Evolution of a Shakespearian play : Macbeth and the link between the kingly figure and magic presented in three cinematic adaptations

Macbeth is one of Shakespeare’s most famous plays and, like many others, has been numerously adapted for the silver screen. Interestingly, and despite being more than four centuries old – the original play dating back to 1606 – all the adaptations have had something to do with the question of kingship and the status of a kingly figure; an interesting aspect as modern society’s views on kings have changed since Shakespeare’s time. This would mean each of these films allows a glimpse into today’s society’s interpretation – or, at least the director’s – of what a king represents. Another aspect found in all the adaptations, though less addressed – at least when the study of Shakespeare’s filmic adaptations is concerned – is the presence, or even arguably the omnipresence, of magic. Shakespeare is by no mean a stranger when it comes to the supernatural: his plays have had ghosts, wizards and fairies. However, Macbeth’s plot involves witches, ghosts, apparitions and prophecies all at once and gives these elements a pivotal place in the intrigue. The magical nature of its story has given the play the reputation of being cursed: it is said that uttering the name of the play or even quoting it (with the exception of rehearsals and representations) inside a theater brings back luck. Whether or not this superstition is true, it remains that Macbeth may be Shakespeare’s most magical play. These two elements seem to be part of the core ideas of the play. Moreover, it is possible to find a link between the two, namely what confers power to the kingly claim. The play presents two origins for the claim: Duncan, through divine will (like his father and his father before him), and Macbeth, through the Weird Sisters’ influence. In the play, the magically-led Macbeth kills the divinely chosen – and, for Shakespeare’s time, rightful – king Duncan to obtain his throne, plunging the kingdom into war and chaos, which only ends when a rightful successor takes it back, restoring the Great Chain of Being. This is the original’s view on the matter. However, as explained above, the views on this subject have changed. Therefore, observing how these two elements and their combinations have evolved could shed some light on the state of modern culture. This MA paper will ascertain the changes made by three adaptations of the play spamming different time periods and cultures – Roman Polanski’s 1971 version, Justin Kurzel’s 2015 version and Akira Kurosawa’s Japanese version, Throne of Blood –, how these changes affect the themes of the original play and this paper will ultimately test Harold Bloom’s statement regarding Shakespeare’s universality.Master [120] en langues et lettres modernes, orientation générale, Université catholique de Louvain, 201