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In the skin of Macbeth (3/3)

In the skin of Macbeth (3/3) 1
José Tomás Angola as a cultural association Macbeth / Humboldt

By JOSÉ TOMÁS ANGOLA HEREDIA

With these lines I close this little journey through the meanders of a mythical personality in world theater: Macbeth. It was not easy to dress with such responsibility. I humbly accepted it as a process of learning and knowing. Learning means recognizing what you are capable of. Accompanied by a talented and dedicated cast, the trip was easier. But in the end Macbeth is Macbeth. His torture, the enslavement of his passion for power, gnaws at him individually. In conversation with the sociologist and political scientist Carlos Raúl Hernández, he reveals a historical fact: Macbeth was indeed a great king in Scotland. He ruled for many years and was loved by his subjects until descendants of the murdered King Duncan arrived and used the same mechanism by which he came to power. An eye for an eye and a tooth for a tooth.

The Middle Ages were a time when we still haven't left our bestial skin to attract the most civilized human dermis. Wars were divine orders. It was tortured as a punishment, and it was legal and accepted. It is not possible to judge these beings morally by today's standards. However, the Biblical Decalogue and Christian preaching at that time were already revolutionizing the spirit of the Westerners. If Macbeth hadn't known her, he wouldn't have suffered psychological distress. It is the guilt in him that condemns him beforehand, it is his weakness that prevents him from forgiving. The gallery of characters in the work can be put together using the biblical archetypes. Macbeth is a kind of Judas; Lady Macbeth trasunta after Salomé; Banquo is an Isaac who receives Abraham's knife without the angel intervening. The three witches are the temptation of Christ in the desert, and maybe Duncan and Malcolm are two faces of the same Jesus: the first as a sacrificed lamb, the second as a Messiah who overcomes death.

There was much speculation about Shakespeare's beliefs. His father is said to have been a Catholic who must have fallen away when Anglicanism became law in England. But William's works have a veiled awe of the Catholics. Isabella, protagonist of Measure for Measure is the image of purity and makes Shakespeare the novice of a monastery. Fray Lorenzo is a good Franciscan who helps Romeo and Juliet in their love, secretly mediates and marries them. The ghost of Hamlet's father was locked up in purgatory, and until his son does justice, he cannot ascend. Purgatory is of course a Catholic idea. In his plays, this question continues to be examined and discussed. For my acting purposes, the Catholic debate between forgiveness and guilt helped me decipher Macbeth's soul. No, he was not a demon. He was a man of his time.

Footnotes for the Macbeth I am building:

  1. February 2020: Shortly before the dress rehearsal begins, I put on my makeup in front of the mirror. I prefer to make myself up so that my hand makes the marks, stains, shadows on my face and those of Macbeth. I look at myself for a moment and even though I see the mask and am happy, I try to move on. I see Macbeth's throbbing deep in my eyes. After a few seconds, I get angry. Yes, you are there You will never sleep Glamis, you will never sleep Cawdor. Macbeth, you murdered the dream.
  2. February 2020: Why in this Shakespeare experience Macbeth a work with so many cursed legends? I know actors, friends of the medium, who don't even want to pronounce the name. My beloved and remembered Pilar Romero, Lady Macbeth in the gathering Carlos Giménez had made with Rajatabla, crossed each time he spoke of this character and showed that his long and painful state of health was enhanced by this role was. I am accompanied by a picture of Saint Michael, the victor of the devil, to whom I am dedicated. But I understand the role. In a moment of the country where evil wanders through the streets, paints the walls, whitewashes the ceilings, sounds in every voice that is vomited by power. In times when pain is the product of injustice, violation of rights, abuse, torture and murder, it is not masochism to awaken evil and serve it on stage. It is an act of triumph of hope and belief. Evil is ultimately defeated on the stage, and every time the curtain falls into a representation of Macbeth the demon is defeated. Amen.

– Let everyone who surrenders be cursed! (Last line of dialogue by Macbeth in the version by León Felipe)


* Macbeth by William Shakespeare in the version by León Felipe was published on February 22 in the hall of the Hamboldt Cultural Association. Directed by Federico Pacanins, Sandra Yajure, Gerardo Soto, Valentina Garrido, Carlos Abbatemarco, Carlos Manuel González, José Antonio Barrios, Zair Mora, Silvia de Abreu, Juan Carlos Grisal, Andrea Mariña, Anakarina Fajardo, Rafael Gorrochotegui and Edisson can be seen Spinetti, Cipriano Castro, Orlando Villalobos and José Tomás Angola himself in the leading role.

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