The first professional performances of Macbeth in North America were probably those of The Hallam Company. [80]

Scholars also cite an entertainment seen by King James at Oxford in the summer of 1605 that featured three " sibyls" like the weird sisters; Kermode surmises that Shakespeare could have heard about this and alluded to it with the weird sisters. [25] However, A. R. Braunmuller in the New Cambridge edition finds the 1605–06 arguments inconclusive, and argues only for an earliest date of 1603. [26] Zagorin, Perez (1996). "The Historical Significance of Lying and Dissimulation". Social Research. The New School. 63 (3, Truth–Telling, Lying And Self–Deception): 863–912. ISSN 0037-783X. JSTOR 40972318. Harris, Jonathan Gil (2007). "The Smell of Macbeth". Shakespeare Quarterly. Folger Shakespeare Library. 58 (4): 465–486. doi: 10.1353/shq.2007.0062. eISSN 1538-3555. ISSN 0037-3222. JSTOR 4625011. S2CID 9376451.Bloom, Harold, ed. (2008). Macbeth. Bloom's Shakespeare Through the Ages. New York: Chelsea House. ISBN 978-0-7910-9842-4. Maskell, D. W. (1971). "The Transformation of History into Epic: The Stuartide (1611) of Jean de Schelandre". The Modern Language Review. Modern Humanities Research Association. 66 (1): 53–65. doi: 10.2307/3722467. eISSN 2222-4319. ISSN 0026-7937. JSTOR 3722467. Muir, Kenneth, ed. (1984) [1951]. Macbeth (11thed.). The Arden Shakespeare, second series. ISBN 978-1-903436-48-6. W innej pałacowej komnacie Makbet rozmawia z żoną o tym, cozrobili. Prosi ją,by podczas wieczornej uczty była możliwie spokojna i pogodna. Mówi też, że:„Grzech sił dodaje dzieciom nieprawości”.To zapowiedź kolejnych zbrodni.

Drum and colours. Enter MALCOLM, SIWARD and YOUNG SIWARD, MACDUFF, MENTEITH, CAITHNESS, ANGUS, LENNOX, ROSS, and Soldiers, marchingStoll, E. E. (1943). "Source and Motive in Macbeth and Othello". The Review of English Studies. Oxford University Press. 19 (73): 25–32. doi: 10.1093/res/os-XIX.73.25. eISSN 1471-6968. ISSN 0034-6551. JSTOR 510055. Shakespeare borrowed the story from several tales in Holinshed's Chronicles, a popular history of the British Isles well known to Shakespeare and his contemporaries. In Chronicles, a man named Donwald finds several of his family put to death by his king, Duff, for dealing with witches. After being pressured by his wife, he and four of his servants kill the king in his own house. In Chronicles, Macbeth is portrayed as struggling to support the kingdom in the face of King Duncan's ineptitude. He and Banquo meet the three witches, who make exactly the same prophecies as in Shakespeare's version. Macbeth and Banquo then together plot the murder of Duncan, at Lady Macbeth's urging. Macbeth has a long, ten-year reign before eventually being overthrown by Macduff and Malcolm. The parallels between the two versions are clear. However, some scholars think that George Buchanan's Rerum Scoticarum Historia matches Shakespeare's version more closely. Buchanan's work was available in Latin in Shakespeare's day. [9] Billington, Michael (2003). "Shakespeare and the Modern British Theatre". In Wells, Stanley; Orlin, Lena Cowen (eds.). Shakespeare: An Oxford Guide. Oxford: Oxford University Press. pp.595–606. ISBN 978-0-19-924522-2.

Smith, Joshua S. (2012). "Reading Between the Acts: Satire and the Interludes in The Knight of the Burning Pestle". Studies in Philology. The University of North Carolina Press. 109 (4): 474–495. doi: 10.1353/sip.2012.0027. ISSN 1543-0383. S2CID 162251374. For Macbeth to become King, he needed to know that it was ordained that he would one day sit on the throne, so he could then murderously take it from the current incumbent. If Macbeth had not acted upon the prophecy, it may not have come true. (A similar ambiguity surrounding the role of fate and the role of individual agency governs the plot of Sophocles’ Oedipus Rex; although Shakespeare’s tragic model was more Senecan than ancient Greek, Macbeth is perhaps the play in his oeuvre which comes the closest to following the model for a good tragedy set out in Aristotle’s Poetics.) Macbeth – książka autorstwa Jo Nesbo, napisana dla akcji Projekt Szekspir, w ramach której zaproszono poczytnych współczesnych pisarzy do przepisania na nowo utworów angielskiego dramaturga na 400-lecie jego śmierci. Muir, Kenneth (1985). Shakespeare: Contrasts and Controversies. University of Oklahoma Press. ISBN 978-0-8061-1940-3.Perkins, William (1610). A Discovrse of The Damned Art of Witchcraft. Cambridge University Press. OL 19659796M. Archived from the original on 30 September 2022 . Retrieved 30 January 2018. Uroczysta kolacja: Podczas uczty Makbet widzi ducha Banquo i wpada w szał, co budzi podejrzenia innych szlachciców. Gurr, Andrew (2009). The Shakespearean Stage 1574–1642 (4thed.). Cambridge: Cambridge University Press. doi: 10.1017/CBO9780511819520. ISBN 978-0-511-81952-0– via Cambridge Core. Benedict, David (14 October 2021). " 'The Tragedy of Macbeth' Review: James McArdle and Saoirse Ronan in an Over-Directed and Under-Dramatized Production". Variety. Archived from the original on 19 June 2022 . Retrieved 19 June 2022. Williams, Simon (2002). "The tragic actor and Shakespeare". In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature. Cambridge: Cambridge University Press. pp.118–136. doi: 10.1017/CCOL0521792959.007. ISBN 978-0-511-99957-4– via Cambridge Core.

Schoch, Richard W. (2002). "Pictorial Shakespeare". In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature. Cambridge: Cambridge University Press. pp.58–75. doi: 10.1017/CCOL0521792959.004. ISBN 978-0-511-99957-4– via Cambridge Core.Gillies, John; Minami, Ryuta; Li, Ruru; Trivedi, Poonam (2002). "Shakespeare on the stages of Asia". In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature. Cambridge: Cambridge University Press. pp.259–283. doi: 10.1017/CCOL0521792959.014. ISBN 978-0-511-99957-4– via Cambridge Core. Holland, Peter (2002). "Touring Shakespeare". In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature. Cambridge: Cambridge University Press. pp.194–211. doi: 10.1017/CCOL0521792959.011. ISBN 978-0-511-99957-4– via Cambridge Core. Throne of Blood (蜘蛛巣城 Kumonosu-jō, Spider Web Castle) is a 1957 Japanese samurai film co-written and directed by Akira Kurosawa. The film transposes Macbeth from Medieval Scotland to feudal Japan, with stylistic elements drawn from Noh drama. Kurosawa was a fan of the play and planned his own adaptation for several years, postponing it after learning of Orson Welles' Macbeth (1948). The film won two Mainichi Film Awards.