Macbeth Multiplied: Negotiating Historical and Medial Difference Between Shakespeare and Verdi
Rodopi, 2005 - 285 sidor
In what sense did Shakespeare's representation of the Weird Sisters participate in the rewriting of village witchcraft? Was it likely to "encourage the Sword"? Did opera's specific medial conditions offer Verdi special opportunities to justify the presence of stage witches more than three centuries later? How valid is the parallel between 19th century opera and the voyeurism of madhouse spectacle? Was Shakespeare's play really engaged in the project of exorcizing Queen Elizabeth's cultural memory? What does Verdi's chorus of Scottish refugees have to do with shifting representations of 'the people'?
These are among the questions tackled in this study. It provides the first in-depth comparison of Shakespeare's and Verdi's Macbeth that is written expressly from the perspective of current Shakespearean criticism whilst striving to do justice to the topic's musicological dimension at the same time. Exploring to what extent the play's matrix of possible readings is distinct from Verdi's two operatic versions, the book seeks to relate such differences both to the historical contexts of the works' geneses and to their respective medial conditions. In doing so, it pays particular attention to shifting negotiations of witchcraft, gender, madness, and kingship. The study eventually broadens its discussion to consider other Shakespearean plays and their operatic offshoots, reflecting on some possible relations between historical and medial difference.
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19th century opera accusations amphibology apparition argued aria Arrigo Boito audience audience’s Banquo bassoon cauldron scene Cawdor chorus coloratura context contrast cor anglais course criticism cultural dagger death demonic demonologists Desdemona Devil discourse discussion Döhring dramatic dramaturgical Duncan early 19th century early modern effect English entire equivocation female frame gender Gerhartz hand husband imaginative insanity Italian opera James James’s king king’s Lady Macbeth Lady’s least librettist libretto LMII Lucia Macduff mad scenes Malcolm male means melodic MII’s minor second murder musical operatic mad orchestral Otello particularly passage performance play play’s plot political reading regicide representation rhetoric rhythmical Risorgimento sceptical Scottish sense sexual Shakespeare Shakespearean sing sleepwalking scene social spoken theatre stage strategy structural suggests textual Thane timpani tion verbal Verdi’s Macbeth Verdian opera violence vocal line voice Wahnsinnsszene Weird Sisters wife’s witchcraft beliefs witches woman women words