Half-naked dudes in kilts playing demonic invocations in a deconsecrated church. Yep. Sounds like Shakespeare.
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. 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. Make thick my blood.
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman’s breasts,
And take my milk for gall, you murd’ring ministers,
Wherever in your sightless substances
You wait on nature’s mischief. Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark
To cry “Hold, hold!” — William Shakespeare, “Macbeth” I. v. ll. 28-44
A touch of senior project research. From the 2013 NTLive production of Shakespeare’s “Macbeth” with Kenneth Branagh.
Refusing to acknowledge same-sex couples’ marriages (in ALL the fourth district) has been declared unconstitutional. WV is that much closer to marriage equality!!
- The quiet, stoic man who is only antisocial because he is secretly gay
- The bisexual woman who turns out to be really actually straight
- The bisexual man who turns out to be really actually gay
- Sex solving relationships
- Dysfunctional relationships having no-caveat happily-ever-afters
- Strong women ending up being submissive to men
- People changing their personalities without reason
- People solving all of their problems the first time
- Relationships curing mental illnesses
- Ability not matching training
- The girl being a virgin but the guy being uber-experienced
- The girl having sexual experience and being shamed for it
- Girls having had lots of sex being seen as self-destructive while guys having had lots of sex being seen as normal
- People adjusting to rapid changes in their lives with no difficulty
- The girl fixing the broken guy (usually through sex)
- People having the necessary abilities without doing any work
- The main character being the smartest person in the room
- The main character being great at whatever they try
- The main character being able to do everything and solve every problem
- Magic without consequences
- Hidden magical societies for no reason
- The main character who is a reader
- The petty teenage girl whose only real sins are not being a reader and liking fashion
- The child who is “wise beyond their years”
- Stories that take an extended period of time with no apparent seasons
- Battles that don’t account for the environment
- Mythical creatures only being based in Christian or European mythology
- The only mythical creatures in East-Asian-inspired stories being dragons
- Everyone being cisgender, white, and heterosexual
- Women needing to be saved by men
- Rape of a woman as a motivator for a male relative/friend/romantic or sexual partner
- Murder of a woman as a motivator for a male relative/friend/romantic or sexual partner
- Unqualified people ending up in charge of making major decisions
- The missing parent who is uber-powerful
- The dysfunctional parent
- The white savior
- The token black character
- The token gay character
- Judeo-Christian or Abrahamic morality in a non-Judeo-Christian/Abrahamic society
- Having cities with no poverty
- Continuously available clean water in non-modern/first-world country
- Conlangs being based on Romance languages
- Conlangs having excessive apostrophes
- Made-up biology
- A lack of research
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Psych2go features various psychological findings and myths. In the future, psych2go attempts to include sources to posts for the purpose of generating discussions and commentaries. This will give readers a chance to critically examine psychology.
BBC Shakespeare: Animated Tales: ‘Macbeth’
- Directed by Nikolai Serebryakov
- Designed by Vladimir Morozov and Ildar Urmanche
- Originally aired: 23 November 1992
My father put this on for me on TV when I was really young. I would guess 4-6. As in he had no idea what he was putting on. Because hey something animated. You can guess the state it left me in. These aren’t even the scariest of parts.
For being a condensed. half-hour version of a five-act Shakespearean Tragedy, this is one of the most stunning adaptations. It’s cold, stark, and cruel. It doesn’t shirk the witches of their prominence, nor does it make mockery or farce of them, as most modern performances tend to. Rather, they are accompanied by dark music, supernatural animation, and spectacular bloodiness.
Zoë Wanamaker portrays Lady Macbeth as an ambitious, but soon broken, woman. Her vocals shriek, shake, and whine as the bard’s poetry intends, and the animation bringing her life is like some gothic painting. When she summons the “murdering ministers”, she is torn asunder, and vicious predators emerge (see the left gif in the second row).
The entire product moves like this; it’s an avant-garde film. It is experimental, and the unorthodoxy works. Everything is earthy and gory but breath-taking and beautiful. You cannot help falling in love with it.
I posted the following on Facebook:
From its establishment, the Jacobean period was filled with a dark obsession for sorcery. Part of the Witchcraft Act of 1604 made purloining corpse materials for the practice of witchcraft (if it could be proven) a capital offense — hence, Shakespeare’s inclusion of “poisoned entrails”. The cultural obsession with black magic and laws applied to it resulted in a terrifying, and gutsy, move by the bard: not only discuss BUT SHOW the practice of witchcraft (as the public believed it to be) on stage. However, well before the early Romantic era, re-stagings (and supplementary lines) of Act VI, scene i transformed Shakespeare’s enigmatic and emblematic “midnight hags” into ridiculous puppets.
They were no longer objects of fear, and were made into humorous stereotypes. Then productions, like Roman Polanski’s 1971 film and the RSC’s recorded staging with Sir Ian McKellen, attempted re-appropriating the weird sisters’ historical (and fearsome) reputation.
The clip comes from the PBS Great Performances’ production with Sir Patrick Stewart in the title role. Warning: the scene utilizes lots of distorting edits and strobe effects.
It should be added that King James I (VI in Scotland) wrote a book on demonology. His keen interest in the supernatural was apparent in his reign of England from 1603 to 1625, but prevalent in his reign as King of Scotland from 1567 to 1603 (the two nations were united following his ascension as King of England and Ireland). He considered studying witchcraft a branch of theology, and in 1597, he wrote the Daemonologie.
It is arguable that the book became a point of reference for Shakespeare during his fashioning of The Scottish Play. Though James I became more skeptical about witchcraft by 1599, he nevertheless understood its presence in and on society. This is evident in the Witchcraft Act (referenced above) passed two years before Shakespeare’s dedicated play was performed. The Act extended Elizabeth’s Act, passed in 1562, to sentence death without the benefit of clergy (Privilegium clericale) upon any practitioner guilty of invoking or communing with evil spirits or familiars.
More information regarding Witchcraft in England’s parliamentary actions can be found here.