Mcbeth Who is That Bloodied Man?

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Macbeth Barbara Krasińska Witches Barbara Prądzyńska, Marta Strzałko, Krystian Wieczyński/Mateusz Felsmann Banquo Jakub Papuga Banquo`s Son Mateusz Felsmann King Tomasz Wrzalik Messengers Piotr

1 Mcbeth Who is That Bloodied Man? Time : August 12 15, 2009 / 20:00 Venue : No. 5, Beping E. Rd. Outdoor Theater Performed by Teatr Biuro Podróży, Poland Creatvie Team Director: Paweł Szkotak Music: Wiki Nowikow Design: Teatr Biuro Podróży and Iza Kolka Cast Macbeth Piotr Kaźmierczak Lady Macbeth Barbara Krasińska Witches Barbara Prądzyńska, Marta Strzałko, Krystian Wieczyński/Mateusz Felsmann Banquo Jakub Papuga Banquo`s Son Mateusz Felsmann King Tomasz Wrzalik Messengers Piotr Kaźmierczak, Bartosz Borowski, Jakub Papuga Adjutant Krystian Wieczyński Guards Jarosław Siejkowski, Bartosz Borowski Murderers Jarosław Siejkowski, Bartosz Borowski Kings in the Procession Barbara Prądzyńska, Marta Strzałko, Bartosz Borowski, Łukasz Kowalski, Jarosław Siejkowski, Servants Barbara Prądzyńska, Marta Strzałko, Bartosz Borowski, Krystian Wieczyński, Łukasz Kowalski, Jarosław Siejkowski, Tomasz Wrzalik Defeated King Jarosław Siejkowski Banquo`s Ghost Tomasz Wrzalik Hecate Magdalena Wilczyńska Goś (mezzo soprano)

2 Who are the people covered in blood? What has the war tought them? What have they come home with? Do the cruelties they experienced allow them to sleep peacefully? What will happen when the witches shaheeds meet the people covered in blood on their way home? The performance portrays the world of chaos, where the order of nature is replaced by the logic of death. It is the world, where human lives are more and more of less and less value and where crime becomes the ordinary act, rarely accompanied by indecision and doubts. Paweł Szkotak and Teatr Biuro Podróży Born in In 1991, he graduated from Adam Mickiewicz University (Poznan). Szkotak is founder, director, actor and stage director at the Biuro Podróży in Poznan. He has put on the following performances: Einmal ist keinmal (1988), Lagodny koniec smierci / Death's Gentle End (1990), Giordano (1992), Carmen funebre (1994), Nie wszyscy sa z nas / Not All Are of Us (1997), Pijcie ocet panowie / Drink Vinegar, Gentlemen (1998), Selenauci (1999), Zylem sobie po cichutku / I Used to Keep to Myself (1999), Pod drzwiami / At the Door (2000), Millenium Mysteries (2000), Rekopis Alfonsa van Wordena / The Manuscript of Alfonso van Worden (2001). The Biuro Podróży theatre, founded by Szkotak in 1988, is one of the most interesting alternative theatres in Poland. The name itself conjures up a journey, one which is both real and metaphorical, as it is an agency for travels not only through the real life world, but above all through the world of imagination. The visual arts are Szkotak's main source of inspiration painting and sculpture but also political and social events. "Szkotak touches upon the most sensitive issues of the past century in his productions, such as war, attitudes toward faith, the responsibility of science and learning, all of which will not fade with the new millennium, but will continue to determine the shape of the world we live in." (Roman Pawlowski, "Dialog Wroclaw" / "Dialogue Wroclaw", catalogue of the First International Theatre Festival in Wroclaw, 8 14 October 2001). Travel Agency is, not surprisingly, a touring theatre, which looks for its audiences both in large cities and small towns alike. It draws on the experience of street theatre, circus, and early twentieth century avant garde. The theatre has its own distinctive language and a clear, unique message. It is one of the few alternative theatres that has survived the changes in Poland during the 1990s, proving able to function in these new conditions. In its explorations, the theatre draws on the experience of Wroclaw's Teatr Laboratorium (Theatre Laboratory), Lublin's "Gardzienice" and Poznan's Teatr Osmego Dnia (Eighth Day Theatre), using physical training and improvisation in their work. The space they work in whether square, street or an open air theatre determines how they act. In these conditions, words are replaced by very clear movements, gestures, signs and symbols. Psychological nuances are conveyed via metaphoric means that everyone can understand. All the productions are developed according to Pawel Szkotak's ideas and scripts. He and the rest of the group work out the script, and select the costumes and props. The theatre also has the highest stilts in Europe, which the actors use masterfully. The following impressive open air productions helped bring the Travel Agency theatre into the limelight: Giordano (1992), about the life and tragic death of the Italian philosopher Giordano Bruno, sentenced to death for heresy (Andrzej Rzepecki, who has since passed away, was extremely suggestive and convincing as Giordano); Carmen Funebre (1994), which was showered with

3 awards at festivals, had as its inspiration the ethnic conflicts and war in Bosnia. ("I do not recall any performance emanating such an almost religious power, creating the tangible feeling of a mutual and bitter catharsis", wrote a Scottish critic; Selenauci (1999), inspired by the prose of Jules Verne, was the story of the end of the dreams that humanity had in connection with technical progress; Millennium Mysteries (2000) came into being in cooperation with the Belgrade Theatre from Coventry and were an allusion to Easter celebrations that depict the life and passion of Christ; The Manuscript of Alfons van Worden (2001) is loosely based on Jan Potocki's eighteenth century story. One critic wrote: "these performances, although they take place over a long time, form a whole, which can be called a modern mystery play, which are characterized by their strong visuals and highly expressive actors." The following plays were conceived with a somewhat different style, and a closed, more intimate space in mind: Pijcie ocet panowie / Drink Vinegar, Gentlemen (1998), the result of a Russian poetic circle's fascination with poetry, the "oberyuts", active in the 1920s; Nie wszyscy sa z nas / Not All Are of Us (1997), a modern mystery play in which the thieves of a church's statue of Christ are severely punished. Pawel Szkotak has also had experience with traditional theatre. In 2000, he directed Pod drzwiami / At the Door (2000), by Wolfgang Borchert, at Wroclaw's Contemporary Theatre. "Lately, however, especially in the plays that are put on in closed spaces, one can observe techniques used by Szkotak that are far from 'alternative' means of expression: quiet, gentle irony, melancholy jokes, bitterness and sadness. His plays inspire viewers to reflect, rather than revolt." (Jacek Sieradzki, "Polityka", no. 21, 20 May 2000) Pawel Szkotak is fascinated by the fleetingness of theatre, by its delicate and ethereal nature. He paraphrases a line from a poem by Father Jan Twardowski to describe this quality: "...let us hurry to love the theatre, because it will quickly pass. It will remain only in recordings, photographs. Theatre cannot outlive us and pictures, sculptures and music remain..."(teatr, no. 7 8, 2001). Important individual awards: 1991 Award of the City of Poznan 1992 Young Art Medal 1992 First prize for his directing of the play Giordano at the Lodz Theatre Encounters Collective awards for the Biuro Podrozy (Travel Agency) Theatre : 1989 First Prize at the Polish National Festival of Young Theatre START 1995 Fringe First and the Critic's Award at the Edinburgh International Festival, for the play Carmen Funebre 2001 Award for Best Scenography at the Festival of Experimental Theatre in Cairo Source from Teatr Biuro Podróży is sponsored by International Flight Sponsored by

4 Images 1. Ode (Mezzosoprano) Under a juniper tree the bones sang, scattered and shining We are glad to be scattered, we did little good to each other, Under a tree in the cool of the day, with the blessing of sand, Forgetting themselves and each other, united In the quiet of the desert. T.S. Eliot: Ash Wednesday 2. Messages from the Battlefield rifles and carabines, machine guns, trench mortars aeroplanes aeroplane engines, ammunition wagons army wagons Act 1, scene 1 DUNCAN : No more that he shall deceive Our bosom interest: go pronounce his present death, And with his former title greet Macbeth. 3. Thread of Fate 4. Macbeth Comes Back from the War 5. Dreams Evil Thoughts Act 1, Scene 5 'They met me in the day of success: and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. These weird sisters saluted me, and referred me to the coming on of time, with 'Hail, king that shalt be!' This have I thought good to deliver thee, my dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell.' Act 1, Scene 3 BANQUO : Were such things here as we do speak about? Or have we eaten on the insane root That takes the reason prisoner? Your children shall be kings. BANQUO : You shall be king. 6. King`s Ring Act 1, Scene 4 DUNCAN : Welcome hither: I have begun to plant thee, and will labour To make thee full of growing. 7. Dagger Act 1, Scene 7 If we should fail? We fail! I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face,

5 Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this. Act 2, Scene 1 Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation, Proceeding from the heat oppressed brain? I see thee yet. Thou marshall'st me the way that I was going; And such an instrument I was to use. Mine eyes are made the fools o' the other senses, Or else worth all the rest; I see thee still, And on thy blade and dudgeon gouts of blood, Which was not so before. There's no such thing: It is the bloody business which informs Thus to mine eyes. Now o'er the one halfworld Nature seems dead 8. Murder Act 2, Scene 2 I have done the deed. Didst thou not hear a noise? I heard the owl scream and the crickets cry. Did not you speak? When? Now. This is a sorry sight. A foolish thought, to say a sorry sight. 'Sleep no more! Macbeth does murder sleep', the innocent sleep, 9. Murder Revealed Act 3, Scene 1 Our fears in Banquo Stick deep; and in his royalty of nature Reigns that which would be fear'd: Act 2, Scene 3 The king is not stirring yet. Act 3, Scene 1 BANQUO : Thou hast it now all, As the weird women promised, and, I fear, Thou play'dst most foully for't: yet it was said It should not stand in thy posterity, But that myself should be the root and father Of many kings. 10. Killing of Banquo Act 3, Scene 1 Banquo, thy soul's flight, If it find heaven, must find it out to night. 11. Wind in the Wood 12. Funeral Dinner Coronation 13. Banquo`s Ghost

6 Act 3, Scene 4 A kind good night to all! Act 5, Scene 1 No more o'that, my lord, no more o' that: 14. Banquo`s Son 15. Lady Macbeth is Insane Act 5, Scene Ashes T.S. Eliot: Ash Wednesday Under a juniper tree the bones sang, scattered and shining We are glad to be scattered, we did little good to each other, Under a tree in the cool of the day, with the blessing of sand, Forgetting themselves and each other, united In the quiet of the desert. Out, damned spot! out, I say! What, will these hands ne'er be clean? Here's the smell of the blood still: To bed, to bed! there's knocking at the gate: come, come, come, come, give me your hand. What's done cannot be undone. To bed, to bed, to bed! T he performance was comissioned by «Cork European Capital of Culture 2005» Premiere : Cork, 20th of May Death Machine 17. Lady Macbeth`s Suicide 18. Ghosts Act 4, Scene 1 That will never be Who can impress the forest, bid the tree Unfix his earth bound root? Sweet bodements! good!

Macbeth Passage Analysis

Macbeth Passage Analysis The purpose of this task is to look closely at a passage from Macbeth and explain its significant to the play. There are several ways to do this including dividing the passage