Intro to Theatre: “Macbeth”

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Shakespeare’s theatrical performances are widespread all over the world and do not lose their relevance, both due to the problems raised by the playwright and the various interpretations of his works. One of such plays is the production of Macbeth directed by Bodinetz (2020) and created by the troupe of Digital Theater +. The performance is a creative product that reveals to the public the unique plots of the famous tragedy. According to qizi Gaffarova (2019), in his works, Shakespeare combined themes of love with other aspects of human life. About Macbeth, this symbiosis can be viewed from the perspective of love and greed for power, which fully reflects the presented era of the 11th century. The story presented on stage in front of an audience enhances the effect of perception and makes the mise-en-scene even more dynamic and vibrant. The struggle for social status and superiority over others is conveyed by Shakespeare in his manner, but when evaluating the concept of his work, one can apply the background of the tragedy to different social environments, including more modern ones.

As an alternative concept, the relationship of colleagues in the office in the 1980s may be viewed in terms of Macbeth’s idea. This unique period marked the emergence of innovative breakthrough technologies. However, there were no means of virtual communication, making face-to-face chatting the key channel of interaction. An office environment is a place where many different people work close to one another. Nevertheless, ambitions, interests, career views, and other aspects of professional development and growth are distinctive. At the same time, nothing human is alien to these people, and almost every company has examples of friendship, love, conflicts, and other manifestations of close interpersonal interaction. Applied to Shakespeare’s Macbeth, the proposed environment may be similar in the principle of moving towards the desired goods. Some people behave unethically and are willing to go to great lengths to receive a specific position or other material benefits. Like the main character of the play himself, an office worker can overestimate one’s importance, and success can negatively affect self-esteem. Therefore, the office environment of the 1980s is a place that is potentially suitable for transforming Shakespeare’s plot into a more contemporary one.

It is not difficult to recreate the 1980s office style on stage since the interior of such an environment was distinguished by its laconicism and functionality rather than sophistication. Decoration may be similar both in individual offices and in open spaces. As a basic idea, the classic Macbeth’s model can be utilized. A talented and potentially successful employee takes on any job and proves to his boss that he deserves a high position in the team. The boss, in turn, evaluates the subordinate’s hard work objectively and appreciates his contribution to the common cause. However, the young employee’s wife who works in a nearby department hopes that her husband will get the highest position in the shortest possible time, and through persuasion, she forces him to get rid of the elderly manager. The employee is unable to entrust the murder to someone else and decides to commit the crime himself. However, there is a witness in the office who is aware of the colleague’s atrocity. The subsequent plot describes a fight between the two characters in which the witness emerges victorious and achieves a fair punishment for the killer.

The costumes for this play should match the clothes of office workers in the late 1980s. In Figure 1, a corresponding example is shown of how the characters might look on stage (Moran, 2010). This image is suitable for displaying the office of the boss. The concept of the play does not imply numerous decorative elements, and the similarity with Bodinetz’s (2020) performance can be traced from the perspective of an ascetic interior.

Figure 1. Costume design for the play (Moran, 2010).

The set of the play will also match the declared style of the selected period. Open office space is not only easy to create but also convenient in terms of location on stage. Actors can be positioned so that each of them could be visible to viewers, and due to the secluded space in personal workplaces, the individuality of all characters can be emphasized. In Figure 2, a possible set is presented (“The evolution of office spaces,” n.d.).

Figure 2. Set for the play (“The evolution of office spaces,” n.d.).

About adapting the classic plot to modern realities, certain aspects of the play could be changed. For instance, the role of the Witches who conveyed the idea of potential dominance to Macbeth would not be relevant in the chosen environment due to the shift towards technical progress from the occult. The key initiator of the murder is the wife of the main character. The selection of cast should imply engaging professional theater actors. However, with the freedom of production, well-known cinematic personalities can be involved. For the role of Macbeth (the office employee), Ben Affleck can be invited who is equally suited to both positive and negative characters. For the role of his cunning wife, Olivia Wilde can be a good candidate. Everyone’s favorite Michael Caine would do a great job of playing King Duncan (the boss), and as MacDuff, Chris Hemsworth (the colleague witness) could be invited.

Staging such a play in the theater is possible, but today, the situation is significantly complicated by the COVID-19 pandemic. The presence of the audience brings the performance to life, but crowds are a potential threat from a medical perspective. As a potential protective measure, a limited number of tickets for individual seats can be sold to eliminate the proximity of viewers and keep a safe distance among them.