b'been in his time. The commodification of his work is what gives even those whodesire for power but still cannot collect the inner peace that comes withhave not actually watched or read any Shakespeare a certain respect for him; hisacceptance of his actions. perceived importance drives people to continue consuming his works even if they arent always entirely sure what makes him important, thus making him an While this is not entirely a subversion of Shakespeares narrative, it alters it endlessly profitable and unimpeachable feature of the global creative market.enough to provide a unique series of questions and justifies our decision to adapt However, this is only achieved through the constant critical reassessment of theseit through how we change both the physical and metaphysical presentation of characters and narratives from directors, dramaturgs, actors and academics alike,Macbeth.as without this input his writings would surely be largely lost to situationalobscurity (and certainly not hold the position they do in current society). I believe this idea is critical to the approach we are being directed towards taking in ourinterpretation of Shakespeares works throughout this module.Creativity is about creating, not replicating (something which is essentiallyimpossible to achieve truly). This notion I think is one highlighted by Wendy(Hubbard) in our seminar, and one that was key in how we approached the module and our role as performers and dramaturgs. Our groups overall approach to editing Macbeth into a 30-minute piece with an alternate lens of the text was grounded in our first weeks learning, with the intention to present something that bringsdifferent questions to the forefront of our adaptation. In our case, I believe the question of madness and control throughout Macbeth was poised from a more feminist perspective. It is difficult to tell at points where Lady Macbeth ends and the witches begin. In our version, Macbeth is the only one who directly interacts with the witches, which begs the question of whether Lady Macbeths manipulative, power-hungry driving of Macbeth is presented earnestly, or if this is simply a projection of Macbeths darkest desires and impulses onto the driving female influence in his life. If he perceives these actions and desires to be akin to the sin of womanhood, it would lend itself to his perception of witches (who are far less material than usual, in our version) and their frequent similarities to the behaviour of Lady Macbeth. The arc of our adaptation follows these paradigms as they collapse inwards, as Lady Macbeth chastises Macbeth for hesitating and attempting to maintain moralsuperiority, in spite of it ultimately being his power-hunger that drives them, and draws attention to the audacity of him resenting her for supporting him (which as a woman in this setting, would more than likely have been her duty).All of this was presented through a more frenetic presentation of Macbethsdescent into madness and guilt, and his ultimate inability to confront himself; he is the only one capable of quelling this madness, but only if he resigns his ego and accepts his actions as his own. However, he is only able to project his self-loathing through disgust towards nebulous concepts (life is but a walking shadow), andJoubin, A.A. (2018). Global Shakespeares in World Markets and Archives. MIT thus our adaptation ends with him at his lowest, most defeated, moments awayGlobal Shakespeares, MIT: Cambridge, Ma.from deposition. He is held in the stasis of an ending where he has resigned any 58 59'