He's the best cop they've got. When a drug bust turns into a bloodbath it's up to Inspector Macbeth and his team to clean up the mess. He's also an ex-drug addict with a troubled past. He's rewarded for his success. Power. Money. Respect. They're all within reach. But a man like him won't get to the top. Plagued by hallucinations and paranoia, Macbeth starts to unravel. He's convinced he won't get what is rightfully his. Unless he kills for it.

Retells in rhyming couplets the Shakespearean tragedy about the eleventh-century Scottish king.

A collection of critical essays concerning Shakespeare's tragic play of tyranny, revenge, and mental anguish.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies, and of the year's major British performances. The books are illustrated with a variety of Shakespearean images and production photographs. The virtues of accessible scholarship and a keen interest in performance, from Shakespeare's time to our own, have characterised the journal from the start. Most volumes of Survey have long been out of print. Backnumbers are gradually being reissued in paperback.

Containing annotated extracts from key sources, this guide to William Shakespeare's Macbeth explores the heated debates that this play has sparked. Looking at issues, such as the representation of gender roles, political violence and the dramatisation of evil, this volume provides a way through the wealth of contextual and critical material that surrounds Shakespeare's text.

Presents the original text of Shakespeare's play side by side with a modern version.

The book traces individuals' adaptive interventions in the cultural sphere. More specifically, it investigates the purposes of dramatic adapting, which is basically regarded as a political activity. Following the intense micropolitical combat of an author with the precursor Shakespeare, adaptation becomes comprehensible as part of the ceaseless motions of macrocultural change. At each adaptation's centre, an individual subject's identity act encounters external discourses, and these transform each other and destabilise ideologies. Moreover, they lay siege to the cultural powerhouse Shakespeare. The book thus explores adapters' revolt against the loop of eternal repetition, which is created by canonic forces. In order to do so, the author uses an innovative combination of standard theories.

Offers explanatory notes on pages facing the text of the play, as well as an introduction to Shakespeare's language, life, and theater.

Why write about Roman Polanski's Macbeth (1971) as part of a series of books dedicated to the classics of the horror movie genre? Because, Rebekah Owens argues, just as Banquo in Polanski's film holds up a series of mirrors that reflect images of his successors that trace back to his own son Fleance, so subsequent milestones in the genre show their lineage to this work, their originator. Polanski had previously made Repulsion (1965) and Rosemary's Baby (1968), so he was fully aware of the conventions of the horror genre and this film provides clues to his own horror lexicon. This book demonstrates how Macbeth can be read as part of the British Folk tradition, strengthening the reading of the film as a horror movie in its own right through its links to The Wicker Man (1973), Blood on Satan's Claw (1971) and Witchfinder General (1968) then argues the case for its recognition as a horror movie even further, by connecting it to the later American horror classics, such as Halloween (1978). It also explores the popular associations made between the film and Polanski's own life, arguing that they endorse the view of the film as a horror. This book represents the first serious attempt to regard Polanski's Macbeth as a horror film in its own right, and not exclusively as one of a multitude of ongoing Shakespeare film adaptations.

This Teacher Resource File includes photocopiable worksheets that offer a range of practical activities to engage students with issues of expression and stage presentation.

Macbeth: Critically Annotated Shakespeare is the first in a series of books set to provide detailed critical explanations of the lines, along with hints on performances. The book is meant for students, teachers, scholars, researchers, and also for performers. A lot of the annotations look at how the parts should be performed, and they are mentioned by placing two star/ asterisk marks before the note number in the explanations. A visible advantage of the book is that the annotations are on the same page as the text, so that the readers don't have to flip through pages to look at the annotations and turn back to the text. The flow of reading is not disturbed as the annotations are on the same page. Besides giving annotations - which not only provide explanations of lines, but also offer character trait discussion and discussion of other issues, so that students will find lots of matter for academic needs - the book also provides background information on the playwright and the times, about his works in general, and then explores some topics related to the text, covered under Textual Analysis section. The references don't just list the works which have been cited, but also list other quality works which students can resort to (hence, I have not written 'Works Cited' but 'References'). Last but not the least, the illustrations enhance the knowledge of the readers and make the book a wonderful academic, and leisurely read, as well as a read for performers and directors.

How can you appreciate Shakespeare when you have no idea what he’s saying?! If you’ve ever sat down with the Bard and found yourself scratching your head at words like Quondam, Younker, or Ebon then this bundled book is just for you! Inside you will find a comprehensive study guide, a biography about the life and times of Shakespeare, and a modern retelling (along with the original text) of Shakespeare’s Macbeth. Each section of this book may also be purchased individually.

A new series of bespoke, full-coverage resources developed for the 2015 GCSE English qualifications. Endorsed for the AQA GCSE English Literature specification for first teaching from 2015, this print Student Book provides specific set text coverage for the Shakespeare aspect of the specification. With progress at its heart and designed for classroom and independent use, students will build their skills through a range of active learning approaches, including class, group and individual activities. Incorporating differentiated support, activities will also help students develop whole-text knowledge. An enhanced digital version and free Teacher's Resource are also available.

In what sense did Shakespeare’s representation of the Weird Sisters participate in the rewriting of village witchcraft? Was it likely to “encourage the Sword”? Did opera’s specific medial conditions offer Verdi special opportunities to justify the presence of stage witches more than three centuries later? How valid is the parallel between 19th century opera and the voyeurism of madhouse spectacle? Was Shakespeare’s play really engaged in the project of exorcizing Queen Elizabeth’s cultural memory? What does Verdi’s chorus of Scottish refugees have to do with shifting representations of ‘the people’? These are among the questions tackled in this study. It provides the first in-depth comparison of Shakespeare’s and Verdi’s Macbeth that is written expressly from the perspective of current Shakespearean criticism whilst striving to do justice to the topic’s musicological dimension at the same time. Exploring to what extent the play’s matrix of possible readings is distinct from Verdi’s two operatic versions, the book seeks to relate such differences both to the historical contexts of the works’ geneses and to their respective medial conditions. In doing so, it pays particular attention to shifting negotiations of witchcraft, gender, madness, and kingship. The study eventually broadens its discussion to consider other Shakespearean plays and their operatic offshoots, reflecting on some possible relations between historical and medial difference.