Traditionally, Macbeth has been read as a morality tale about the perils of ambition. The question that has implicitly animated most treatments of the play is, "Why does Macbeth kill Duncan?" By shifting the emphasis away from Macbeth's motives for killing Duncan onto his inability to refrain from killing him, I draw attention to the striking fact that, in killing King Duncan, Macbeth acts against a fully considered better judgment not to. This suggests the possibility that Macbeth's much-discussed ambition can be understood as a subset of the broader theme of akrasia , the condition in which an agent is unable to perform an action he knows to be right. After identifying and exploring the theme of akrasia in several of Shakespeare's plays, I go on to situate Macbeth's murder of Duncan in the context of the long literary and philosophical debate on incontinence. I then suggest four interrelated explanations of Macbeth's akrasia. First, Macbeth's connection to the motivational conditions of his knowledge is shallow; he does not feel what he knows. Second, Macbeth's lack of self-control is habitual because his weak connection to the conative dimension of his knowledge prohibits him from appealing to techniques of skilled resistance. Third, his habitual lack of self-control renders him vulnerable to Lady Macbeth's taunts, which not only deplete the motivation supporting his better judgment but also prevent him from giving full deliberative weight to his better judgment. Finally, Macbeth also engages in a consistent pattern of self-deception that not only facilitates his akratic slaughter of King Duncan but also enables him to murder Banquo and MacDuff's family. My explanation of how Macbeth is able to act self-deceptively against his better evidence echoes my account of how he is able to act akratically against his better judgment: he does not feel what he knows.

Tato práce dokumentuje Scénická a kostýmní procesu navrhování pro výrobu divadelním představení Shakespearovy hry Macbeth jako vyrobené Pražského shakespearovské společnosti.Výroba byla provedena v Divadle Kolowrat, od 07.11.2013 do 22.listopadu 2013. Navíc produkce cestoval do Houstonu v Texasu v Rice Village divadle Main Street Theater společnosti. Je tam hráli od 27. února do 9. března 2014. Tato práce zahrnuje analýzu hry a postavy a popisuje podrobně proces návrhu a provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu jsou k dispozici.

Orientadora : Profª Drª Célia Arns de Miranda / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 02/04/2015 / Inclui referências / Área de concentração: Estudos literários / Resumo: Na história da adaptação, apropriação e tradução shakespeariana, Macbeth, considerada uma das quatro grandes tragédias, ocupa um lugar privilegiado. Os temas presentes nessa peça (ambição desmedida, aparência e realidade, o peso da culpa, a corrupção do poder, violência, tirania) fornecem material para incontáveis releituras e interpretações, em qualquer espaço ou tempo, seja no cinema, na literatura, no palco, nas artes em geral. Com relação às encenações, só no Brasil há registros de, pelo menos, quatorze montagens da peça realizadas por diferentes diretores teatrais desde 1970. Esta pesquisa tem como objetivo discutir uma das encenações da "peça escocesa" cuja estreia se deu em 2012 no Teatro Vivo em São Paulo. Tal montagem teve Gabriel Villela na direção e Marcelo Antony e Claudio Fontana nos papéis do protagonista Macbeth e de sua esposa e cúmplice Lady Macbeth, respectivamente. Villela é um dos mais importantes encenadores brasileiros, profundo conhecedor de Shakespeare. Em seu currículo constam outras três peças do bardo inglês, a saber: Romeu e Julieta, Sonhos de uma noite de verão e Ricardo III. Faz parte da proposta do diretor mineiro mesclar o erudito com o popular, as tradições brasileiras com influências estrangeiras, no intuito de aproximar a literatura clássica do espectador. Para nossa análise, foram utilizados uma gravação em formato de DVD, a tradução de Marcos Daud e o texto do espetáculo fornecidos pela produção. Essa pesquisa compartilha os pressupostos teóricos de Linda Hutcheon, Robert Stam, Caroline Spurgeon, A.C. Bradley, Patrice Pavis, Barbara Heliodora, José Roberto O'Shea. Em Macbeth, Villela propõe uma reflexão em torno dos binômios vida e arte, realidade e ficção, entre aquilo que é ou não é, entre a aparência e a realidade. Ele concretiza essa proposta, principalmente, através da introdução de elementos épicos e metateatrais. Os artifícios da construção dramática confrontam o espectador a todo momento, levando-o a manter uma atitude de distanciamento crítico. A encenação também incorpora na materialização cênica múltiplas leituras de Macbeth, presentes implícita ou explicitamente, no trabalho coletivo de produtores, cenotécnicos, coreógrafos, maquiadores, figurinistas, sonoplastas, contrarregras, figurantes e atores. Palavras-chave: Adaptação. Shakespeare. Macbeth. Teatro brasileiro. Gabriel Villela. / Abstract: In the history of Shakespearean adaptation, appropriation and translation, Macbeth, considered one of the four great tragedies, occupies a privileged place. The themes present in this play (excessive ambition, appearance and reality, the burden of guilt, the corruption of power, violence, tyranny) provide material for countless readings and interpretations in any space and time, be it in the cinema, on stage, literature, and arts in general. Regarding theater, in Brazil alone there are records of, at least, fourteen stagings of the play performed by different directors since 1992. This research aims to discuss one of the productions of the Scottish play which had its premiere in 2012 at the Vivo Theater in São Paulo. This production was directed by Gabriel Villela and had Marcelo Antony and Claudio Fontana in the roles of Macbeth and Lady Macbeth, respectively. Villela is one of the most important Brazilian directors and he has a deep knowledge of Shakespeare. His resume lists three other plays of the English bard: Romeo and Juliet, A Midsummer Night's Dream, and Richard III. In his works, Villlela mixes the popular and the classic, and Brazilian traditions and foreign influences, in order to make classic literature more accessible to the spectator. Our analysis used a DVD recording of this production, the translation by Marcos Daud, and the screenplay provided by the producers. This research shares the theoretical assumptions of Linda Hutcheon, Robert Stam, Caroline Spurgeon, A.C. Bradley, Patrice Pavis, Barbara Heliodora, José Roberto O'Shea. In Macbeth, Villela proposes a reflection between the binomials of life and art, fiction and reality. He materializes this proposal mainly through the introduction of epic and metatheatrical elements. The devices of the dramatic construction confront the viewer at all times, causing him/her to maintain an attitude of critical distance. The staging also incorporates in the scenic materialization multiple readings of Macbeth, implicitly or explicitly present in the collective work of producers, directors, scenic, lighting, sound, and costume designers, choreographers, makeup artists, stagehands, background actors and main actors. Key-words: Adaptation. Macbeth. Gabriel Villela.

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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances. / Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.

The thesis is an attempt to understand tragic guilt. My starting point is a comparison of Sophocles' Oedipus at Colonus with Shakespeare's Macbeth. The question of "guilt" is treated very differently in these two plays. Oedipus' guilt is a result of an action which is discovered, not chosen. He is the victim of a curse which lies upon his family and thus his own guilt is an ambiguous thing. He suffers against a background of a Law which demands punishment and a promise from a god that he shall be "saved". Oedipus at Colonus begins, as does Oedipus Rex, after the decisive act of murder and incest has been committed. But Macbeth begins before anything has been done; Macbeth is presented with a possibility and he chooses to believe that he can make it a reality. We are allowed to see the moment at which guilt appears in the individual. Macbeth becomes guilty before the very image of himself murdering Duncan. In Greek tragedy the guilt is often blood-guilt, a curse which descends from one member of a family to another and may devastate an entire house. But in Macbeth the guilt begins in the desires of one man. Macbeth is left with a personal despair which is different from the suffering that Oedipus undergoes. In the novels of Thomas Hardy, the perspective on guilt has shifted from the privacy that surrounds Macbeth at his death to the social world of nineteenth century England. Michael Henchard is perhaps closest to Macbeth in that he is destroyed more by the forces in his own personality than by the pressures of external society. But with Tess we have a heroine who is "pure", a woman who is defeated more as a result of the failings in a society than by any personal faults. There is little feeling of her having any particular "guilt". Jude Fawley's particular "tragedy" also must be seen in terms of the society that moves around him, its laws and conventions. The guilt is never entirely his own, nor is he simply an innocent victim. The presence of a definite society is hardly felt at all in the two novels of Conrad. Jim is a "romantic", a young man barely past adolescence who is obsessed with a concept of honour which he feels he has betrayed in a moment of cowardice. But he seems to become guilty in a deeper sense because of this obsession; he betrays others by choosing to live in an imaginary world of romantic achievement. Nostromo is also obsessed with a dream: to be a Man of the People. If Conrad's characters become guilty, it is because of their intense egoism, their inability to escape their passion for an idea. In Arthur Miller's The Crucible the guilt of an individual seems less important than the guilt present in a society. That guilt is an illusion based on a fear of not conforming to a rigorous law. We are left with the tragedy of a society which must find a victim to appease its own feeling of guilt. John Proctor is one of the chosen victims; a man who must die to save his integrity. But his death is the result of a web of guilt spread through an entire society. / Arts, Faculty of / English, Department of / Graduate

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