The use of "Lady Macbeth" as a byname nowadays is very common, especially in politics. Her special role, her courage, pride and demeanour impress us in such a way that we still compare a fictional character to real women who have similar characteristics, like the First Lady for example. The power and influence the First Lady has on her husband the President is sometimes underestimated, as it also happened with Lady Macbeth in the tragedy.
In the United States, the role of the First Lady is more important than anywhere else. During the election campaign, she supports and encourages her husband and also assists him in the presidency. Edith Wilson, for example, substituted for her husband Woodrow Wilson when he was ill in 1919, and adopted the executive power of the U.S. government. The reason Smith and Cook compare Mrs. Wilson and other First Ladies with Lady Macbeth is not arbitrary. Already in the original of Shakespeare’s The Tragedy of Macbeth, first performed in 1606, he represented Lady Macbeth as a very strong and influential woman and wife with a special firmness of character.
The popularity of the character and the tragedy itself brought forth many different productions and adaptations. There are a lot of ways to understand, interpret and implement Shakespeare’s tragedies into movies and stage productions. Each production pursues its own concept in staging and how the story shall be presented. Therefore, the production company chooses a director and cast who can opine their conception in the best way. Hence they have the difficult and honourable task to implement this distinguished piece of work into a film or theatre production.
Marion Cotillard and Samantha Spiro, who were both cast for a Macbeth production, are two completely different actresses in their mannerism, look and acting style, but the companies thought that they were perfectly suited for the role of Lady Macbeth and so they had the difficult task to play her. Marion Cotillard had already received many awards for her acting and became a very popular Hollywood actress during the final years. She played Lady Macbeth opposite Michael Fassbender in the 2015 film production by Justin Kurzel. Samantha Spiro played Lady Macbeth at the Globe theatre in London in 2013. This production was the directorial debut of Eve Best.
Table of Contents
1 Introduction and Question
2 Powerful Lady Macbeth - between femininity and masculinity
2.1 Samantha Spiro as Lady Macbeth – between femininity and masculinity
2.2 Marion Cotillard as Lady Macbeth – only femininity and no masculinity?
3 The influence of children for Lady Macbeth’s character
4 Conclusion
Objectives and Topics
This term paper explores the multi-faceted character of Lady Macbeth as presented in two distinct contemporary adaptations: the 2013 Globe Theatre stage production and the 2015 feature film directed by Justin Kurzel. The research investigates how different actresses and directorial concepts interpret the interplay between feminine and masculine traits, while also examining the narrative influence of the character's motherhood on audience perception and character motivation.
- Comparative analysis of stage versus film performance techniques.
- Exploration of Lady Macbeth's shifting gender identity (femininity vs. masculinity).
- The impact of directorial decisions on character complexity.
- The role of the "lost child" narrative as a justification for Lady Macbeth's cruelty.
- Psychological interpretation of madness and guilt in the two productions.
Excerpt from the Book
2.1 Samantha Spiro as Lady Macbeth – between femininity and masculinity
Lady Macbeth’s first entry is in the fifth scene of act one. She receives a letter from her husband, which tells her of his victory and the prediction of the Weird Sisters. In the beginning, Spiro’s facial expression is surprised and happy but switches in a short time to thoughtful, and finally she is in an angry and aggressive mood. (“Macbeth”. 2013: TC 00:17:45 – 00:21:15). She also raises her deep and smoky voice and intensifies the meaning of her monologue: “Come, you spirits that tend on mortal thoughts, unsex me here, and fill me, from the crown to the toe, top-full of direst cruelty!” (Macbeth, 1.5.39-42). Lady Macbeth begs the spirits for giving her the strength to convince Macbeth of her cruel plan and to undertake it. This utterance shows her profound confidence and determination that the prediction will come true and her husband will definitely be the king (cf. Rahman & Tajuddin, 2015, 129). The acting of Samantha Spiro in this scene absolutely reflects what she says and it seems as if she transforms from a female and feminine character into a more strong, harsh one in the very same moment she is saying it. “Scholars have traditionally read this invocation as evidence of Lady Macbeth’s attempt to seize a masculine power to further Macbeth’s political goals“ (cf. Chamberlain, 2005, 72). Her soft face changes into a hard one and you can see her head becoming sanguine. Her body language runs through more stages beginning with more and more gesticulation. The turning point is when she falls on her knees and begs the spirits. Here, she closes her eyes, her voice becomes rough and in her flight into frenzy she scrunches the letter up. When standing up again, the transformation seems to be accomplished. The genuflection and when she stands up again symbolizes the act of a death, a transformation and a rebirth as a mentally unsexed person. Spiro additionally visualizes Lady Macbeth’s monologue with this performance and strengthens her wish not to be weak and not to shy away from cruel doings.
Summary of Chapters
1 Introduction and Question: This chapter establishes the relevance of Lady Macbeth as a character archetype, noting her influence in politics and literature, and outlines the comparative focus of the paper on the 2013 Globe stage production and 2015 film adaptation.
2 Powerful Lady Macbeth - between femininity and masculinity: This section examines Shakespeare's dynamic construction of the character and analyzes how two actresses navigate the transition between perceived female fragility and aggressive, "masculine" ambition.
2.1 Samantha Spiro as Lady Macbeth – between femininity and masculinity: This chapter details Spiro’s performance, highlighting her physical and vocal shifts on stage to represent the process of being "unsexed" and her subsequent influence over her husband.
2.2 Marion Cotillard as Lady Macbeth – only femininity and no masculinity?: This chapter analyzes Cotillard’s performance in the 2015 film, noting her restrained, calm demeanor and how the director’s choices minimize the overt "masculine" displays seen in stage versions.
3 The influence of children for Lady Macbeth’s character: This chapter explores how the addition of a back-story involving a deceased child in the 2015 film fundamentally alters the viewer's interpretation of Lady Macbeth's motivation and morality.
4 Conclusion: The conclusion summarizes the comparative findings, emphasizing that while both actresses portray a strong, confident woman, their distinct performance styles—one rooted in energetic theatricality and the other in subtle, cinematic psychology—offer different insights into the character’s tragedy.
Keywords
Lady Macbeth, Shakespeare, Macbeth, Samantha Spiro, Marion Cotillard, femininity, masculinity, film adaptation, stage production, performance, characterization, motherhood, grief, power, tragedy
Frequently Asked Questions
What is the primary focus of this term paper?
The paper performs a comparative analysis of the character Lady Macbeth as interpreted by Samantha Spiro in a 2013 stage production and Marion Cotillard in a 2015 feature film.
What central themes are explored?
The core themes include the duality of femininity and masculinity in the character, the influence of performance style on audience perception, and the role of motherhood in shaping the character's motivations.
What is the main research objective?
The objective is to explore Lady Macbeth as a woman, wife, and mother, specifically comparing how different productions and actresses implement these facets within their unique directorial concepts.
Which scientific methodology is employed?
The author uses a comparative, interpretive analysis of performance (acting style, body language, voice) and secondary literary and film criticism to evaluate character development.
What is covered in the main body of the work?
The body analyzes the specific acting choices of Spiro and Cotillard, evaluates the impact of "unsexing" as a performative tool, and investigates the addition of the "dead child" motif in the film adaptation.
Which keywords best characterize the work?
Key terms include Shakespeare, Lady Macbeth, performance, femininity, masculinity, film adaptation, and character analysis.
How does the 2015 film adaptation differ in its portrayal of Lady Macbeth's power?
The film shifts away from overt demonstrations of power toward a more internal, calm, and "feminine" portrayal, often utilizing sexual intimacy as a tool for persuasion rather than just verbal manipulation.
Why is the motif of a dead child significant in the 2015 film?
The visual inclusion of a dead child provides a psychological justification for Lady Macbeth's actions, tempering the audience's negative reaction by framing her cruelty as a response to profound grief.
How do the two actresses differ in their approach to the "unsexing" monologue?
Spiro utilizes dramatic physical and vocal transformation to show a literal shift into a "masculine" state, while Cotillard maintains a more subtle, constant demeanor, keeping the "masculinity" more internal.
- Quote paper
- Lukas Jan (Author), 2016, The Different Representation of Lady Macbeth’s Character and Performance in a Stage and a Film Production, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/418741
