Imagine that you are the director of a production of Macbeth. Write a an imaginary transcript of the sort of conversations/advice you would give to your actors in preparing to stage act 2 scene 2.
Imagine that you are the director of a production of Macbeth. Write a an imaginary transcript of the sort of conversations/advice you would give to your actors in preparing to stage act 2 scene 2.
- Now David and Kelly. This is a very important scene and there are a lot of things to consider. -
"Kelly you are the key into building tension at the beginning of this scene.
The words need to be spoken in anticipation, you are awaiting your husband and are unsure whether Macbeth, (David), has done the 'deed', perhaps you could pace up and down the room."
"This needs to be good, because it shows the point at which both your characters change."
"Macbeth after Lady Macbeth (Kelly) has spoken the first opening paragraph,
- That which hath made them drunk hath made me bold;
- What hath quench'd them hath given me fire.
- Hark! Peace!
- It was the awl that shriek'd, the fatal bellman,
- Which gives the stern'st good-night. He is about it
- The doors are open; and the surfited grooms
- Do mock their charge with snores: I have drugg'd
- Their possets,
- That death and nature do contend about them,
- Weather they live or die.
The phrase you speak after this, 'who's there? What, ho' needs to be quick, but with a pause after 'who's there?' Ok Macbeth?
"The audience already knows that you, (nods at Macbeth) have been persuaded by your wife to murder King Duncan, in only a short space of time."
"However we can not show the murder, because it would be extremely difficult to carry out, and as the king was supposed to be chosen by god it would be wrong for us to do so."
"This is why it is vital you two (looking at David and Kelly) use actions and words to create an image to the audience, of what the 'deed' is."
"Ok I would like Macbeth and lady Macbeth over there please." (Points to an empty stool)
- Director walks near where the stool is placed -
" Right, Kelly I would prefer you to be not fearful, but concerned and comforting when your husband walks in, as he's just killed king Duncan and obviously bears a lot of guilt."
"David if you could have ...
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"This is why it is vital you two (looking at David and Kelly) use actions and words to create an image to the audience, of what the 'deed' is."
"Ok I would like Macbeth and lady Macbeth over there please." (Points to an empty stool)
- Director walks near where the stool is placed -
" Right, Kelly I would prefer you to be not fearful, but concerned and comforting when your husband walks in, as he's just killed king Duncan and obviously bears a lot of guilt."
"David if you could have your head down and arms on your chest, holding the daggers, perhaps wide eyed as well, ok."
(pause)
"This I believe will create more tension and help the audience contemplate what has taken place and how Macbeth feels."
"Now, I feel the daggers are an important prop, an need to be utilized to a good affect, it would be best if the daggers in your hands were tapping against each other. I want the tip of the daggers to be just in front of your lips."
"The words spoken next; Hark!
Who lies i' the second chamber?
Need to be quiet, but when David cries 'Hark', (looks at David); you need to do so with an exhalation of breath, creating a pause afterwards while you catch your breath. Then when you speak 'who lies I' the second chamber', you need to do so in a quick manner, just faster then normal."
"Everybody understand me so far, no questions."
"No, ok"
"Your costumes should be casual evening ware."
"David just a miner detail I need to clarify with you, if you could be looking at your hands when you say the lines, 'This is a sorry sight'.
"Kelly you must reply quickly by saying your lines, firm, with a frown upon your face, perhaps shouting, but in away of being discreet, ok."
"This is where I feel you, Kelly, really need to show your dominance and power over Macbeth."
"Think how you can achieve this."
"Macbeth, (looks at jack) this is where you start to ramble, you need to have your back to lady Macbeth (Kelly), and Kelly you need to be facing David, because you are behind him."
"For those lines I would like you to be stood up, and looking into your hands, which hold the daggers and which remind you of the guilty 'deed' you have done, so I feel it would be a good idea to have your eyes wide open for this bit, to show some of the guilt, this has propelled you in to shock and disbelief and this really needs to be shown."
"We create the atmosphere and tension and this is a good way of doing so."
David - "Harry (Director) should I turn and face lady Macbeth when I do it."
Director- "Yes I think that would be a good action."
"Kelly, when jack has finished the lines -
- But wherefore could not I pronounce 'amen'?
- I had most need of blessing, and 'amen'
- Stuck in my throat.
I want you to walk towards him and the speak your lines,
- These deeds must not be thought
- After these ways; so, it will make us mad.
Try to say it face to face."
"What I'm trying to say is, because he head facing the floor, I want you to lift his head and duck underneath, as he is taller then you."
"Choose which one would be suitable."
Kelly - "Maybe we could try both."
"David when you say the lines,
- Methought I heard a voice cry 'sleep no more!
- Macbeth does murder sleep', the innocent sleep,
- Sleep that knits up the ravell'd sleeve of care,
- The death of each days life, sore labours bath,
- Balm of hurt minds, great natures second course,
- Chief nourisher in life's great feast.
You need to show you are rambling, I suggest you do this by walking around a bit and speaking in to the floor, or maybe even stareing into space, quietly of course, the audience will hear you because we have place extra speakers at the back, behind the chairs."
" I know you have been playing Macbeth more on your own, but I feel it is not working, I would like you to use physical actions, as it would show your emotional state more, which has broken down."
"Moving to your character Kelly, and the line,
- Who was it that cried?
If you could sound and act puzzled, because you are unsure to what (David) is saying, if you could also produce a frown and speak a little louder, I feel this will show your uncertainty for Macbeth."
"This is where you notice the daggers. So Kelly, I would like you to confront Macbeth."
"When you say the lines
- Why did you bring these daggers?
I want you to sound firm, and a little mad because you are not expecting Macnrth to bring them back, it would be appropriate for you to rip them of Macbeth to show how tense and perhaps angry you are feeling."
Because of this event, Macbeth starts to think they could get caught, and can they really get away with it, because one thing has gone wrong, he could think this is just the start of failures or bad events to come, the reason I feel he doubts them both is because he says,
- Will all great Neptune's oceans wash this blood from my hand?
"Kelly, I would like you to storm off to create a tense atmosphere in the audience."
"David if could feel lost or unaware into what's going on as if you are in deep thought and in a world of guilt, this will be more dramatic."
"Lady Macbeth when you re-enter I want your lines to be persuasive and purposeful, as you are trying to say to Macbeth, it's 'ok', I am the same as you, and it is not such a big thing, it needed to be done and they should not regret it!!"
"This is relaying to the audience that everything is fine, it's over."
"Now, because Macbeth seems to be unaware of what he is doing or what's going on, I think you should grab Macbeth and physical pull him away from the stage."
"This will leave the audience wondering what is going to happen next."
"Thank you everyone and well done." (The director shouts)
