The backdrop of the stage for the sky should be a fade between the deep blue of night at the top, and a crimson red at the bottom to represent the rising sun. This would be appropriate because things are about to change not only in terms of day and night but also for Macbeth and Lady Macbeth. A crimson red colour would also be similar to a colour of blood, which would be linked ironically with the murders which have just happened, and when Macbeth says ‘Will all great Neptune’s ocean wash this blood Clean from my hand? No, this my hand will rather the multitudinous seas incarnadine.’ A water fountain in the centre of the courtyard would be suitable, with lights underneath the fountain bowl which should illuminate the water in a red glow. This would be appropriate because later on in the scene, Macbeth says that all the world’s oceans couldn’t wash the blood away from his hands – instead, “the multitudinous seas incarnadine” An alternative to the fountain would be a horse trough for the two to wash their hands in. This would be significant because only animals drink out of such thinks, and animals kill. It would represent them being inhuman and wild. A black cat should walk across a courtyard balcony highlighting the supernatural theme of the play. The cat should engage in battle with an innocent and helpless rodent. Such an event would be suitable because a black cat is a supernatural familiar, and the battle would highlight the ‘good vs. evil’ theme of the play. The courtyard should be small, and if possible, have walls which move towards the characters. This would show what Macbeth is feeling – horror and panic, as he can’t get away from the situation which he has put himself in.
The main emotion which Macbeth encounters in this scene is nervousness, and the fear of being caught. This is mainly shown by the monosyllabic language which Shakespeare uses to represent him, for example, ‘
MACBETH : When?
LADY MACBETH : Now.’
It is also conveyed in Line 9 when Macbeth hears a noise. He replies with ‘Who’s there? What ho!’ He should say this wide-eyed and open-mouthed, which would further convey this nervousness and his fear of getting caught. On line 16 he asks Lady Macbeth ‘Didst thou hear a noise?’ He should continually observe his surroundings to show this nervousness, and adjust his head to the direction of inappropriate noises (a cat’s ‘meow’, noises made by Lady Macbeth). His nervousness has also been seen previously, as he has envisaged a dagger in his sight – “Is this a dagger which I see before me, The handle towards my hand?” A property of nervousness is multiple questioning, and we see Macbeth do this in Lines 15 – 20(‘Mb : When | LMb: Now. | Mb: As I descended? | LMb: Aye’.) When posing the questions, Macbeth should wear a complexion of intense concentration (open-mouthed, wide-eyed), to show that he is anticipating Lady Macbeth’s answer nervously. He should pose them rapidly, to show that his anticipation for the answer is high, and this would heavily highlight his nervousness. Macbeth is on edge throughout the whole scene, and, to use a colloquial term, a ‘bag of nerves.’ This is shown when he says ‘Hark!’, and the explanation mark helps us to understand how this is said. He also highlights his nervousness himself, when he says ‘How is’t with me, when every noise appals me?’ (Line 58)
Macbeth’s guilt is shown many times within the scene also. The first time is as he enters – he cannot verbally confirm what he has just done and the murder is just referred to as ‘the deed’, which suggests to the audience that he can’t bear what he’s done and feels guilty. On the other hand, he could be pointing out to Lady Macbeth that the job which she requested has been done, and that he has proved his masculinity. If this is the correct interpretation, then a tone which is equivalent to the modern phrase ‘I told you so’ should be used. Also, he should say this line whilst staring at a random spot on the floor, as this would convey both his guilt and his horror, and that he’s failing to absorb what he’s done. This would also be appropriate for the former interpretation. He also runs into a stream of metaphors about sleep and realises the luxuries of innocence which he has lost. (Lines 36- 39)… ‘Sleep that knits up the ravelled sleeve of care,’ – here, implying that sleep repairs the mind after it deteriorates during the day. He should help reinforce this line with actions by holding up hands next to his head, showing his mental distress and making the audience have sympathy for him. Also, when he says ‘The death of each day, the sore labour’s bath’, he his implying that every day is a life, and when we awake it is the reincarnation – the start of a new life, a new chance, a new start. He has lost this freedom. It is the bath of a labouring worker – a refreshment, a time of freedom and to cleanse yourself and rid yourself of the dirt and badness which the day brings… a labourer’s bath is more relevant because there is a contrast between the strenuous, painful time of labouring work and when you are being revitalised in a hot bath - make the bath more appreciative. ‘Balm of hurt minds,’ continues Macbeth, ‘great nature’s second course.’ He is saying that sleep soothes and heals people mentally, similar to a balm. Again, it is more appreciative for the less unfortunate... in this case, those who have been mentally hurt, who need soothing and repairing. He has also created a metaphor on life being a meal, and has placed sleep as the second course, possibly meaning here that we gain energy from both (daily life and sleep), and that they rely on each other to be appreciated completely. He should have his hands half-clenched at this point, at the front of his face. Such a stage action would be relevant because this body action shows deep distress – which is what Macbeth is feeling at this moment as a result of his guilt. The metaphors terminate with ‘Chief nourisher in life’s feast.’ – Possibly implying that it is the basis of the energy which we receive and is therefore vital. To conclude the metaphors, the actor playing Macbeth should increase in distress emotions throughout, and whilst on the last line become bewildered and stare into space. This would further show his distress, which is a result of his guilt and conscience. The metaphors could have been written by Shakespeare in order to convey Macbeth’s courage, by writing him as acceptant to what he has lost. Alternatively, Shakespeare could have written the metaphors in order to convey Macbeth being paranoid – he may be ‘rubbing it in’ that he won’t be able to sleep blissfully any more. Such paranoia would be a result of Macbeth feeling guilty, and maybe that he is losing his sanity… something which becomes very important later on in the play. His envisaging of the dagger in a previous scene is another sign of this insanity. The metaphors should be said with lots of enthusiasm… emotionally, slowly meaningfully. This would show motions of regret as well as guilt as he slowly realises what he’s done and it ‘hits him’.
Another significant emotion in this scene with which the Macbeth character empathises is horror. Macbeth appears on edge and anxious throughout the whole scene and is overwhelmed with his murder. Monosyllabic language helps carry this emotion through towards the reader. It is used when Lady Macbeth says ‘These deeds must not be thought after these ways; so, it will make us mad.’ A relevant piece of acting would be if the Macbeth character gazed open-mouthed at his hands when he examines them, and looking as though he can see blood droop of them. This would highlight the theme of horror within the scene, and further his image of being insane. In fact, Shakespeare shows us that his horror emotions are stronger than his nervousness emotions as Macbeth refuses to return to the murder scene, even for the sake of covering his own trails.
Remorse is defined as a sense of deep regret for some misdeed. This is what Macbeth feels constantly throughout the scene, and is shown and can be highlighted as stage actions in some lines… Macbeth says ‘I am afraid to think of what I have done. Look on’t again, I dare not.’ To highlight his feelings of remorse, Macbeth should shake his head after this line, which would show his deep regret in the murder and disbelief that he has done it. I mentioned earlier when Macbeth uses a euphemism for the murder, and can’t verbally bring himself to confirm it. This would also be suitable in this section, because his regret is so much that he dreads the thought of the murder. Also, there is evidence that he is feeling remorse in Lines 73 and 74. (‘To know my deed, ‘twere best not know myself
Wake Duncan with thy knocking, I would thou couldst.’)
Here, Macbeth is wishing that he could awake the King by knocking, as though he had only fallen into a natural sleep. He regrets that he has actually killed him, and that he’ll never be able to wake him for ever. Therefore, when he is saying this line, he should stress his tone of pronunciation of ‘couldst’, because the fact is that he can’t and he knows this. To highlight his distress and remorse, Macbeth should have his head in his hands as he reads out this line. He is ashamed of what he’s done, and what he’s become. The Lines 27 and 28 could also be used to show Macbeth’s remorse. He says
‘One cried ‘God bless us!’ and ‘Amen!’ the other,
As they had seen me with these hangman’s hands.’ He is tormenting himself, thinking about the murder in disbelief and remorse. The lines should be acted whilst Macbeth is shaking his head in disbelief and staring at the ground with a tearful eye, head in hands. This body language shows that he his deeply distressed and cannot believe what he has done, and it helps the audience to empathise with Macbeth, and show them his emotions of remorse.
To conclude and summarise the stage actions of Macbeth, there are a few basic actions, tones and elements of body language which must be maintained throughout this scene to successfully convey all the emotions of nervousness, guilt, horror, remorse and anguish. Macbeth should have a stealthy style of stride all the time he is in movement – arched knees, slick adjustments of his head to all visible and audible distractions. He should walk very slowly as if on thin ice, trying to evenly distribute his weight so that he cannot be heard. His complexion should be one that shows high concentration – wide eyes, tensed ears, open mouth with slow breaths – trying to retain the noise. As he moves, his height should increase and decrease, similar to the track of a rollercoaster – again, attempting to retain his own noise and vision which shows that he is nervous. When speaking, he should keep his complexion of intense concentration, as though he cannot take it in, as this would help the audience to empathise with Macbeth’s horror. As the scene progresses, he should gradually decline in emotional strength and towards the end, his eyes should be tearful – this would win some sympathy for Macbeth, and often divides the opinion of the audience into thinking either sympathetically (‘He deserves it’) or revengefully (‘He didn’t realise what he was doing.’) The tears would also convey that he is ashamed, and sorry for what he did, and bring out two more emotions for Macbeth - guilt and remorse.
To help the play to be acted completely successfully and reach the more fuller potentials of entertaining the audience, you need to clearly show the contrast in emotions and attitudes between Macbeth and Lady Macbeth. To show the contrast, she should have more confidence and be much more relaxed about being caught. She needs to be supportive to Macbeth, and show her happiness that they will now have the opportunity to take the throne. Lady Macbeth should be slightly more energetic in contrast to Macbeth, who should slump to the ground in a bewildered trance of disbelief. All these elements of Lady Macbeth’s character will also help Macbeth’s character as they set an impression of her which is different to him.
If all these basic requirements are met in directing Act 2 Scene 2, then I personally believe that it would be a highly entertaining part of the play.
Paul McCulloch
