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The stark minimalism of Macbeth, the Scottish Play (Macbeth, a Peça Escocesa) does not affect the quality of its performance; on the contrary, it helps to accentuate the eeriness and other-worldly quality of the play while channeling the attention of the audience towards the characters. The weird sisters’ choreographed movements help in their delivery of their words and add unity to their uncanny presence. The modern ambience created by the moveable metal towers is punctuated by the sound of drums and gongs. The actors’ dark costumes contrast with Lady Macbeth’s sensuous characterization in a low cut white dress. The sexual energy between Macbeth and Lady Macbeth is manifest through their body language and underlines their solid partnership. Breaking the frame of the fourth wall, the play integrates backstage and stage, deliberately blurring the boundaries between theatre and life. All thirteen actors are kept on the stage during the whole performance. Director Regina Galdino explores the theme of ambition which permeates Shakespeare’s play and implies that Macbeth’s death will bring no end to the the topsy-turvy values inherent in the weird sisters’ language. The added appearance of one of the weird sisters in the last scene suggests that Malcolm’s kingship will be as vulnerable as his father’s and as corrupt as Macbeth’s.
Director: Regina Galdino.
Production: Alexandre Brazil
Translation and adaptation: Marcos Daud
Director: Regina Galdino
Cast: Evandro Soldatelli, Renata Zhaneta, Imara Reis, Jorge Cerruti, Heitor Goldflus, Ariel Moshe, Carlos Evelyn, David Rock, Marco Aurélio Campos, Luciana Ramanzini, Silmara Deon, Marcelo Pacífico e Gira de Oliveira
Setting and Lighting: Kleber Montanheiro
Costumes: Olintho Malaquias
Soundtrack: Aline Meyer
Dance, Fighting and Body Expression: Wilson Aguiar