Committing the lines to heart was an arduous task and yet one had to apply the same assiduity in learning their cues, a task which blends both cue lines and text together as a single unit. As a ‘fixed’ part, the cue itself is inviolable which I have found when I accidently switched the word order in line 31. My partner immediately lost sense of her lines even though there was no change in the actual meaning (“Know you not he has”). In a sense of the cue being of co-owned by the two of us it serves as the hinge between addressor and addressee. Privately, I have translated my cue lines as a story starting as a “news-barer” to “her evil heart” rather than merely subjecting them to an order. This process assisted me in keeping track of the “storyline” while checking for meaningful sequences. Palfrey & Stern (2007) argued that in some instances, these mini-narratives within cues can be used to deduce relationships between characters and of the larger narrative of the full scene or play. During the rehearsal, I found that the majority of Lady Macbeth’s cues are rhetorical and would accordingly, stress the last few syllables tonally, thus reflecting her relentless spur against Macbeth. On the other hand, my partner decided to incorporate physical gestures into her cues, any sudden/violent movements would indicate an upcoming cue line.
