Book contents
- Frontmatter
- Contents
- Preface
- List of Publications by Professor Marta Gibińska
- Part I
- The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays
- Shakespeare, Malory and The Sousing of Sir Dagonet
- Wrath and Anger in the Time of Shakespeare
- The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation
- Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
- Multicultural Shakespeare on the Contemporary Stage
- The Multifarious Times of One Body
- “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
- Rosalind's Robe: Who Is Who, or Shakespeare à la française
- “Music to hear …”: On Translating Sonnet VIII by William Shakespeare
- Part II
Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
from Part I
Published online by Cambridge University Press: 05 September 2014
- Frontmatter
- Contents
- Preface
- List of Publications by Professor Marta Gibińska
- Part I
- The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays
- Shakespeare, Malory and The Sousing of Sir Dagonet
- Wrath and Anger in the Time of Shakespeare
- The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation
- Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
- Multicultural Shakespeare on the Contemporary Stage
- The Multifarious Times of One Body
- “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
- Rosalind's Robe: Who Is Who, or Shakespeare à la française
- “Music to hear …”: On Translating Sonnet VIII by William Shakespeare
- Part II
Summary
In his study of Macbeth in performance, The Masks of Macbeth, Marvin Rosenberg concludes the discussion of the play with an interpretation of the final image offered to the audience. According to him, it constitutes a fixed contrast:
… the play ends with Macbeth; and before our eyes, too, if – as I think Shakespeare intended – that great, noble, terrible head, with a mortal history graven on the face, is aloft on its lance, the last thing we see, looking down on the little men leaving below. And on us. (Rosenberg 1978: 656)
This uncharacteristically single reading of the performative potential of the tragedy's finale offers a good point to access to the central interest of this paper. Here I will consider the presentation of Malcolm in Rupert Goold's 2010 television version of the play, a character essential to the kind of ending which is offered to the audience. In spite of Rosenberg's suggestion, performance, especially in the years after the appearance of his book, has produced very different endings, with differently inflected characters of Macbeth and Malcolm. For example, in Roman Polanski's 1971 film Macbeth, the central character is much reduced in stature and his bloody head, stuck on a pole above the battlements, looks like a hideous piece of theatrical property, alienated from the theatre of action (Kliman 2004: 199).
- Type
- Chapter
- Information
- Eyes to Wonder, Tongue to PraiseVolume in Honour of Professor Marta Gibińska, pp. 87 - 96Publisher: Jagiellonian University PressPrint publication year: 2012