Macbeth: A Semantic Analysis

When performing a play, it is helpful to engage the audience so they do not feel left out or isolated during the performance; thrust staging accomplishes this. This interpretation does not focus on changing the meaning of the scene in Macbeth, it focuses on how the audience remembers the performance. Secondly, it is almost impossible to use staging options to change the meaning of the scene in Macbeth. Next, a consequence of the different staging options is how it will influence the audience’s memory of the performance. First, if this is performed on a proscenium stage the viewer is distanced from the stage. Therefore, with the stage distanced from the audience they cannot be as engaged as they could be. “First witch. Round about the caldron …show more content…
“First witch. He will not be commanded. Here’s another, more potent than the first. Thunder. Second Apparition: a Bloody Child.” (IV.i.74-76). This apparition would come out on the stage covered in blood. Next, seeing this from the proscenium stage the audience would become reengaged because they see a bloody child on the stage. If this were viewed from a thrust stage the audience would still be engaged and tension would build because a bloody child is on the stage. As a side note, it does not matter which staging is used the apparition’s already build tension among the audience; with the thrust stage it creates more tension because the audience can feel and be closer to the action. “First witch. Ay, sir, all this is so. But why stands Macbeth thus amazedly?” (IV.i.125-126). A decent actor knows that facial expressions are necessary to help bring the play to life. For this part being performed on a proscenium stage the actor is already having over the top facial expressions so the people further away from the stage can see it but, there comes a point in which the audience is too far away from the stage to see the expressions …show more content…
“Macbeth. … I did hear the galloping of horse. Who was’t came by? Lennox. ‘Tis two or three, my lord, that bring you word Macduff is fled to England. (IV.i.139-142). For the proscenium stage there might be a castle prop or some other visual aid to provide scenery which aids in a cinematic viewing. In addition to that, the thrust stage has limited props which would work better, because the audience could imagine what the castle and scenery look like. Lastly, the thrust stage works better because more can be left to the imagination also, the audience is closer and they can be better engaged. Whereas, with the proscenium stage more props can be used, the audience is not as engaged, the seating is similar to a movie theater. Finally, with proscenium seating the audience feels cut off, which prevents full engagement. Ultimately, to prevent the audience from feeling left out during a performance of this play the thrust stage should be

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