The sleepers of the house? Speak, speak! (20 hacduff: 'Tis not for you to hear what I can ape ak; The repetition, in a woman's ear,. hould murder as it fell. (EHTZH sans ITO. )(30) (31) O Banquo, Banquo, Our TOyIJ l ma.ster' s murdered! Lady kacbeth: In our house13 Banquo: Too cruel anywhere. Dear Duff, I pray thee Contradict thyself, and say it is not so. (RE E2 Tzs TACBETII AXD I-oi.)( 2) . LCT II, Scene 3 - Area IV II.~—.- Cues 3,. From A-B to C stage 3!. D R to them. Loves L to them. \.A) \J'l O Lennon, 36. Starts to faint. 3?. Zacduff, hacbeth, Eenouo, anc 2033 to Lady Lacbeth D S R level. ACT II: Donalbain: Facbeth: Macbeth: Macduff: Scene 3 50 Had I but an hour before this chance, had lived a bless d time for, from this instant, I There's nothing serious in mortalityv (ENTER FALCOK ND DONALBAIH.)(33) What is amiss? (3L) You are, and do not know 't! The spring, the head, the fountain of your blood Is stopped; the very source of it is stopped. (35) Your royal father‘s murdered. O, by whom? Those of his chamber, as it seemed, had done 't. Their hands and faces were all badged with blood; So were their daggers, which unwiped we found Upon their pillows. They stared, and were distracted; no man's life Was to be trusted with them. yet I do repent me of fury, 0, That I did kill them. Wherefore did you so? hacbeth: Who can be wise, amazed, temperate and furious, Loyal and neutral, in a moment? No man. The expedition of my violent love Outrun the pauser, reason. Here lay Duncan, His silver skin laced with his golden blood, And his gashed stabs looked like a breach in nature For ruins wasteful entrance; there, the mur- derers, Steeped in the colors of their trade, their daggers Unmannerly breached with gore. Who could refrain That had a heart to love, and in that heart Courage to make 's love known? Lady Kacbeth: (36) Help me hence, ho!(37) Look to the lady. ACT II, gcene 3 - Area IV Business Cues \ i) (I) \_J U L . X L as they talk. . Turn B, watch others. 0. Lennox, Foss assist Lady haobeth out 8-0. Y D S F. J ’\.. -QU0: hacduff, and fiacbeth 2. cmeth, gsrcuo, Kacouff exit E-C. j. Warn curtain 3'0 EXit E‘Fo k. P1Jll curtain. During intermission, thrones, tables, benches were olaced for the banquet scene. ACT II: Scene 3 ‘ cl (ASID {‘1 To DCNALNA N. )(38) why do we hold our tongues, That most may claim this ergunent for ours? Donalbain:(ASIDE TO LALCOK.) Malcom: Banquo: Le cbet..: All: Kalcom: Donelbain: Kslcom: What SlOUld be spoken he Hid in an auger hole,m me Let's away; Our tears are not yet brewed. re, T”here our fate, y rush, and seize us? (ASIDE TC DPYALBAIN.) .. For our strong sorrow Upon the foot of motion. (39 (LADY L.&CBET” IC C‘PFIED ("T. )(’O)(Ll) And when we have our naked frailities hid, That suffer in exposure, let us meet, , And question this most bloody piece of work.’ Let's briefly y>ut on manly re diress, And meet in the hall toaether. Well contented. (EXEUNT ALL BUT NALCON AND DOLALBAIN.)(A2) at will you do? Let's not consort with them; To show and unfelt sorrow is an office ”which the false man does easy. I'll to England. To Ireland, I; our separated fortune Shall keep us both the so fer. Where we are, There's deg ers in men' s smiles; the near in blood, The nearer bloody. (J) This murderous shaft that's shot Hath not yet lighted, and our safest way Is to avoid the aim. Therefore, to horse; And let us not be dainty of leave-taking, But shift away. There's warrant in‘that theft Which steels its elf, when there's no mercy left. 6 :XsU:T nALcn N AND DCNALBAIN.)(L3)(N) ACT III, Scene 1 "Here's our chief guest." 52 ACT III, Scene 1 - Area LV «usiness Cues l. Benguo on level to L of thrones a. Curtain 00995- '.-!hen scene opens. b. Light Area IV. 2. Gestures P hand to throne. 3. Turns L, feces audience. Lady Lecbeth Lenrox, Ross, 3rd ladies D R from leads in thrones. 2nd, and .30 levels site B Lady lecbeth L 9. Bows. 10. Earmqna turns L, be CR 0 ll. Eerm4u3 turns thrones Clarinet, rumoet ennet until in. Scene (w'fl‘ \va T Y‘W $591; .441 SCLPtD FACSITF, I-ZP cbe L 1'1: Kacbeth: Banquo: ACT III 1. (a) The palace at Forres. (l)(b) .JQUO.) (?) Thou hast it now: ling, Cawdor, Glamis all As the weird women promised, and, I fear, Thou play'dst most foully for 't; (3) ye, it was said It should not stanc in thy oosterity, But that myself (L) should be the root and father Of many kings. If there come truth from them- As upon thee, Fae oeth, their speeches shine- ”Py, by the verities on thee made good, Iay th ey not be my oracles as well, Ind set me up in hope? (5) But hush! no more.(c) 3(6) snows FACETTS, sA KI e, LA::X Ag yrrrw LEY‘CX, FOSS, LCW V ATD L’III S. )(7) Here's our chief guest. (8) If he had te .en for; otten, It had been as a g_a) in our great feast, And all—thing unbecoming. ht we hold a solemn sunper, 'll request your ores ence. sir, Let your highness to the which my Cu ties (9) Command upon me; Are a most ineissoluble tie For ever knit. Rid you this afternoon? Ay, my good lord.z Is 't far you ride? [in At my lord, as will fill up the time 'Twixt this end supper.’ far, Fail not our feast Fy lord, I will not. (10) PCT III, Scene 1 — Area IV. Business Cues 12. Esnouo bows, exits F-G. 13. To lords and ladies. I. a. Leéy Lscbeth leaves first escorted by Ross. Exeunt 3-0. 15. Seyton comes in F-G. 16. lotions Seyton to come closer to thrones. 17. Exit F-G. lE. Lscbeth rises on first line. ACT III: Scene 1 _ 5U {acbethz We hear, our bloody cousins (ll) are bestowed In England and in Irelerd, not confessing Their cruel pa1riciée, filling their hearers Vith strange invention. But of th. t tomorrow, When therewithal we shall have cause of state Crnving us jointly. Hie you to horse; adieu, Till you return at night. Goes Fleence with you? Eanquo: Ay, my good lord. Cut time coes cell u7>on 's. Kacbeth: I wish your horses swift and sure of foot; And so I commend you to their beckt. Farewell. (12) (212:1? EA’W'c ) (13) Let every man be master of the time Till seVen at night. To mske society The sweeter 1welcome, we will keep ourself Till su.pertime alone; while then, God be with you. (1L) (ETETV‘L:T ALL Bl’T IJKCBET Ho )(15) Sirrah, a word with you:(lo) attend those men Our pleasure? Seyton: They are, my lord, without the palace gate. hscbeth: Bring them before us. (EXIT J'E‘-’TI". I‘ .)(l7) (18) To be thus is nothing; But to be safely thus. - Our fears in Bancuo Stick deep; and in his royalty of nature Reigns that which would be fec.red. 'Tis much he Cares And, to that dauntless temper of his mind, He hath a wisdom that doth guide his valor To act in safety. There is none but he Whose being I do fear; and, under him, Fy Genius is rebuked; as, it is said, Fsrk Antony's was by Cseser. He chid, the sisters When first they put the name of king upon me, And bade them speak to him; then, prophetlike They hailed him father to a line of king s. Upon my head they placed a fruitless crown, AC; III, Scene 1 - Area II Business Cues 10. PO. (‘0 K» Turns abruptly to L' hecbeth D L to murderers. Turn F. to help show disgust. Steos up to Facbeth P. L ACT III: Scene I 55 (fi'fi v-fix .4 (air: First Furderer: Kscbeth: 7" riret Kurderer: Hacbeth: Fir t Furderer: Facbeth: LJ- I!) 0; And put a barren scepter in my gripe, Thence to be wrenched with an unlineal hand, F0 son of mine succeeding. If 't be so, For Bencuo's issue have I filed my mind; For them the gracious Duncan have I murdered; Put rencors in the vessel of my peace Only for them; and mine eternal jewel Given to the common enemy of man, To make them kings, the seed of Bancuo kings,‘ Rather than so, come fate into the list, And chamoion me to the utterance. (10) Who's there? TE? SEYTGX, WITH TYO RUFDEHERS.)(20) Now go to the door, (2?) and stay there till we call. Was it not yesterday we spoke together? "4 It was, so please your niginess. Well then, now Have you considered of my speeches? Know That it was he in the times past which held you 80 under fortune, which you had thought had been Our innocent self?’ You made it known to us. I did so, and went further, which is now Our point of second meeting. Do you find Your patience so predominate in your nature That you can let this so?2 We are men, my liege. Ay, (25) in the catalogue ye go for men;3 Now, if you have a station in the file, Not 1' the worst rank of manhood, say 't; And I will out that business in your boscms, Whose execution takes your enemy off, Grapples you to the heart and love of us, Who wear our health but sickly in his life, Whi h in his death were perfect. ACT III, Scene 1 Business Area IV Cues J O\ fut f3 01‘ .x' ‘4' ° Crowds other murderer out b??? Ck. J. Pushes forward between two. lotions them out L at F-G. T“ v .‘rr ' some answercly. ACT III: Scene 1 Second hurderer: First Furderer: Both Murderers: tacbeth: Second kurderer: First Kurderer: Facbeth: Both Rurderers: Facbeth: 56 26) I am one, my liege, Thom the vile slows and buffets of the world Have so incensed that I at reckless what I do to spite the world. (27) And I another So W.ary with disasters, tugged with fortune, That I would set my life on any chance, To mend it, or be rid on ‘t. Both of you Know Baneuo was your enemy. True my lord. so is he mine; and in such bloody distance, That every minute of his being thrusts Ayainst my neer'st of life; and though I could With barefaced power sweep him from my sight And bid my will avouch it, yet I must not, For certain friends that are both his and mine, Whose love I may not drop, but wail his fall Who I myself struck down; and thence it is, That I to your assistance do make love, Hashing the business from the common eye For sundry weighty reasons. We shall, my lord, Perform what you command us. Though our lives— Iour spirits shine through you. Within this hour at most I will advise you where to plant yourselves; Acquaint you with the perfect any 0' the time, The moment on 't; for 't must be done tonight, Some distance from the palace; and with him- To leave no rubs nor botches in the work- Fleance his son,’must embrace the same fate Of that dark hour. (28) Resolve yourselves apart; I'll come to you anon. We are resolved, my lord. (20) I'll call uoon you straight; abide within. (Triazrrm I-.'TTRDFT‘P_ as s . ) (30) 31. ACT III, Scene 1 - Area IV Business Cues Looking off L. 32. Turn E to A—3. X to A-B, Cl". 33. line. Exit at A-B. Action Wes continuous from scene to scene. ACT III, Scene 2 - Area IV 1. As 2. oef Enter from 8—0 up to throne. she reaches it Seyton enters at A—B. X to L ore she sees him. Turns R. Bows. X and out at 3—0. Enter at 3—0. B to hacbeth and leads him to throne. (71‘ {3‘ .D' J \- SAG seetxaiu.o et A Lady Lacbeth is seated. Buries face in hends. Shoulders slumo. L hard on shoulder. ACT III: Scene 1 57 Vacbeth: (31) It is concluded, Banouo, thy soul's flight, (3?) If it find heaven, must find it out tonight. Scene 2. The palace (ENTER LADV [ACBETH (l) A”D SEYTCF.)(2) Lady Macbeth: Is Eanouo gore from court? Seyton: (3) Ay, madam, ut returns eiw in tonight. Lady hacbeth: Say to the king, I would attend his leisure For a few words. Seyton: (b) hadem, I will. (EXIT SEZTON)(5) Lady hacbeth: Naught's had, all's spent, Where our desire is got without content. Tis safer to be that which vs Gen troy Than by destruction dnell in doubtful Joy. (ENTER hACEETH.)(6) sorriee t fanci es you comnanions making, .ing those thoughts which should indeed have died With them they think on? (8) Things without all remedy ,hould be without regard; (9) what's done is (7) How, now, my rd? why do you keep alone, .I‘ C.‘ done. hacbeth: we have scotched the snake, not killed it;2 Let the frame of things disjoint, both the worlds suffer, Ere we will eat our meat in fear, and sleep In the affliction of these terrible dreams That shsze us nightly. (10) Better be with the dead, (ll) Whom we, to gain our peace, have sent to peace, Than on the torture Of the mind to lie In restless ecstasy. Duncan is in his grave; After life's fitful fever he sleeps well. (12)! Lady hacbeth: Gentle, (13) my lord, sleek o'er your rugged looks; Be bright and Jovial among your guests tonigh . ACT III, Scene 2 - Area IV Business Cues 7.....- v. ‘ f .— lb. Takes her L hand and holds it. 15. J} :f .- K 8 ds. .‘3 16. Hands up. 1?. Hands down. 13. Lady Iacbeth stands. #0 Takes her hand and leads out 5-0. .‘3‘l—J (D ’10 ACT III, Scene 4 - Area IV No lapse of time since previous scene. Servants bring in dishes, oitchers, goblets. Seyto n acts as major cacao. Two s(rvan. filace small table before thrones stand on either side. 1. chbeth leads her to a. Sennet sounded by thrones, seats her. clarinet and trumpet until everyone is in 2. D C S motions for them to olace. be seated. ACT III: Scene 2 Lacbeth: Lady Lacbeth: Kacbeth: Lady Macbeth: Lacbeth: Lady Kacbeth: Lacbeth: (17"5‘1'” L4-._>'\ . 58 So shall I, love; (lb) and so, I pray, be you. Let our remembrance apply to Banouo; Present him eminence, both with eye and tongue.3 Let's make our feces vizards to our hearts, Disguising what they are. You must leave this. 0, full of scorpions is my mind, derr wife. Thou Knowest that Banouo, and his Fleem ce, lives. But in them nature's copy's not eternal.a There's comfort yet; they are assailable; Then be thou aoev°tsh-ll be done today! A deed of dreadful note. What' a to be done? Be innocent of the «nolleo e, dearest chuck, (15) Till thou anolaud the deed. (16 ) Come, sealing night, (17) Scarf up the tender eye of pitiful day; And with thy bloody and invisible hand Cancel and tear to pieces the t sreat bond Which keeps me pale(18) but, thee, hold thee’ still; Things bad begun make strong themselves by ill. So, go with me. (19)? 7T RACBTTH AND LADY KACBETH.) Scene 3, the murder of 5a ncuo, is omitted.° Scene L, The Palace. Bar-32mm PREPARED. (a) Ei-TTER l-LA ) POSS, Lame-3:, tears AEID AT 32TH, LADY : log” :1, You know your own degrees, sit down. (2) At first And last the hearty welcome. ) \A) Thanks to your majesty. ( Curself will mingle with society, And play the humble host. Our hostess keeps her plecejtbut in best time We will require her welcome. ACT III, Scene u "Thou canst not say I did it; never shake Thy gory looks at me." 59 '~ (Wm 71‘ l. . I | 1__: IV 1‘. Sees murderer. H. LIP to murderer. 6. Eanqueters pantomime conversation while following conversation transoires. .— 7. Turn L. (“l . Sac: R to murderer. A "1 - 4. A ‘. if? 0 C4). U A- b o ACT III: Lady Cacbeth: Scene h 60 Pronounce it for me, sir, to all our For my heart speaks they are welcome. friends; (ENTER FIRST rUnDEszn.)(}a) hacbeth: See, they encounter thee with their hearts' thanks. Both sides are even; (h) Be lsree in mirth; anon we'll drink a The table round. (5) II:€8.SUI‘€ (APPROACHES RIGHT TO LUDDEPWR.)(6) Rurderer: Lacbeth: kurderer: Racbeth: Murderer: hacbeth: fiurderer: (EXIT There's blood uoon thy face. 'Tis Banquo's then. 'Tis better thee without than he within. Is he dispatched? Ry lord, his throat is out; that I did for him. art the best 0' the cutthroats; yet he's good u That did the like for Fleance.“ Thou Most royal sir, Fleance is 'scaped. Then comes my fit again. (7) I had else been perfect,’ But now I am cabined, cribbed, confined, bound in To saucy doubts and fears. (8) But Banquo's safe? Ay, my good lord; safe in a ditch he bides, With twenty trenched gashes on his head, The least a death to nature. Thanks for that; There the grown serpent lies; the worm that's fled No teeth for the present. tomorrow We'll hear ourselves again. Get thee gone; Scene L — Area IV Cues stool D L. rdicates Where Steps back. of then. 20. all sit. El. D C‘toliufiwth. J to D L stool. ChOSt sits. Lanoueteers talk amongst themselves. b Gho st lights un. ACT III: Lacy I— th: I":;~'.‘..Cb€ Hacbeth LennO": Scene h 61 3y royal lord, (10) You do not give the cheer. The feast is sold Thet is not often vouched, while 'tis a-mekina, 'Tis given with welcome. at home; To feed were best From thence the sauce to meat is cerenony; testing were bare without it. (1 l) ‘weet remembrancer! Vow, good ’imest‘or we it on aozetite, And health on both. Lay it please your highness sit.(l?.) (b)("H2 ”'oc" or BIS :2tc arm 7;“PS (13) ATE SITS In LAC'B -””'° PLACE) Hacbeth: Here had we now our country's honor roofed, Were the graced person of our Banquo present; Ross: His absence, sir, lays blame up on his promise. Please 't your highness to grace us bith your company. (111.)! (kAcssTH sans one sees? SITTITG IN HIS CEAI .)(15) Lenro ox: M; good lord, what is it that moves your he LL. La cb e t Lords: tacbeth: fr) ro o. L“ CD $31 513 O" O O O Lacbeth: -ighness? "Ahich of you has done this? (1c) Vhat, my good lord? (17) Thy gory looks at Thou canst not say I did it; shake me. (18) n 0V 81" Gentlemen, rise; (19) his highness is not well. Sit, worthy friends; my lord is often thus, (20) And hath been from his youth. Pray you, keep seat; The fit is momentary; upon a thought He will an‘r -in be well. If much you note him, You shall offend and extend his passion. Feed and regard him not. (21) Are you a man? Ay, and a bold one, that dare look on that ”hich might aopnl the devil. ACT III, Scene L U I C. :1 H4 75 (D CD 1') ea IV 22. Ghost nods A". L‘L ‘1‘- + v-q "1 l. ‘ '. Uf" :29 01.111 15-1: 0 . To bencueteers. 25. Picks up goblet, P table ?e. Angus pours wine. gm E—F while toast is drunk .3‘ ‘ ‘ ’ a “v- 4-- noun ,Iom toast sets FT! '2 ~. ladle. class on L 32. Loris end Lacies stand. 30. Lacbeth sees ghost as eyes come E d. Giost lights up. ACT III: Scene b 62 Lady kaobeth: proper stuff! This is the very paintin of your fear; This is the air drawn dagrer which, you said Led you to Duncan. Shame itself on thee!z Why do you make such faces? Vher all's done, You look but on a stool. W20 hacbeth: Prithee, see there! behold! Loo ok! lo! how say you? (37) 2 Why, what care I? If thou censt nod, speak too. ou.ow '«n.rcuv o“ (ULACLJ,- Vfi...J.L)I—.L.JSO )("j) (C) Lady Kacbeth: “hat, ouite ur me nned in folly? Kacbeth: As I st nd here, I saw him. Lady Lacbeth: Fie, for shame! hacbeth: Blood hath been shed are now, i' the olden time,2 Ay, and since too, murders have been performed Too terrible for the ear. Lady Kacbeth: 3y worthy lord, Your noble friends do lack you. Lacbetl: I do forget. (2b) Do not muse at me my worthy friends; I have a strenye infirmity, Which is nothing To those that know me. (25) Come, love and health, to all; Then I'll sit down. Give me some wins; (26) fill full. I (rink to the general joy 0‘ he whole ta ble And to our dear friend Benouo, when we miss; Would he were here! to ell, and him, we thirst, And all to all. (27) Lords: Our duties, and the pledge. (2E)(7) lacoet, Avaunt! and ouit my si ht! let the earth hide the e! Thy bones are marrowless, they blood is cold; (32) Thou has no speculation in those eyes Which thou dost glare with! ACT III, Scene h - Ares IV Business Cues O o .__— fl...— 1'01— LeCy Noobeth stands. 6. Ghost lights out. Aévsnces on ghost. All bow ens lesve hurriedly. ’“1 Levy Lecbeth helps hi' 5 to thrones they sit. ACT III: Scene b 63 Lady Lecbeth: (33) Think of this, good peers, But as a thing of custom; 'tis no other; iny it egoils the pleasure of the time. iacbetn: tht men C? re I dsre. ; ch thou like the rugLed Rus sian beer, A mrx c rhir oceros, or the hyrcen tiger; Teke any shepe out that, end my firm nerves Shell never tremble; or be elive eyein. And dare me to the desert with thy sword. (3L) Fence, horri ole shadow. (sacs? EfflI s.)(35)(e ) Vhy, so; being gone, I am a men e§_x2in. (36) Prey you sit still. Lady Lscbeth: You heve disoleced the mirth, broke the good meeting, With most admired disorder. hacbeth: Con such things be, And overcome us 1M 2 swmwer's cloud, Without our speciele n6er? (37) You meke me str eng‘e Even to the dis: osition that I ore, When nos I t1 nine you can behold such sirhts, And keep the neturel ruby of y our cheeks, When mine is blanched With feer. Ross: Whet sights, my lori? Lady Lacbeth: I pray you, speak not; he grows worse and worse. Question enrotec him. At once, good night. (3?) end not upon the order of your going, But 30 at once. Lennox: Good night; end better hea th Attend his majesty. (39) Lady Racbeth: A kind good night to all! 11% (txerT ALL BUT :Asse- A: D LADY hACBETt. )(Lo) Eacbeth: It will have blood; they say, blood will heve blood.’ What is the night? Lady Isobeth: Almost at odds with morningo' U Business Cues stnis and helos her up. f. worn curtain. Macbeth: Ledy Lscbeth: Macbeth: fiw'flI Hm ‘. -\ 7;" (.1)- .IL .JT. : ... L'-:JaC.) . Lie 5. Scene 6. Po 3') How ssy'st thou, the Lscduff denies A person t At our great biddiné7 n Did you send to him, sir? I hesr it by the wey; but I will send. There's not a one of them but in his house I keep a servant fee'd. I will tomorrow And betimes I will, to the weird sisters. Fore shell they speak; for now I em bent to 2? n ow By the worst means, the worst. I an in blood stepped in so far, should I vode no more, Peturning were ss tedious as so o'er. (f) Strange things I have in heed, thet Will to hand; Which must be acted ere they be scsnned. Vou leek the sesson of all natures, sleep. (bl) Come, we'll to sleep. abuse Is th. initiate fear that vents herd use; (12) We are yet but young in deed. Hy strange end self- TH A33 LADY LACBSTU.)(L3)(9) L‘J A heeth. (smittee)é Forres. The palace. (Cmitted)5 m TD 0? ACT III. ‘. Ki [1", c-LU .L Business IV, Scene 1 - Area IV Cues \J) Kn :j\ -.-—u Stnfie set up for Witches i curtain opens. Tosses in toed In‘unison. Throw in items as In unison. m' .- inrow in i n place when mentioned. a. Qtsrt crun roll. 0. Open our. 0. Bring up lin area 3. M 1 r-A ’ ieze srole. ACT IV Scene 1. A cevern. ( In the middle, (b) e boiling Cm ron. (c) TE?. TV??? THE ZVFEE LIITUEES.)(1) (THU)? First ”itch: First "itch: All: Second Witch: All: Second Witch: Thrice the brinded cet heth meved. 2 Thrice the once the hedge—hog whined. Herpier cries, " 'Tis time, 'tis tire." Pound about the caldron go; In the ooisoned entreils throW. Toed that under the cold stone (2) Deys end nights hes thirty-one Sweltered venom sleeping got, Boil thou first i' the chermed pot. Double, double toil and trouble; (3) Fire burn, and coléron bubble. Fillet of a fenny snake, (b) r the celercn boil and beke; eye of s newt end toe of a frog, Wool of bet end tongue of dog, Adder's fork and blind-worm's sting Lizard's leg and howlet's wing, For 5 charm of powerful trouble, Like a hell—broth boil and bubble. Double, double toil and trouble; (5) Fire burn and celdron bubble. Scele of dregon, tooth of wolf (6) Witches' mummy, mew end gulf Of the revined salt-see sherk, , Root of hemlock digged i' the derk,I Finger of birth-strangled bebe Ditch delivered by a dreb, Lake the gruel thick end sleb; Add thereto 9 tiger's chaudron, For the ingredients csldron. Double, double toil end trouble; (7) Fire burn, and celdron bubble. Cool it with e beboon's blood. (9) Then the charm is firm and good. ACT IV, Scene 1 - Area IV Business Cues 9. Looks off R. 10. Crouch down ll. From A—B to lower R level. 12. Pentomime pouring. 13. In unison and all move to D L level. e. Start thunder roll. f. Project armed head. g. Turn off projector. h. Stop thunder. ACT IV: Scene 1 to First Witch: By the pricking of my thumbs, (0) Something wicked this way comes. (IO) (EMT e FKC;ETH.)(11) Facbeth: How now, you secret, black and midnight here! What is 't you do? All: A deed Without a name. Pacbeth: I conjure you, by that which you profess, Howe'er you come to know it, answer me; Though you unite the winds and let them fight Against the churches; e'en though the treasure Of nature's seedlings-tumble all tOgether, Even till destruction sicken; answer me To what I ask you. Z First Witch: S-eek. Second Witch: Demand. Third Witch: We'll answer. First Witch: Sey, if thou'dst ra ther hear it from our mouths, Or from our masters'? Fecbeth: Call them; let me see them. First Witch: Pour in sow's blood, (12) that hath eaten Her nine ferrow; grease that's sweeten From the murderer's gibbet throw Into the flame. All: (13) Come, high or low; (e) Thyself and office deftly show. (THUNDER. FIRST APPAFITIOY. (f) AYE AFKED HEAD.) hacbeth: Tell me, thou unknown power- First Witch: He knovs they thought; Hear his peech, but say thou nought. First Apparition: Xacbeth! Kacbeth! Kecbeth! beware Kacduff; Beware the thane of Fife. Dismiss me. Enough. (9) (h) (FIRTT APPARITIOE EXITs.) ACT IV, Scene 1 - Area IV Business Cues lb. Shouts answer. 1. Begin thunder roll. 15. Starts to turn R and leave j. Turn on bloody child A-B. projection. 16. Thunder stops Macbeth. k. Cut projector. 1. Take out thunder. m. Begin thunder roll. n. turn on crowned child projection. 0. Cut projector. ACTrIV: Scene 1 67 Macbeth: Whete'er thou ert, for thy good caution, thm nks; Thou hest herped my fear eright; but one word more- First Witch: 3e will not be comiended: here's another, Eore pot ent than the first. ' (THUVUTF. (i) snsnio AFFAPITIor: (i) A aiotDi CLILD. ) Second Apparition: lscbeth! Lacbeth! Lscbeth! Lacbeth: (lb) Bad I three ears, I'ld hear tLee. Be bloody, bold, and resolute; leugh to scorn arition: The power of pen, for none of women born Shell harm Lecbeth. (k)(l) ’1 m "0 O :5 :DO: :2: es 03D APPAFITICU EYITJ.) hacbeth: Then live, Kecduff; (15) what need I fear of thee? yet I' 11 make assurance double sure, te Eze a bond of fete. Thou shalt not live; I say tell pele-“eerted fear it lies. sleep in spite of thunder. (m)(lé) .) [)1 C.‘ v.4» ,) of H 3. {LEDQJC'I' 3) ha 3 (THU DER. (n) THTeD AFFABITI u ”IT? A TREE I? HIS HAVE. ) c ILD CBO””ED, ”het is this That rises like the issue of a king, .nd wears upon his baby-brow the round And too of sovereignty? |+ All: Listen, but speak not to b. Third Be lion-settled, proud; anc take no care .pparition: ”ho ch.af es, who frets, or Where consoirers ere. Kenneth shall never vanou'_shed be until J Greet Birnen wood to hig‘ Dunsinane rill Shall come are inst his. (0) (THIPD APP ml”Iq 311 T8.) ”sobeth: That will never be. Who can itoress the forest, bid the tree Unfix his earth-b muxd root? Sweet bodements! :l COL. ior's heed, rise neVer till the wood 1. Area IV C) . ' \ T2) H {‘0 r\) .w p w .‘ CT IV: (sebeth: All: Lecbeth: Lennox: hacbeth: Lennox: Recbeth: Lennox: hacbeth: Lennox: isobeth: ."Tl Lennox: Escbeth: Scene -fi‘T .v'q“ hnTsh Of Birnsm's To time ert Csn tell Re I Will 1.; ES LEAVE ”here Stf so much: ign in this kin (3 ST rise OTIE‘ satisfied; (?0) An eternal curse fell on you. are Shell live the leese u. 0 4.1 “nine Seek to 111" ‘- n L. O I deny AGE QUICI{1Y. ) are they? Gone! nd aye scours ed in the calendar! Come in, without there! fiovlr C" .N! I ' ....JAJJ. ‘2.- st you \(09 the -.4 1That's weird Let your grace's sisters? hish—pleoed In of neture, end mortal custom. Throhs to know Yet {)9 y h is s. my hesrt U? c bre ‘/ i, -“ 8 \ . a PC h t h (l7) tell me, if your 5 me thi this No,my lord. Came they not by you? To, my lord. 1‘21"; OI? " s. (19) pernicious (21) will? Infected be the air whereon they ride And demned all those thst trust them! hear The galloping of 8 horse: whose we s it 'Tis two or three, my lord, that bring HecCuff is fled to England. Fled to England? Ay, my lord. (?3) Time, thou snticipstest my dread exploits; The fleeting Unless The very The firstlirms To crown purpos the deed go firstlinus e is with of shell Bencuo's issue ever gdom? ho I did never overtook it. From this moment my heart shall And even now, of my hend. my thought s with acts, and Clone o be it thought no more. (18) L11” came by? you word Let me know.b AC: IV, Scene 1 — Ares IV Business Cues --L) ?£. I to Lennox. 9. Lights off on Area c. Smihq out hinged pieces at E and A bring in chair for Ares II. AIT IV, Scene - Ares II l. Leéy Lacduff seeteé, son on a. Lights up on Area II. floor L, Boss R. JCT IV: Scene 1 69 Lscbeth: The cestle of L201 d f Seize u1Hor Fife; give s s I will sururise; the eQ e o' the sword His wife and bsbe , no all unfortunate souls That trace him in line. No boasting like 5 fool; his deed I'll do be;f ore this purpose cool. T. no more sights! (?b) Hhere are these gentlemen? Come, bring me where they ere. (2 )(o) o NH .L- :1 1.} :"IT RACES”: I AE'L“ LEIEI'C I..)(O ) Scene 2. Fife. Kscduff's castle. (a) (E:'“:R LADY EACDUFF, (1) His SC b-fj E, AND Ross.) Lady Lacduff: What had he done, to make him fly the land? Boss: You must have patience, Lsdam. Ledy Iscduff: ' He had none; His flight was madness. When our actions do not, Our fears do mske us traitors. Boss: You know not Whether it was his wisdom or his feer. Le ady Mecduff: Wisdom to leeve his wife, to leave his bebes, his mansion end in titles in a place From whence himself does fly? He loves us not; He wants the natural touch!2 Ross: My deere st coz, I pray you, school yourself; but for your husband, He is noble, wise, Judicious, and best knows The fits O' the season. I dere not spesk much further; But cruel ere the times, when we are traitors And do not know ourselves, when we hold rumor I‘rom what we feer, yet know not what we fear. (2) Ly pretty cousin, I take my lesve of you; (3) Blessing upon you! Lady Lsccuff: Fetherec he is, and yet he's fetherless. Poss: I am so much a fool, should I stey lon: er, It would be my cisegrsce end your (is comeIt. I take my leave at once. (A) + V‘I 5. “Y) 91" it"Fo (F. 301,90 . netveen proscenium srch and E. ,us back, clutches child. b. Li hts out on at murderer. 1...: H l _) '3 PC: H p 73 E‘) d :3 13. Lucy Lecduff eXI its E—F srou folding piece. let muI-deIsI No es s ?nd murderer. me off i to es L. ACT IV, Scene 3 - Area I l.Actors in glece when lights a. Lis‘I‘ts up on Area I. come up. ACT IV: Scene 9 7O . _— A" T \_r'rr.'. r" (3 .3 q . s L \‘,_‘. , . rd .,-: {'71 ‘ 1 IdiCdef: 9wec¢3<fiifilfi, :rcnr fettwn"'e deed; What Will you do now75' ( " 7‘ 'T‘CTC‘fi'Trfi Tfi ,1 a ..‘L' ‘4.;L-'\..J.Llr O 5 M HT??? / hee“en9er: Blece you, feflr one. (o) I e: not to you known. I doubt co'tte denser Eoee eooroech you reerby. If you will take a common Een'e efivlce,3 9e not found here; hence With your little ones. wht you finn: :tetrinke, I eqitxwv sevege;¢ m" fr , . I fiere not :btce no ‘— "J , .1 J- hPQVEH UTeGCTVe yqu .11"’ m ”1’1 1 j .' '1"“'."1“‘/-1r"\":‘ (h) .I- ..LlIEJ L-..’J '-.-...‘- \J 14.1-]. o ) (7) t“ ‘1') 0. =7 kecduff: (3) Wither should I flv? I heve done no herm./ (BYTE? gJFDEYEDS.)(Q) Firet Kurcerer: Where is your husband? Lady Laccuff: I hooe, in no plece so most - Where such as thou mevet f1“ Firet murderer: He's a traitor. First Eurderer: What, vow Childlz (QTAEEI G EIL.) U) 0 .‘3 ".T‘ (D $.10 '0 if ‘ .J. H P'J “a, J "11 . ,‘1\\f " \. 13 V 1'1 11‘) f~rvqfl ‘ ' 4.’\7"'1"_‘ ' ‘VQYV‘ fr'rt‘ 7771771 (Lil? Lap". I ACuT'F: , (JPN l; A: ". U? 12:. . ' T3__~,.7» 7 lira 1 r":T‘w 1 :1 H: a 'I."-|T a7" \2'fi ‘t 1".-~ fi-fi va-fi, '1’. 121.. bx ..J 4:: 3-4 ‘5" P ‘ QLC . I -7 1}}... .-.‘F' - ‘1'? O ) ( L) } Scene 3. Enqlen‘. (a) Before the Finp'e uelece. (EFTER IALoUI A”D LACDUFP.)(1) Lelcom: Let us see: sowe ceeolm+ *feeo our and boeo a emrt ACT IV, Scene 2 "He is killing me, mother, Run away, I pray you!" 71 ACT IV, Scene 2 - Area I Busifiess Cues \n) \n '\" "f‘n They start off L. LKtET from E—F. X to Area I. Three in triangular ghape Ieciuff, Foss. ACT IV: Iec~uff (1, Kelcom: Leceuff: ‘ “elcom: Malcom: tacduff: Melcom: 1 o -J:coufl: Lelcom: Rose: 9cene 3 Let me rather Thole feet.ifi1e rortel_sncore, gnui like g' Seetrifie our flown fell ‘n eountrv.2 Eech row morn Sew widows howl, new orphans cry, new corrowe Ctrite heever on the fece, thet it recounee As if it felt with Qcotlend erl yelled out Like erlleble of dolor. Cf Whe I believe, I'll wail, Weet krow, believe, en What I Gen reéreee, _ 3: I ehell find the time to friend, I will.5 OJ L ... 1 =,_ 1 1a , 1__ I thing our country Elfin? beneetn tee bone; ' _‘ '! r~ ". . " | ‘ o —‘ ,— 1 I‘\ , It “eepe, it oleece, ene ee,n rev on; e Efiver. 3. -: v ‘: Ie eeeed to oer wounoe. I heve lost my hopee. Why in that rewneee left you wife and child, Those precious hopee, those strong Knote of love, Without leeve—teking? - e tyrant. He leye his basis eure. For goodness eere Vct check him. e not offended; I think withel ihere will be hence uplifted in my right; And here from gracious Erglend have I offer Of goodly thousands. Whet I em truly, Ie thine end my peer covrtry'e to commend; Vither indeed, before thy here-eperoech, Old Siwerd, with ten thousand Werlike men, Already at a point, has set forth. Now we'll to;ether.(?) ‘3 CU (EVTER PCSQ.)(3) (a) Gee, who comes here? Ky courtryman; tut yet I know him not. (Q) iy ever-gentle cousin, Welcome hituer. I know him now. Good God bet The means that neiee s “ '“d \l (‘1) ACT IV, Scene 2 - Area I .ees slightly here. Rslcom. ACT Ixr. Scene 3 73 Lecduff: Qtence “cotlend where it Cid? E099: Ales, poor country. Al oet afreio to know itself. It cannot 3e celled our mother, but our greve; where But who knows nothine, is once e Gooc men‘s lives exoire before tn f In their ceos, cying ere they sicxen. Ealcom: That's the newest grief? Foss: That of an hour' s ege 6.0tn hiss the speaker; Eech minute teens s new one. cauff; How does my wife? Poss: Why, (7) well. Yecduff: And all my chileren? Foss: Tell, too. ‘cduff: The tyrant hes not bettered at their peace? Poss: They were well at peece when I did leeve them. Tecouff: Be not niseerd of your speech; how goes it? Ross: Then I come hither to transport the tiéings,3 I sew much of the tyrant's Dower afoot. flow is the time of help; (3) your eye in Scotland Woulfi create solciers, make our wonen fight, To doff their dire distresses. 3-8 Icon: Be 't their comfort Te ere co: i1.; hither. Grecious England heth Lent us so cod Siward end ten tLousend men; An olcer ¢.nd better solcier 1 none That Christendom gives out. Poss: WOHId I could answer This comfort with the like! But I have words Thet should be howled out in the desert air, There heerini would not latch them. Lscduff: Thet concern they? The general ceus se? Is it a private griefiz Due to some sin: le lreest? Area I Cues H r? 1?. To Lelcom. To Ross. Arm erourd To helcom. m l- l} O 083. Heed bored Eeac up. Lecéuff's shoulder. into hands. P hand raised. Kane down. ACT IV: Ross: Ross: Nelcom: t'ecduff: Rose: v .4!- L-BCdL if: Ross: Helcom: 0 cm I; H: ”a o. kelcom: Lacouff: Nslcom: 43‘ O ,‘D: W ‘ '3 Scene 3 74 No mind that's honest But in it shares some woe; though the main part Pertsirs to you elone. If it be mine, Keep it not from me, cuickly let me have it.I Your csstle is surprised; your wife end Cebes Covepelv s19 nrh+ereo° to tell you the manner, ”ere to add the oesth of you. (0) lerciful God!’ fly children too? Tire, children, servsnts, all found. *3 ,2)“ u cf 0 9 H m OJ ’1) (10) And I must be from hence! (11) I: Wife killed too? I have seid. (I?) Be cor forted. Let us mete mecicines of our Ere eat retenee, To cure this deadly grief. (13) He has no children. (lb) All my pretty ones? Did you say all? (15) o hell—kite! 111172 Dispute it like a men. I she all do so; But I must also feel it es a man./ s the Whetstone of your sword; let grief Convert to anger; blunt not the heart, (1*) 0 And brskfg art with heavens, Cut short all intermission, front to front Brine thou this fiend of Geotlsnd and myself; Within my s:orc' s length set him; if he 'ecepe Heaven for; ive him too. (I?) I could play the wor en with mine eyes my tongue! (17) But, gentle ACT IV, Scene 3 - Ares I l U '0 fJo :3 CD 1' :n Cues 1?. Tableau ending. b. Close curtain. After curtein is closed, hinged pieces at A, E, end J, n ere swung beck. Castle wells end orch ere set up along beck e6 es of platform formetion. o I ACT IV: chne 3 75 ancom: rr'hie tone foes :enly. Core, go we to +he king; our Cover is reed Our leek is nothiny hut our leeve. .ecbetn Is rice for ehsFinf, ené the nowere above Put on their inetruwerte. Feceive whet cheer yon mev; Che right is long that never finds the iey. (10) “—<: P1- r n « 301 2, Scene 1 — Area IV Business Cues ..1 l. EYWY? E-r. . From C arch. 9 3. Doctor end nurse move to D L level 1:. Lecqrfkacbetkl f pletform. mounts steps to top 5. Puts cenfile down. 6. Storts to rub hende toretner. ‘ 7. Lefiy lecteth loogs at hand. a. Coen Curtein. b. Liihts up on Ares .- C Scene 1. D“nsinsnc. \2) In +he cost le. (C) ‘”““'r".-:"' . “n 1r“ “*- \ a“. ~ rm. .“1'1I‘f'1 C». -' ' n; (.11: .‘."‘-_| }\ Hy (\J .‘.€:’Fn AIIL... 5’ A "-51.1 Iii.’~;- -.‘i‘, i IJSJ‘ilrL," 9.5"“. O ) (1) Doctor: I hove two ri We "etch d with too, out can perceive no truth in your reoort. Shin res it she lest helkee? 3entle"or on: Qince his rojestv Went irto the field, I hnv ‘2 h se.n her rise from her bed, throw her rig“ - {own uoor her, unlock her closet, teke forth .POET, folo it, Write unon it, reefi it, after— w'rfih‘ sesl it, erfiéwv‘in return tx>' CC' yet 211 this while in s IOSC fest 91660- A Crest oer urhet ion of reture, to receive at once the benefit of sleeo, an do The effects of Wotching. In this slererv sgi‘etion, besides her well in: end other ectnel nerfort— ences, whet at any tire, have you heerd her " 1 sey? C) O D f“ f O "3 C) r ‘1 :3 Cf H 2 O 9:. :3 L—B ' 3‘ (1‘: Cf {'1 FJ. ‘3 .4 § i.)- O :3 .4 21 k... _J H C) + H "D O s.‘ + (‘2 * ‘b . f (‘1 H :Y‘ ’D "3 0 oentlewonen: ieither to you nor to anyone; hnving no witness to confirm my speech. (Exist LACE gACLCCH WITH A TAPEE.)(?)(3) Gentlewomen: Lo, here she cczz :es. his in her ver and, NJDOU 7E} llfe, I‘EE‘C grileep, ( stend close. (L) Doctor: How ceme she by thet light? Sentlxrvomsru ifiry, it :onoo cy'in- she fuss litziter C3 :oer ti ' ' is her commend. (5 ) Doct or: ”hot is it she does now? Look, how she rots her bonds. Gentlewomen: It is en occw‘i'or1 o gesture with her, to seems: thus wneh.nr her hands. I hev. known her to continue in thi. a cuorter of en hour. (7) Le Cy iecbeth: Yet here's 9 spot. ACT V, Scene 1 "How came she by that light?" 77 13. 1a, 15. 16. 17. / ACT V, Scene 1 - Area IV Down to second level R. Turns R as if talking Kacbeth. Turns back L. Chant this phrase. Looks at hands. Down to third level R. D C on line. Starts back up R platforms. To second level.. To top level. Cues ACT V:. Scene l 78 to ~‘ .1. 1- .- -1- - - Coctor: EFTL! Sue speaie. I will set sown whet cores from her, to setisfy my retethrsnce the more stronely. Lsc‘y .‘mcbeth: Cut, damned snot! Cut , 1' ssy'. — (E) One; ”iv-r0; Why, then, 'tis tire to it 't. - Hell is murky! - (9) Fie, Cy lord, fie' A soldier end efeord? Whet need we feer who knows i when none con cell our oower to eccount? ( Yet who would hove thought the old Ten to hove so much blood in his? “ Doctor: 30 you mark thet? Lefy Lscceth: The thene of Fife heC a wife; (11) ” here s she now? - (12) What wil toese enCs ne' er be clean? — (13) Yo more 0' theft n5 lord, no :ore o' thet; you mor ell this with stzzting. Doctor: Go to, go to; you have known what you should not. Gontlewoman: She hes “OR What she should not, I am sure ‘— c ‘ Y‘ e C Heaven knows what she he Lsdy Lacoet“: (1L) Here's the rrell of the Clood still; the perfumes of Aretie will not sweeten this little hand. Oh, oh, oh! Doctor: whst s sigh is there! The heart is sorely chersed. Gentlewoman: I would not have erch a heert in my boson for the digrity of the FhOlP body. Doctor: Well, well, well - G;r~+lgwo 7131'): PT‘PI.’ GOC ll: V9, sir. Doctor: This disease is beyond my nrsctice; VEt I hQVC known those which hove welked in +heir sleep who hove died holilv in their Reds. l Lsdy Laeheth: Wash vour hands, out on your nightgown; look not so pale. - I tell you yet agein Bencuo's buried; he cennot come out on 's grove. Doctor: Even so? Ledv Fecbeth: ( 5)m obed, to bed. There's knoching at the on gOTE. (16) Come, cos 3C :ur hsnd. (l7) ”' at ACT V, Scene 1 - Area IV usiness Cues Exit center arch. f1 4. 1"" "1 14",“ b :L-l‘ o Gentlewozen exits center erch. c. liEhtS 50 not €O out . 5U From A-E to S C. a. Brine up reCeinder of Area IV lights. ACT V: Geene l ' vo (eXtT Ignri racevnfii.)(15) Doctor: Will she so to ted row? Gentlewonen: Directly. Doctor: Foul whisperinss ere abroad; unnatural deeds Do Creed unnatural troubles; infects; minds To their deaf willows will discharge their secrets. Lore needs she the divine than the physician. God, God forgive us all. Look after her. Remove from her the means of all annoyance, And still keep eyes upon her. So, good night; Ry mind she has meted, end amazed my sight. I think, but dare not speak. (19) Gentlewomen: Good night, good doctor. «v07 rm 1“ 1'7- 9. trrx War-m Puma/‘2' 1' 6 (Bull; .L 1.5-10 OR Hill) (I1 :1 1 L152“ 1* Ar: 0 ) ( 20) ( 0) Scene 2. Dunsinene, (e) e room in the ,estle. (EUTER KACBITH, DFCTOP)(1) iscbeth: Bring me no more reports; let them fly ell; Till Birnem wood remove to Dunsinene, I cannot taint with fesr. What's the boy Kelcom? Wes he not born of woCsn? The soirits thst it n ow All mortal conseQuences have oronounced me thus: "Fear not, Facbeth; no men that's born of wome Shall e'er have power upon thee." Then fly, false thenes.i The mind I sWey by end the heart I bear Shall never es; With doubt nor shake with fear. (EFTEP A QFRVANT.)(2) Where got'st thou that lily look? Gervant: There is ten thousand - hacbeth: Geese, Villain? Servant: Soldiers, sir. V , Scene 2 Area IV ACT V: Scene Lscbetl P O. Servant: \ _‘ 1 1 naCDEtfl: Seyton: Eacbeth: Seyton: Eacbeth: Seyton: hecbeth: Doct r: hecteth: hacbeth: 2 (CV-rm -‘J.'._L .L. ( TEE (TD 0 Death of thy soul! those linen cheeks of thine are counselors to fear. Whet soldiers, whey- face? The English force, so please you. YT". - ‘- ‘.f\ ,- 9 lane t“; -ece hence. FTRVAHT.)(3) Seyton! (L) — I en sick at hesrt, Then I behold .... Seyton, I seyll S?YT:N.)(Ua) What is your gracious pleasure? What news more? All is confirmed, my lord, Which was reported. I'll fiyht till from my bones my flesh be hacked. Give me my armor. 'Tis not needed yet. I'll put it on. out more horses; scour the country round;1 those that talk of fear. Give me mine armor. How does your patient doctor? ind} m (D :3 :3 ”(I Q- ‘ Not so sick, my lord, As she is troubled with thick-coming fancies, That keep her from her rest. Cure her of that. Censt thou not minister to a mind diseased,’ Pluck from the memory a rooted sorrow, And with some sweet oblivious antidote Cleanse the heavy bosom of that perilous stuff Which weighs upon the heert? Therein the patient lust minister to himself. Doctor, the thsnes fly from me,’ What purgetive drug, rhubarb, senna Would scour these English hence? Hear'st thou of them? AL; V, Scene 2 — Area IV Business Cues 5. Exit 2-0. h. Cry of women off / , ‘-- 4-1 + - .0 -— .«uon... o. LMCUCUQ to top cl 9 cu-UIflS, looks out thr ugh erch. c. tern curtein. 7. Turns to Se ton. 6. Pull slow curtain. A 7 . J.“ n lo -Ftl in i0? :92 "I? ' 12. Free in nenés crying. time curtsin is culled, stsge is cleered of 911 ourin * re pletforrs ené prosceniums. f" o g; . J.- b C'.) H ACT V: Scene 2 Doctor: Ay, my good lord; your royal precarstions take us hear sorething. gscbeth: Bring it after me. I will not be afraid of death and bane, Till Birnam forest core to Dunsinane.? ) Hang out your banners on the outward Walls; The cry is still "They come!" Cur castle's strength Will laugh a siege to scorn./ O\ (EXIT DCCTCR.)(5)( (A OF? C? ye12? ":TTI“ )(b)(7) “hat is that noise? Seyton: It is the cry of women, my lord. (EXIT 82’ CN.)(€) Nacbeth: I have almost forsot th ne taste of fears.’ Direness, familia .r to my slaughterous thoughts, Cannot more start me. (PE-ENTER SEYTCN.)(E) Therefore was that cry? Seyton: The queen, my lord, is dead. (c) Nacbeth: (9) She should have died hereafter; (10) There would have been a time for such a word. (ll) Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day To the last syllable of recorded tine, And all our yesterdays have lighted fools The may to dusty death. Cut, out, brief candle. Life's but a walking shadow, a poor player That struts an' frets his hour upon the stage And then is heard no Tore. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. (12)(d) (EXIT KACEFTH.) ‘ . ‘ ' " .r ' .- .0 l. talcom, Siwarc, haccuf , oss, An us, Lennon, Sergeant in this T ’ ‘; m , ~ C‘ 9. .—\ . 4- .-. order. LthCfl, oi~ sage. Feet 02 plitfor s C 1“ 7‘ I V" L) o “'1' Uni truzn'oet . 1. Enter from A-B. advance 1. U S to lower L olatform. ‘7 2. Enter and A S. o , a -.-.w -T'Of‘i ra-f to C 3. Lecbeth X down to C S. ’1 r77 ' »\ ’3 91L) ‘1’: SCEKt / :1? Scene 3. The country near Dunsina ne. (a) (TPVH? AND CCLCPQ. (b) FNTTP a JACDVPF, A"C US, LTY“CN,.AYD QC_ Falcon: Cc”sins, I hope the days are near at hand That chambers will be safe. Angus: We doubt it nothing. Siward: What wood is this before us? (2) Lennox: The wood of Birnam. Nalcom: Let every soldier new him down a of'h 1,. 1.) And t-ear it before him; thereby sh S hC‘hL C 0“, The numbers of our host.2 Soldiers: It shall be done. Siward: We learn no other but ,he confident t3 rant Keeps still in Dunsinare, and will endure Our setting down before 't.’ halcom: 'Tis his main hone. For it is there advantage is to be given. .acduff: A,tend the true event, and put we on Industrious soldiersnio. :Jiwsrd: (3) The time a proaches 2 Fake me our march toward Dunsinane. (I’TET’ITT) (L) Scene b. Another cart of the field. (ENTER NACBTTH.) (1) Nacbeth: They have tied me to a stake; I connot fly But, tearlike, I must fight the course. (:3?m it: A ‘ trc Qt 12W? 2.37: cwam-I) (9) ‘.A_4_It.k -.1ln L ..a‘—_..‘. \JJ- ... —--‘ Thou comest to use thy tongue; (3) thy story quickly. ,\ Hm -1.‘ I1. , Ccene h - Area IV in 5 *Jo :3 ’D ") {D Cues Tretbling bow. “.0.” " r'Ulzitf‘ to U 5:> C. v . i _ KQLCS and lace raise C2: to heavens. Eeyton, Lacbeth ereunt A-B. To change of lights or scenery tetveen scenes. continuous. ACT V, Scene 5 - Area IV “' \ A) 10 4-. ,Kn D—J drums. Tfifir J— 7" J44" lb 5.0. 7—, In 1‘ enter s-s to lower P platform. Enter from C-D to top olatform. cbeth is facing audience. rom C-D to top of C platform. a. Begin roll of ACT v: Scene u 83 Seyton: Gracious, my lord, (b) I should report that which I say I saw, But know not how to do it. iacbeth: Well, say sir. Seyton: As I did stand my watch upon the hill, (5) I looked toward Birnam, and, anon, methought, The wood began to move. iacbeth: Liar and slave! seyton: Let me endure your wrath if 't be not so. Within this thre ee :rile may you see it coming; I saw a moving grove. hacbeth: 9 If thou soeek'st false, Npon the ne} :t tree shalt thou_ han e alive, ill fatine claim thee. If thv s:eech be truth,2 c re not if thou dost for .ne as much.~ ere is no fly in; hence nor tarrying here.’ gmi to be aweary of the sun, And wis h the estate of the world were now undone. Birnan wood comes to Dunsinane. (6) Blow, wind! Come, wracki At least we'll cie with harness on our back. (7) Scene 5. Another part of the field. (UTTEP NACDUFF.)(1) PEBCChAff: That way the noise is. (?) Tyrant show thy face. If thou be'st slain and with no stroke of mine My wife and children's ghosts will haunt me still.2 There thou shouldst be; by this great clatter, One of greatest note seems bruited. Let me find him, fortune; more I beg not. (EXTT ACDUFF. )(3) (ENTER “AC3"mh.)(a)(L) K7, '1 ' fl .. “QCtDEthi: Why should I clay the Roman fool, and die On mine sword? bhiles I see lives, the ashes, Do better upon them. (smms:scmTFH5) a 4m vr Scene __I Are '3 IV Cues . ,— "f‘ x. . _’, . or .+ l -‘l’ \ hand. ‘ 1 u S to Incocth. Pi ting ran es beck h on *latforr levels 'I \ O .n‘ ( whirls arounc .alcor and Sivarc fror C-D f “l’tforis. Rest from 3 seat, én-"e, to stcge L. or stay on stage P. «’3. Flourish from trumuet, clarinet, best from drum. Continue until in places. ACT V: Scene 5 8L 0) O p <3 H: t *3 r 3 R *3 ., hell—hound, turn. (6) “1 O n (I) c+ I O t 5 all men else I have avoided thee. (7) But get thee back; my soul is too much charged th blood of thine already. hacduff: (8) I have no words; by voice is in my sword; thou bloodier villain Than terms can give thee out. (THEY FIJET0)(9) Thou losest labor asy mayst thou the intrenchant air thy keen sword impress as make me bleed.2’ r a charmed life, which must not yield 0 one of women born. , co 0 Q m rt :3’ cf :1- ... :5. (D Hacduff: Despair thy charm; And let the angel whom thou hast served Tell thee, Nacduff was from his mother's womb, Untimely ripped. (lC) Ifiecbeth: Accursed be that tongue which tells me so.’ I'll not fight with thee. maccuff: (ll) Then yield thee, coward. And live to be the show and gees o' the time. We'll have thee, as our rarer monsters are, Painted upon a pole, and underwrit, “Here may you see the tyrant." ,haxfloet.: I will not yield, To kiss the ground before young Lalcom's feet, And to be baited with the rabble's curse. Yet I will try the last, Before my body I throw my warlike shield. (12) Lay on, Lactuff,(l3) And damned be him that first cries, "hold, enough.“ (EXEUNT FIGHTING. (1L) FLCUBISH CF TRULPETS. ENTER NALCCL, (l5) SIYARD, ROSS, TEE CTR? TNANES AND SOLDIERS.) .uilccarn: I would the friends we miss were safe arrived. A...‘Y r‘: T 1 J. ““n-I‘CL: Some must go off; and yet, by these I see, So great a day as this is cheaply bought. “*1C3C3ni: Nacfuff is missing, and your noble son. ACi V, Scene 5 - Area IV Business Cues 16. From E-F to D S L. b. Start drum roll. 17. Foirts sworj to Eelcom in R c. Builfi drum roll on Jere. Hred in L. lest speech and while curtain closes stop t svords to islcom end abruptly when curtain s for Unblesu end. is closed. , P Argus, Pergeent, f L on platforms. Lelcon C. d. Close curtsin slowly. «one down, all but 1-910012 Lelcom: Ross: (3 Q) C “'5 * b All: 1549.10 0 m: All: Scene 5 Your 1 6. .fi Pt“; Tsmrs hen, :J’) son, on the shall not ore we reckon with me?.e revised to suit the action of the actors and some of the actors had to make small revisions in their movement to comply with the limitations of the scenery 152 and lighting. However, all of these changes and processes were done with a good spirit and the director and art teacher reached amiable understanding because of an awareness of the problems involved on both sides. After all definite plans had been made and cues under- stood, the second rehearsal was a process of practicing all the changes involved. Since the play as adapted.by the director _ required Split second timing in the changes of light and scenery to give to it the tightness that the director desired, this second rehearsal was of extreme importance. Under the supervision of the director, these changes from scene to scene were closely timed and the art teacher as stage manager carefully designated definite responsibilities to the various members of the crews. Both the director and the stage manager stressed the importance of each student‘s responsibility at this time. As a result, a definite feeling of a sense of the importance of timing was born. This same sense of timing was kindled in the musicians during this second dress rehearsal. The girl in charge of cueing the-musicians had spent some time marking a script under the direction of the director and.music cues received the same attention as was given to stage and light cues. On Wednesday of the week that a play was performed, the custom had been to present scenes from the play to the students. These presentations were made during the noon hours. The director decided to avail himself of this opportunity not only 153 to advertise the play but to forstall the possibility that the sight of their classmates in tights and strange costumes might evoke laughter from some of the students the night of performance. In these noon hour presentations, the director acted as commentator, demonstrated the versatile stage setting and described the play. Then he called two of the actors, Macbeth and Ross, out of the wings and pointed out the different parts of their costumes. He explained that the cloaks had been made by students from old draperies taken down from the windows and that the boys were wearing tights. He even commented that they looked like long underwear and invited the audience to laugh along with him. A few of them did, but the result of this was that no laughter was heard the night of the performance because of the costumes. The sword fight of Macbeth.and.Macduff was performed for the students and their interest in the play was greatly increased as was indicated by the number of additional tickets sold the next morning. By the night of the third dress rehearsal, the play as a whole was a much.smoother running production than the night before. The actors were more certain at this time that lights would come on and go out as planned and that scenery changes and property placements would be made on cue promptly. This third rehearsal accomplished the very important act of instilling confidence in the actors‘ minds that the stage crew, the light crew, and the musicians would perform their tasks when eXpected. 15“ Make up was applied and tested under the lights on this night. Several changes were necessary to accommodate it to the lighting arrangements. The result of this third, and last, full dress rehearsal was a performance that reached a high degree of full cooperation between the actors and the crews. The flow fran scene to scene and act to act that the director and the stage manager desired.was attained satisfaCtorily. The night before the play had been planned as a full dress rehearsal, but the director sensed the extreme tiredness of all of those participating and the need for rest before the performances. The policy of the high school and the director had been established to allow no time off from classes for this activity. The director and stage manager concurred on the need for a short rehearsal, so this night was spent in practicing the curtain call used and in having the photographer take the pictures for the school's yearbook. These two things required two hours time. The students were then dismissed to go home. . 155 PART I. PERFORMANCE ANALYSIS With the exception of two incidents during the performance on the first night, the play progressed as smoothly as had been planned. All cues were executed promptly by the stage, light, and music crews. The actors delivered all of their lines on one without a prompt and their performances were as well done as in the third dress rehearsal. The exceptions, as mentioned in the preceding paragraph, were these: the boy on the stage crew who was responsible for the pouring of the chemical to make the smoke in the cauldron scene for the witches became excited when preparing the chemical for igniting. Instead of pouring the chemical in a cone shaped pile, he dispersed it over a large area on the asbestos on which it was to burn. The result, after it was lighted, was an out- pouring of clouds of dense smoke where wisps had been planned. The smoke billowed up around the three girls playing the witches and started to seep out into the auditorium. One of the stage hands crept out behind the platform section on his stomach and smothered the pile with a lid on hand for that purpose. In the meantime the director was frantically seeking a Janitor and getting him to turn the ventilators on to take the smoke out. The Janitor was found, the ventilators turned on, and the audience found no occasion to be alarmed. While all of this was transpiring, the girls playing the witches valiantly played 156 the scene without a hitch or change of pace to its end. Their metal as performers was tested, and they were not found wanting in any way. The other occurrence was laughter in a place where it had not been anticipated and at a time when it was detrimental to the scene being enacted. In Act IV, Scene 3, Macduff is informed of the slaughter of his wife and his children. In one speech he asks, "What! All my pretty ones?“ The audience seemed to interpret this to mean that Just the pretty ones had been killed and the ugly ones had not. Laughter was the result. For the second performance the word “pretty“ was changed to "little“ and the laughter did not occur again. The overall result of the many preparations as they have been described in this chapter was a play that moved from scene to scene with a fluidity that held the attention and interest of the audience; actors who presented characterizations with a degree of competence; a production which was pictorially pleasant and artistic to observe. CHAPTER V PRODUCTION NOTES Since the subject of this thesis consists of the directing and adapting problems connected with the production of Macbeth, the production notes which follow this introduction have been included for the convenience of any director who may want to use this study in the future. The method of play production at Handy High School being different from that found in many other high schools, an explanation would be in order at this time. The director was given the responsibility for the entire production; however, there were certain faculty members who, in consultation with the director, assumed specific responsibilities. The art teacher, a student of stage design, planned the stage settings and lighting after ascertaining the needs of the play as set forth by the director. This teacher organized stage and light crews and constructed the stage sets and planned the lighting. A home making teacher supervised students in the making of the costumes according to designs given to her by the director. A metal shop instructor supervised students who made the metallic properties needed in the play: swords, shields, and daggers. According to plans submitted by the director, a wood shop teacher supervised students in the construction of tables, benches, stools, and thrones. An attempt was being made by the director to make the production of this play an all-school activity. . , d . . . . n i .. O u . . . .. .1 it . . . x . . A .l l v v I , \‘l I, 158 PART A. COSTUMES In selecting the style of costumes to be used, the director decided to attempt to base the design on the Late Gothic Period as set forth in Lucy Barton's Historic Costumes ,fg; 3h; §§gg_.1 There was a definite reason behind this decision. The director anticipated difficulty in making the costumes with a group which had never made costumes before; as a result, the design was kept as simple as possible. Basically, the costumes of the boys consisted of: tights covering the body from the waist to the toes; tunics which had short sleeves, very full around the waist, and reached midpway between the knee and hip; wide leather belts to gather the tunics about the waist and hold a dagger; velvet cloaks cut to set on the shoulders, of a fullness to wrap around the boy three times, and of a length toz~each the floor; shoes made by sewing velvet bands to a leather sole and wrapping the bands about the ankle and.leg to the knee. The tunics were made of cotton broad cloth. Additional tunics were made of a metallic print on black which closely resembled armor from the audience. The girls' costumes were simple floor length dresses designed with long tight sleeves, full skirts, and a variety lLucy Barton, Historic Qgstumes for the Stage (Boston: Walter H. Baker 60., 1935), p. 159. 159 of necklines. With the exception of a cotton metallic print for Lady Macbeth, the girls' gowns were made of broadcloth. Great care was taken in the color selections of materials used in the costumes. An attempt was made through the use of color to help the audience identify certain characters and groups of characters. King Duncan and the two princes, Malcom and Donalbain, were clothed in shades of purple. Macbeth and Lady Macbeth used shades of red. Macduff, Lady Macduff, and their son were shades of green. Banquo and his son, Fleance, were costumed in shades of blue. The murderers were in shades of black and grey. The three ladies in the court scenes wore blue, yellow, and pink gowns. The thanes were costumed in combinations of colors, such as, blue and.black, yellow and black, brown and tan. These colors and color combinations were carried out in the tunics, tights, and cloaks. The only costume changes which occurred were in Lady Macbeth's and.Macbeth's costumes. Lady Macbeth had a bright red dress for the opening scenes of the play, a gold.metallic print over red for her scenes as queen, and a light pink nightgown for the sleep walking scene. Macbeth donned the simulated armor tunic for all the battle scenes, a dark red tunic for the early part of the play, and a purple metallic print tunic for his role as king. With the exception of the wearing of the simulated armor tunics for the battle scenes, the costumes did not change throughout the play. 160 The only part of the costumes which the director and the students in the play found uncomfortable to use were the shoes. The velvet straps sewn to a leather sole did not give enough support to the feet and were not of sufficient strength in construction. The velvet came unfastened from the leather soles very easily and caused a feeling of insecurity in the actors. Immediately after the performances of the play, the director destroyed the shoes. Since that time, a complete set of men's ballet slippers has been acquired. These are much more serviceable. The length, fullness, and heavy weight of the floor length velvet cloaks added a note of grace and richness to the production. The cloaks were made from discarded draperies from the windows of the auditorium. The metallic prints, used in the dress of Lady Macbeth and.Macbeth's kingly tunic, helped to convey the impression of royal richness the director desired. ‘ The costumes as a whole relied on their richness of color rather than in the materials used for the effect desired. 161 COSTUME PLOT Where basic costume was not changed during the course of the production, the following costumes were used: WITCHES - Dark blue gowns, dark blue hoods. KING DUNCAN - Lavender tights, purple tunic, black belt, dark purple cloak, purple bands on shoes. MALCOM — Lavender tights, purple tunic, black belt, dark purple cloak, purple bands on shoes. DONALBAIN - Lavender tights, purple tunic, black belt, dark purple cloak, purple bands on shoes. ROSS — Tan tights, dark brown tunic, black belt, dark brown cloak, brown bands on shoes. BANQUO - Royal blue tights, light blue tunic, black belt, dark blue cloak, light blue bands on shoes. FLEANCE — Dark green tights, light green tunic, black belt, medium green bands on shoes. FIRST MURDERER - Black tights, grey tunic, grey bands on shoes, black belt. SECOND MURDERER — Black tights, grey tunic, grey bands on shoes, black belt. SEYTON - Tan tights, brown tunic, black belt, brown cloak, dark brown bands on shoes. DOCTOR - Charcoal grey robe with hood. LADY MACDUFF — Light green gown. MACDUFF‘S SON — Tan tights, brown tunic, black belt, dark brown bands on shoes. GENTLEWOMAN - Light grey gown with stole of same color... ANGUS - Light blue tunic, black tights, black belt, light blue bands on shoes, black cloak. LENNOX 9 Black tights, light yellow tunic, black belt, light yellow bands on shoes, black cloak. 162 COSTUME PLOT (CONTINUED) FIRST LADY — Royal blue velvet gown, trimmed in gold. SECOND LADY - Light blue cotton gown, trimmed in black. THIRD LADY - Light yellow gown, trimmed in black. SERVANT - Tan tights, brown tunic, black belt, dark brown bands on shoes. The following three characters are those involved in costume changes: LADY MACBETH - A red dress was worn in ACT I, Scene 4; ACT I, MACBETH — Dark Scene 6; ACT I, Scene 7; ACT II, Scene 1, ACT II, Scene 2; A light pink night gown was worn in ACT II, Scene 3 and ACT V, Scene 1. A red and grey cotton with a metallic gold overlay was worn in ACT III, Scene 1; ACT III, Scene 2; ACT III, Scene 4. red tights and red velvet bands on the shoes in all acts. A dark red tunic was worn in ACT I, Scene 3; ACT I, Scene h; ACT I, Scene 5; ACT II, Scene 1; ACT II, Scene 2; ACT II, Scene 3; over the red tunic was worn a longer sleeveless tunic of black cotton which had an overlay of gold print in simulated armor. This tunic simulatin armor was worn in ACT I, Scene 3; ACT I, Scene ; ACT I, Scene 5; ACT II, Scene 1; and ACT II, Scene 2. Macbeth wore a dark red velvet cloak. In ACTS III, IV, and V Macbeth changed the red tunic for a dark red tunic with a metallic print of gold on it. In ACT V, Scenes h and 5 the armor tunic was worn over the second red tunic. MACDUFF — Medium green tights and dark green velvet bands to the shoes were permanent costuming throughout the play, along with a dark green tunic and a dark green velvet cloak. The changing that took place in this costume was the adding Of an armor tunic in ACT II, Scene 2; ACT II, Scene 3; ACT V, Scene 3; ACT V, Scene 5. 163 PART B. PROPERTIES The crowns worn by Duncan, Macbeth, and Lady Macbeth were made in the art department. Sheet copper was cut into pieces and stapled together with an ordinary stapler. The copper was given an aged appearance by rubbing black paint into it. To the metal crowns were sewn glass Jewels purchased from a commercial company. These Jewels were faceted on one side and flat on the other with small holes bored in each end of the stones. They were arranged in patterns with a variety of colors used. The total cost of the three crowns was five dollars. They were very impressive as viewed from the audience. The swords and daggers were made in the school's metal shop. They were made from steel one-quarter inch thick and one and one half inches wide. Wooden handles were bolted to the steel shafts. The swords were three feet long and the daggers ten inches in length. Care was taken that there were no sharp edges on any Of these weapons. The shields were also fabricated in the metal shop, cut in a variety of patterns with the over all width being two feet and the length three feet. They were made from galvanized metal which was bent into a curve. On the backs were fastened bands of the same metal so that the arm was thrust through one and grasped the other. The art department painted designs on these in colors to match the costumes of the actors carrying them. ACT I Scene Scene Scene Scene Scene Scene Scene ACT II Scene Scene Scene ACT III Scene Scene Scene ACT IV Scene Scene Scene ACT V Scene Scene Scene Scene Scene \IO\\I\-F'\JJNH \n-F'UNI-J 16h PROPERTIES PLOT No prOperties. Crown for Duncan. No properties. Chair and Crown for Duncan. Chair and letter for Lady Macbeth. Crown for Duncan. Four covered platters. Bench. Sword for Banquo. Jewel for Banquo. Two daggers Off stage L. Latern for porter. Two thrones, two banquet tables, two long benches, one stool. Crowns for Macbeth and Lady Macbeth. NO change in prOperties. Servants bring in two pitchers, ten plates, twelve goblets. Crowns for Macbeth and.Lady Macbeth. Three cloth bags for witches. Chair for Lady Macduff. No properties. Candle and candle stick for Lady Macbeth. No properties. Six swords, six shields. Sword and shield for Macbeth. Swords and shields, seven of each. Macbeth's head. 165 The boys in the woodworking classes built the furniture needed in the production. Two tables were made of rough white pine which measured one inch thick and eight inches wide. The tables were six feet long and two feet wide. Their style was simple and they were bolted together for stability. They were finished in a dark brown stain, nothing more. Two benches, six feet long and one foot wide were constructed of the same material and finished in the same way. A small table two feet long and a foot and a half wide was made of the same material and finish. The two chairs, used as thrones and chairs, were borrowed from local residents. They had low backs, high rounded arms, and were of a mahogony finish. The dishes in the banquet scene were glass gOblets, china platters and plates, and huge vases which were shaped like pitchers. All of these were painted with gold paint. The diamond which Macduff presented to Lady Macbeth as a gift from Duncan was one of the glass Jewels used in the crowns. .Lady Macbeth‘s letter was a piece of parchment drawing paper which had been crumpled and ironed smooth. Macbeth's head, to be carried on stage by Macduff in the last scene, was made of paper mache. After it was painted, crepe hair was applied by using a stapler. l,‘ nil. I ‘| NR.“ DNO\U 39452 on Panama) .2 (mm >76 pmmrm .2 Cam $23.23 mxtnmmém oozeocn. (.0 Rd 20.... .z cmm . nomioz 0n ..woémm .2 cmm t . 33:02 on . .v« n. w (fl Va..- n r0nP4..Oz OW. \ / s... .l I. \ . .... Obaflnfi r. .r ..Wi:..MH. » . {inautahat mono n ..\ _- \ @szfimm dimmm \ 89.2075 0...... 1‘ J \\ \\ / . >c§r§m< names “'8 4 (I; 1115 a} 7 , O 75 :5 51 J»- {T (P TOEJJOZ Om... @me 5. % ...... .... ...: flair 7. CU”. xx: 1 .... .... is . .HHH. ...... Ho msmmmm. CZ...“ .... an . «.me com 5 - “xi. .0! . ,. x In i wfihnfim ...“)..- .... . ..x J x 204. .2 Chen . 1...»: ,.,-......nn........ \2....f... . ... . mwmml New 7mm... ... in... ..l .... .... z . ......235. I. 5...... I.» .9. ......o .35.. 4. fl 11.1.1.9}! . ,. “v.1“... be ... $2 .. .1...U....tMn/m I i. V \\II . r“ ... . ... w . . . . it! ..l..l!-.fl.1 w! a 4 C): «All .40. .g _ In)... . \ .\~.....- , x- M visa...” mam a. 1 m i ...reoa ark,“ won genmmi _\\\ an 167 PART C. THE STAGE SET As may be seen from the floor plan of the stage set used in Macbeth, a triangular platform arrangement was used. The platforms were a permanent feature of the staging. The upper platforms, or Area III, were twenty-four inches off the floor. To the right and left downstage of the upper platforms was another level sixteen inches from the floor. The down stage right and down stage left platforms were eight inches from the floor. At positions A, g, Q, g, E, and §_were erected fourteen foot flats to form false prosceniums. These, too, were permanent features of the staging. To flat A was hinged a folding piece made up of two flats ten and four feet high. When these were swung out, Area I was formed. The same was true on the stage right side at flat Q, When hinged flats were swung out here, Area II was formed. When the witches' scenes were being performed in Area III, a folding piece of scenery three feet high.was set in front of the platforms to form the crag. To flats §_and g were hinged contoured folding pieces which came out and fit along the back edges of the platform to form the background for the witches. Area IV was changed from one scene to another by the use of moveable flats ten feet high which fit along the back edges of the platform. Two castle walls in combination with a tower or arch piece set the scene inside or outside the castle. For 168 ACT V, Scene 5 "All hail, king of Scotland.” 169 the banquet scene, the arch was in place but covered with a velvet arras to form a background for the thrones. When all hinged pieces were folded back and separate castle walls were removed, the scene became the battle field. Backing up the staging that has been mentioned, a canvas curtain thirty—two feet long and fourteen feet high was used as a back drop. This was painted a mottled light blue and white. The castle walls, tower, arch, false prosceniums, and pieces hinged to A and E were first painted a dark red. Then they were sponged with brick red, yellow and blue. Black paint ‘was applied over this starting lightly on all edges toward the center of the stage and more heavily toward the off stage areas. The effect was that of the walls fading off into distance. The witches' crag and hinged contours which formed the background were painted in a medium green and sponged with black. The platforms were sponged with grey, green, brown, and yellow to simulate stone. Overhead.were two sets of contours which could be lowered to form the tops of the false proscenium arches. One set of two matches the background of the witches' scenes in color and shape. From these drops hung ropes which had been painted green to look like vines. The other set of contours was out like the tops of the castle walls and painted the same colors. When a scene was used in Area IV, either inside or outside a castle, this pair was lowered. 170 PART D. LIGHTING Following this page is a diagram of the light plan used. A set up of lights for each area had been planned and was used. The lights numbered l_were used to light Area 1. These lights had steel blue and amber gelatines in them. The lights for Area 2 are numbered g and held gelatines of the same color as those used on Area 1. Area 3 lights for the witches are numbered 1_and contained dark green and magenta gelatines. Number §,light was used for lighting the ghost in the banquet scene and contained a medium blue gelatine. The lights numbered l_and g_were used in conjunction with those numbered &_to light the entire stage when Area A was being used. Of this total of lights being used for Area 4, selected lights were used from scene to scene depending on the area or areas of the stage to be accented. All lights numbered fl, used for cross lighting acting areas for the whole stage, contained steel blue and amber gelatines. i .E u 1 n32 Sam whole 1...?0 mic m an I . Fm OrmZU; «at... Imp»... 3.: 315.1% .Na. 2. meta:- ..rL.... flirt... : . -, ...- 5;... flu mam.» _.. m. we: . \. _ wflmnmfllmwfiuon \MWVG £039.53 0.ka .,\\\ ax...“ . HHWucmcCOm /\.\..\ : : u . .UfiNOL mm” 410% Egg! /. 2. . \ M 1%.... we”, w. \\ I: I} #:va Fifi. - .31.... 3:! a - 1‘. o ..Ilc’ / . 2.x \xr \\.\. «(I . \v ... _ . ~) \ / \ «w . .t\~\\.‘w f. ”iii... /7 \xf/ gift“? .... :/\Mm\\. ..w .,.\&\Li. -. m has? finish/r . t u ... \u.\ \vx xx. . ...! .. "133.1“ «hi/z 2 .. //\ x \ /i \Q ~\ \.\\ ... ..r m ..mliLw ...! _.\\. it.“ «y \W. KW... / a \ a \ .. r CHAPTER VI STUDENT REACTIONS AND DIRECTOR'S CONCLUSIONS PART A. STUDENT REACTIONS In order to secure the reaction from the student body of the high school, the teachers of the eleventh and twelfth grade English classes requested the students to write a review of the play as a class assignment. The students were assured at this time that the director would not know the identity of the writers since an arrangement was made whereby the names of the students were clipped from the corners of the papers before the director read them. By this method a true opinion would be given by the students. A summary of these reviews will be made according to the topics which were discussed in them. Since many departments contributed to the production, there was an awareness from many students that producing a play is a large undertaking. This awareness was evidenced by such comments as, “The tables that we made in the wood shop looked slick on the stage,“ and, "The girls did a good Job on making the costumes. No play that I have seen looked as rich as this one.I The summation of this idea appeared in the remark, “When a school as large as Handy can get behind a project and work as we did, actually over a thousand when you consider all of the departments involved, then we have a school that has real 'school 173 spirit.‘ The Thespians with their production of Macbeth have demonstrated this to us. Congratulations to them." The students recognized that the staging of this play was different and more difficult than those that they had seen previously. Many commented on the fact that the lights were brought on and faded out from one area of the play to another. They also commented on the fact that the play went from scene to scene with very short waits or none at all. Many of them seemed to think that this was original with the director and not Shakespeare's plan. The projected apparitions aroused the curiosity of many of the boys. They thought it was an effective device, but they wanted to know how it was done. Most of the papers commented on the lighting and the scenery being in keeping with the play. They also realized that the lighting and the scenery contributed greatly to their enjoyment. The dramatics class contributed the only remarks made by the students about the make up employed in the play. The director considered this complimentary, for the audience was not aware of the use of make up except in the case of Duncan and the witches. The students of the dramatics class remarked that the general make up was not obtrusive and that the witches and Duncan gave the impressions of evil and age that were desired. Many of the students remarked that reading the play before the performance aided them in understanding; however, the consensus of Opinion was that the plays were written to be 174 performed and that viewing the play as a member of the audience was more enjoyable than studying the lines in a class room. “The play came to life for me when I saw it performed on the stage. This is the way we should study all the plays we read during the year." Another student commented, “New meaning was given to many of the lines when I heard them spoken and acted upon the stage. In class study it was hard to visualize the action.“ And a further comment was, ”The sound effects and the musical introductions added dignity and meaning where I never suspected it from just reading the play in class.“ All of the comments from the students were not laudatory. Several very apt criticisms were made. Mention has been made of the criticisms made of the practice of double casting. The comments were: “People also laughed in one of the last scenes in which Old Siward led part of an army across the stage. As one actor played the drunken porter and the sergeant, they thought that the porter was following Old Siward around." Further comment on this same criticism was: “Shortly after Macduff's son was killed, he appeared as a servant. I began to wonder if Macduff‘s son had been killed.” The students did not realize that double casting itself was not at fault, but the manner in which the director handled it was. The porter's costume was not altered enough to change his identity to a warrior later in the play. The same was true of the boy who played Macduff‘s son. 175 The boys who delivered the lines from behind the screen on which was being projected the apparitions became so concerned with securing an eerie effect that the lines of the prOphecies were not given the emphasis required. “The prOphecies in the apparition scene were hard to understand. A lot of the people missed the point here.“ Two students stated that they felt that the end of the play was a “let down” in comparison to what had gone before. The fault here was a casting choice made by the director. The boy who played Malcom did not have the voice, manner, or interpretive ability to carry the last speech of the play. 176 PART B. DIRECTOR‘S CONCLUSIONS From the comments of the students in the play and from personal observation the director realized that there was a distinct advantage in working with the characters and plots of Shakespeare. Shakespeare affords limitless opportunities for catching mighty personalities at dramatic moments and the students responded more enthusiastically than ever before to the challenge of character portrayal. These portrayals were aided greatly by the manner in which Shakespeare deliniates clues about a character to the lines of other actors and through the lines of the actor himself. Through the study of lines and words done by the actors, there was a development of vocabulary, for each line and word had to be understood to give an intelligent interpretation. The remarkable use of color words and words new to the students added many new words to their daily usage. The students participating in this play had never had the opportunity to experience the enactment of a play with the breadth of plot and the involvement of the moral aspects found in Shakespeare. With their limited backgrounds they did a competent job of analysis and interpretations. To be sure, this project was more difficult than any previously undertaken, but to counteract the difficulty the enthusiasm and application of the students was so much greater that the difficulty was overcome. The director also observed that working on a Shakespearean play developed the physical movement and diction of the students 177 to the point that there was a direct carry over into the plays produced subsequently. The broader movement of the hands, head, shoulders, and entire body required to coincide with the flow of the lines served as a means to make the actorst movements more fluid in later plays. The exactness of diction required in the Shakespearean production to carry the words and interpretations to the audience was evident in later plays. The director thought that these improvements noted in the performances of the students made the production of a Shakespearean play worthwhile. Taking in consideration the cultural and esthetic limitations of the community as they were discussed in Chapter I, the attendance at the two performances indicated the community reation to the Opportunity to attend a Shakespearean play. In two performances, approximately twelve hundred people saw the play. Financially the production was a success with about two hundred dollars being cleared. Success was further indicated the following year when over fifteen hundred peOple attended the second Shakespearean production. One conclusion which occurred to the director was that many directors of high school plays fail to take into considera— tion the fact that the problem of character develOpment for a high school actor is a problem of time allotment. The director observed from this production of Macbeth.what he had learned before in working with high school students; namely, that with a reasonable amount of talent, given time and individual help, 178 most students can develOp an acceptable character portrayal. The process of analyzing the character with the student and getting him to devise ways to project the character to the audience was of utmost importance in creating within the student the confidence necessary for a good performance. In order to do this, the director recommends that the allowance of adequate rehearsal time be considered by anyone presenting a high school play. There were two definite types of rehearsals used; the group rehearsal and the individual rehearsal. The attention of the entire cast was easily lost in a rehearsal if too much time was spent with individual problems. The group rehearsals ‘were used for blocking of movement and working on the flow of the play from scene to scene or act to act. Individual problems were taken care of separately. At first glance, appearances would indicate that a great deal of time was spent with individuals, but a closer examination of the rehearsal schedule will show that this was not the case. If allowances are made for individual help in the planning 0f the rehearsal schedule, not too much time will be consumed at the group rehearsals. The extra time spent will be evident in the superior performances of the students the night that the play is presented to the public. In conclusion, the reader might ask, “Was doing a Shakespearean play a worthwhile experience?“ From the viewpoint 179 of the director Shakespeare presented a challenge which required research and study to meet. In the process growth of ability to direct took place. As a teacher of English literature, the director had the opportunity to see one of the classics of literature come to life through his creative ability. No greater satisfaction could be asked. From the angle of the general public who saw the play, there was evidenced a pleasure in seeing a performance of a classic and the fact that they too were participating in a cultural activity. From the students' angle the advantages were many. Recognizing Shakespeare as the epitome of play production activity for centuries, there was great pride in knowing that they were able to take part in performing his play. And to the “thousand or moreI who contributed in many ways to the final performance, the feeling that they too had helped in a school activity was born. When the production of a play can assume the proportions where it is considered an all—school project, then is born the feeling of pride that occurs too infrequently in the group to which they belong. Was it a worthwhile project? The only answer the director can conceive of is a direct affirmative one. a .43.; BIBLIOGRAPHY 180 BIBLIOGRAPHY A. BOOKS Adams, Joseph Quincy, editor, The Tangedy g: Macbeth by William Shakegpeare. New York: Houghton Mifflin Company, I931. 298 pp. Barton, Lucy, Historic gpstumes for the Stage. Boston: Walter H. Baker 00., 1935. 602 pp. Black, Ebenezer Charlton, editor, The New Hudson Shakespeare: The Tragedy gf_Macbeth. New York: Ginn and Company, 1908. 159 pp. Bradley, A. C., Shakespearean Tragedy. London: Macmillan and Company, Limited, 1920. Ih98 pp. Campbell, Lily B., Shakespeare's Tragic Heroes: Slaves of Passion. Cambridge, England: University Press, 1930. £30 PP- Chambers, Edmund K., The Elizabethean Stage, V91. 1;, New York: Oxford University Press, 1923. 8&0 pp. Chute, Marchette, Shakespeare gf_London. New York: E. P. Dutton Company, 1949. 397 PP- Crane, Milton, Shakespeare‘s Prose. Chicago: The University of Chicago Press, 1951. 219 pp. Dean, Alexander, Fundamentals 9: Play Directing. New York: Rinehart & Company, Inc., 19H1. #28 pp. Furness, Howard Horace, editor, AiNew Variorium Edition 2; Shakespeare, Vol. II, Macbeth. Philadelphia: J. B. Lippencott Company. 1873. 491 pp. Goddard, Harold C., The Meaning_g§_Shakespeare. Chicago: The University of Chicago Press, 1951. 691 pp. Kappey, J. A., Military Music: A History g£_Wind-instrumenta1 Bands. London: Boosey and Company, 189k. 83h pp. Kemble, Frances Anne, Notes upon Some pf Shakespeare's Plays. London: R. Bentley and Son, 1882. 230 pp. _——.—__ I O . . O O C I O . U a I U D o C ' 9 . Q ' _ I . . o ' ' . ' I a e u . U ' '. a e I n 0 . _ _ - — - - __ I I u e C Q . e . O . Q ' o u . . Kittridge, George Lyman, editor, The Tragedy of Macbeth py_ William Shakespeare. New York: Ginn and Company, 1939. 259 pp. Mackenzie, Agnes Mure, The Women in Shakespeare' 9 Plays. London: William Heinemann, Ltd., l92h. h7h pp. Marx, Milton, The Enjoyment of Drama. New York: F. S. Crofts and Company, Inc., 1940. *232 pp. Masefield, John, A Macbeth Production. New York: The Macmillan Company, 1946. 287 pp. Muir, Kenneth, editor, The Arden Edition of the Works of William Shakespeare, Macbeth. London: Methuen and *Co., Ltd., 1951. 155 pp. Nielson, William Allen and Charles Jarvis Hill, editors, The Complete Plays and Poems of William Shakespeare. New York: Houghton Mifflin Company, 1952. 1h18 pp. Ommanney, Katherine, The Stage and the School. New York: Harper and Brothers Publishers, 1932. Th6h pp. Paul, Henry N., The Royal Play of Macbeth. New York: The Macmillan Company, 1950. 'h38 pp. Rogers, L. W., The Ghosts in Shakespeare. Chicago: The Book Company, 192b.185 pp. Schucking, Levin L., Character Problems ;§_§hakespeare's Plays. New York: Peter Smith, 1922. 270 pp. 'Webster, Margaret, Shakespeare without Tears. New York: McGraw- Hill Book 00., Inc., 19h2. 5H3 pp. Welles, Orson and Roger Hill, The Mercury Shakespgare, Macbeth. New York: Harper and Brothers, 1939. 85 pp. _ Ix \ 0‘ I. 0‘ e I\ It u e I. 0‘ — i l‘ . Is ._ . . o _ o . . .. O I ‘ I _ T l .I . L I L . A . a . I 1 .~ _ 0‘ . . a . . n p . ‘ ‘ _ u _ _ Ix . l\ . _ o. . . _ _ . . L l e I 9\ l I I _ n V _ H . . . l _ . Q 0 _ . . — _ ‘ O _ O . 9 0‘ v Q A. K II I. - I. B. OTHER SOURCES Courses g£_Study for High School Classes ig_Eleventh Grade English (mimeographed pamphlet), Bay City, Michigan: Bay City Public Schools, 1952. The Michigan Committee on the Articulation of High School and College English, Preparation for College Englisg; An interpretation of College Entrance Standards in English. Ann Arbor: University of Michigan Press, l9h5. 105 pp. Personal Interview with Mr. Arthur H. Cansfield, Principal of T. L. Handy High School, Bay City, Michigan, June, l9h9. Personal Interview with Sister Scholastica, Supervisor of Teachers English, Catholic High Schools, Bay City, Michigan, October, 1952. Policies g£_§he Bpard of Education (mimeographed pamphlet), Bay City, Michigan: Bay City Public Schools, 1950. Welles, Orson, Mercury Text Records, Macbeth. Columbia Masterworks Set G-2. APPENDIX 183 MIACIBIEIHH ma cameflctm 53.5.2: ., “any“. hsslhg. ' Nesrly 175 students snd teach- ers from seden departments at '1'. L. Handy High school are working during the Chrilmss holidays on their Shakespearean production. .“Xecbeth.” It will be presented Jan. 9 and 10 in the school auditoriumg Tickets are now on sale in public and parochlsl schooh. ‘ m M I. schools outside of Boy City hsve been invited to the matinee performance Dec. 10. Handy Students to Produce ‘Macbeth’ atScllool Jan. 9-10 Costume. for the 25 cut mem- bers are being made by Handy; home economics students under di- ‘ notion of Miss Florence Sutton.‘ The 10 Elizabethan-styled capes; are being msde from discardch auditorium draperies i The art department. headed by: Ernest Matter, is preparing the' me sets snd designed the metal- jeweled crowns. Sword; and a". gen Ire being fashioned by liti-l mnmhttenfltsm «humerus-3mm muss-die. Whmmqamm in printing. wood shop and com- mercisl clones are cooperating in other tasks. Behmd-thecxenes music will be provided by the music department.' The orchestra will play between acts. -.—— 1‘] P. 313 :v' :i t. :V' Tires, farnzax‘y 5, 11735 Video to Star -- Handy Players i Shakespearean Cast E Invited to MSC ‘ Selected cast members of “Mac- Ucih." which T. L. Handy High. wheel's drama class prescntcd- more early in January, Will ap~ war on radio and television pro- name over Michigan State Col- lcze's station WKAR Friday. In the group will be Dan Covell. 1"ialea Beaudoen, Peter Leszczyn- ~‘-:i, Leeds Bird, Jerry Flood, Dalc Pottit, Ron Sellers. and Ray Lew- Lindon)“. They will be accompanied by 'play director Clarence Murphy, and Ernest Mauer, Handy art washer. who desngned settings for {”19 play. . I The eight Handy thespiang mil rappear in both the radio and TV_ f“Curtain Going Up" program: under auspices of the MSC speech 'riopartment. TV development. anti WKAR. . Appearing on TV will be Cow”) as Macbeth, Miss Beaudoen a< Lady Macbeth, and Leszczynskl a: Macduff, They will be joined in the radio broadcast by Bird as Malcolm, Flood u ROSS. Pettit ac 'Banquo. Setters s; Lennox, end. iLewandowskl as Angus. : i Don Buell. heal of the MSCi ldramn department, said that thci .young people will appear because: at the “unusually high quality" of. itheir work in the production Pre'; :scnted at Handy lsst Jen. 9-10. i The group will go to East Len- sing Thursday night. for start of rehearsals. On Friday they will be :ucsts of the department of speech ’at a luncheon st West-Shaw hall and lster will tour the canipus. visit speech classes. end meet drama stall members. l r A" The as}! 21"! lines , v. ‘_ ‘ "" ‘ ,' r'lsz A ‘n _' lt— , Ari.) mmmum—manflm bethsndutslesBesndeenssladylsebethsre ’eln snhesrnlseenetrunthemdrsmsthe presentedstnsndymghsehoolsuditoriunlfldsyeveningstu o'dofinepreduetientesturessesstefsomflstnlentswhe . inn who were sent invitations by the Hsndy youngsters. It? 3 gen-.ary 7, 1953 '~ '13: ‘ i‘ .' ,imes Ha is ' Off Tn llanuiy's “idllliiilt'n‘ Department; under the supervision of Clarence Munphy. With the lllll'millcilI-n m? “l Renwmbvr Mama" in 1949, Mandy's [ll'ilnlaill" lH-pntmnd has p.1_':~4.'llit'¢l a variety of plays ranging from at ”road- way cummly in :l Hiziksgwnrizin tragedy. The phmm- "high school play" has llt't'll i-lirunaiod from the \‘m'ul-ulnry of tiny (‘llllillr- in ('Ullilm'linll with Handy productions. The selection of Mandy's 1'ht'8plall3 in l‘- pqunt Michigan high school.»- III the “i urtnin lining I'll" pingi'ums at Michigan State- ('nlli-gc has given: them >t;iti- n-cugmtinn. .\.~ lung as the .‘llltii'llir, faculty. and people of [lay ('iiy drain- plays of mufcvnunal calmer. um “lilliliiilt‘.\ lN-pm'tmc-nt uill vuntimw tn prmluri- tin-m. Sn we tuko- utll "hut. nil’" in Ull‘ lli'mnniirs lh-pnrinnmxt. l'ungrutulutimn on your past pimluciinns — :iml :nmi luck on your futuri- mun. 0 13.1""? (“ ‘ r1. ‘/ The iiandv 3°17: *"I‘barv t.” 00 o- 310 3. Catherine Street Bay City, Michigan July 11:, 1953 Mr. Clarence iiurptv 1912 Walnut Street Holt, Hichigan mm. W: I would like to take this opportunity to tell you has thorough- ly I enjoyed your production of Macbeth. The way in which you handled the script, the staging, and the lighting was outstanding in its simplicity and effectiveness. The characterisations held to by your high school students md the in- terpretation given to their roles far surpassed shat night he ex- pected of students of that age. Isatintheaudienceanasedandthrmedasthestoryof llacbeth unfolded before us in a smoothly flowing production. For mvsdonqlenlandInoticedthestudents aboutnssnjoy- ingittotbefullest. YouhavaavahnadaninterestinBayCityaudiencesinthe aorta of Shakespeare by presenting Macbeth to us, we eagerly await your production next year. Sincerely, Iva O. Hartingh ' Bay City Players U: """09-"!6! W + annulment” - - 7 BIyCltLIHk—I: Paw man. I. ia-ouu Assn-How July 1h, 1953 Ir. Clarence lurphy 1912 Ialmt Sweat m‘g mom Barium Your productioaothcbsthassonsof the finest co-opsrativs sntcprisssthatourscmsvsrhad. Theses-kingtogsthsrot thshglish, Honouring, Art,8hopandlusicdqasrt-ntsto-h thsplaypossibhussnsspscisnyfinsthing. Thespsctatorstudsntbody,asssllasthscast,bsnsritod ashcbsthisspartotou-instructimslm Alsotbsshsr- innglqsith othsr schools byaSaturdq astinssmui excellent idsa. The finished, artistic production of flabbsth till long be reusabersd. Sincerely yours, M ragga, lei]. Ringls Chair-m of English Department it Hanoi men swam m‘“m H ~ - momma-ma run-a..- M...“ ”W I. M I. aux-ply 1912 Ialnat Street Holt, Iicbigan barium Iouarstobshssrulyoomndsdaithsi-gimtion, drive, a-ganisstion, ability, and educational understanding which you bsvsdsaoastratsdinthproduoltionot'llaobeth'. Allot- wsrspleasantlysurprisedatthehighstsndardotpsrfor-ncs and the excellent staging. Pros an educational stanoint, I feel that that perfun- dsalsssisr. Ourstudsntswinspproathhabspsars-ishbstter conditioned to appreciate and understand these classics. mspctornsnceprovedtobesnothermlsofhowour various areaso: study in high school can cooperate to convicts a project. I as hopeful that there will be Iwore of these perfora- We Cordially yours Arthur ll. Cansfisld Primipal mosa- // . \ Vilma shall we three meet again li$/ 1': y In thunder, lightning, or in rain?" .. / / ll: limfl/ _ . is. .. . ' . or" W " Wit. .. '1‘. cu these lines are from Shakespeare's tragedy, l . l 'Maebeth. Ih the beginning scene, the three witches put us into “fits preper mood for anticipating ghosts and murders, Birnam Woods marching up Dunsinane Hill, a sleep walking episode-win fact, one of the most exciting plays ever written. ' \ what you don't imow is that u and your students may see Macbeth performed on a high schoo stage by our students on My afternoon, January 10, in T. L. Randy's auditorium here in Bay City. Thespian Troupe 111.3 is very proud to invite you to its pro- duction. We are doing this Saturday matinee for high school groups outside of Bay City. ”vie are pleased to announce that there will be represent- atives or the Drama Department of Hichigan State College attend- ing. They will conduct a discussion ,followim the play which should prove to be educational, beneficial, and enlightening. If you are traveling a distance for this, we have arranged to serve a luncheon in our-cafeteria-quoderately priced, or. course. Enclosed you will find a postal card on which we would like to have you indicate mother a group from your school might be interested in attending. Later we will contact you to get exact numbnrs for luncheon reservations and ticket reservations. Mr. Clarence R. Murphy, our director, and Mr. Ernest Manor, our stage designer, as well as some of our leading actors, studied at liichigan State College this last sunroor. They have done a great deal of work on this production already. They hope vory much that you will be able to come to Bay City on January 10. "Come what come may, Time and the hour runs through the roughest day." See you thont Thespian Trcupo llt3 T. L. Handy High School Bay City, Michigan P. 3. The Saturday matinee b05111! at 2:30. The admission price is 50 cents, RADIO AND TELEVI SION PICTURES d .1 g. a) P a) a. .Y“ .5. [a ‘ V f. \ 7’ ’- ‘ v-~l ‘ ~ 7,?“3fic-4 fi- ‘ ".en-”r. r.-. .r‘ 7' $,~- Q -_ Ettalea Beau >7» .8 Q $4 :5 z (D O C C) 9 CU r4 0 H H Q) p O O C. 03 Ch ...—I H (D :3 £3 '6 r4 0 wooax manmm .amsmz .6 pmmcam .axmaowcmzmq mam .mamSwm Com .Uadm mowed .pappma mama \! \. .... e a ,4. ‘. «...; a.“ .2 . Q 1‘ i - \ ... Ugcma zancw amscz .5 , #nzowrckmg :mm .mLcScm com .wacm mowed .paaumm mace 19% Clarence Russell Murphy Born on January 27, 191%, in Lansing, Michigan, Clarence R. Murphy lived in that city during the time that he was attending elementary, junior, and senior high school. In 1932 he was graduated from Lansing Eastern High School and applied for admission to the Ingham County Normal. A full year passed before admission was gained. The training received in the Ingham County Normal prepared him to teach in the rural schools. From the fall of 193% untill the spring of 19h0, he taught in the rural schools of Ingham and Clinton counties. For the next four years, he was principal of a graded school district north of Lansing. From this position he transferred to Traverse City and assumed the duties of an elementary principal. During these ten years of teaching, summers and Saturdays were spent in accu- mulating the necessary credits for graduation with a Bachelor of Science degree from Central Michigan College in Mount Pleasant, Michigan. For his Bachelor's degree, a major in English and one in speech was earned with a minor in social science. Along with this degree, a secondary teaching certif- icate was granted. All of the credits for the Bachelor's degree were not earned at Central Michigan College. During eight summers, courses were taken at Michigan State College primarily in the Department of Speech. One summer was spent at the University of Michigan. 19%? was the graduation year. During the past eight years, he has been teaching in city school systems in St. Johns, Michigan and Bay City, 195 Michigan. English, speech, and radio have been the courses taught in these two places with an emphasis, which has grown, in the speech field and particularly in the area of high school dramatics with an increased participation in radio and television. Since the beginning of this graduate study and the writing of this thesis, a well-balanced drama program has been instituted and developed at T. L. Handy High School in Bay City. “ref" .. .e - #3. ‘1‘ . f 14W 3f, .. I, fitW -'U°-'