About This Clip
Macbeth Unplugged, performed in Taiwanese, was staged in 2007 by the Tainaner Ensemble in Tainan, Taiwan and directed by Lü Po-shen.
Company: Tainaner Ensemble
Yao Kun-jun as Lady Macbeth and Witch
Tsai Po-chang as Macbeth
Huang Yi-lin as Lady Macbeth, guest at banquet, and Witch
Ma Ying-ni as Lady Macbeth
In 2003 and 2007, the Tainaner Ensemble performed two adaptations of Macbeth in Taiwanese, the most frequently spoken local language in Taiwan other than Mandarin Chinese. Both adaptations, based on the same script, deleted the battle scenes and featured three witches as protagonists. The number of female characters thus increased, and additional care was taken to show female influences. These Taiwanese adaptations produced various tunes by addressing the rhyme, meter and tone of these compositions. Actors were required to find rhythm in their body movements and the voice of their characters. The female actors playing Lady Macbeth and the three witches also incorporated different vocal techniques into their speeches to enhance the rhythm. The female voices came to the forefront and complemented the feminine power in these adaptations. This article discusses how this female domination was established, and the ways that the coordination between physical and verbal actions equipped the female characters to create melody in their performances. The manifestation of these female voices offered the feminist reading of Macbeth to signify the female rise to power.