Macbeth

What if Macbeth had read his Marx?

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With the Manifesto Marx “…delineated the endlessly inchoate, incessantly restless and unfinished character of modern capitalism as a phenomenon. He emphasized its inherent tendency to invent new needs and the means to satisfy them, its subversion of all inherited cultural practices and beliefs, its disregard of all boundaries, whether sacred or secular, its destabilization of every hallowed hierarchy, whether of ruler and ruled, man and woman or parent and child, its turning of everything into an object for sale.”

Gareth Stedman Jones, ‘Introduction’, The Communist Manifesto, Karl Marx and Friedrich Engels, London: Penguin Classics, 2oo2.

 

…Macbeth, or machine?!

 Marx

Macbeth and the difference between Paris and Rome

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The blood thing.

Macbeth’s language is the difference between Paris and Rome. Paris is elegant, it accommodates good taste. I can speak the language. Whereas my knowledge of Italian comes from the 2 great canons of opera and pizza. Music and appetite. Desire.

Paris suits me but Rome I want to go back to.

I hate it when I’m there: it’s bruta. It’s about hard bodies pushing up against me in steaming buses. Dripping lacerated Christs. A nun who makes hourly the story of Peter’s upside-down crucifixion. Body. Visceral. Headspin.

But it’s the city I remember.

Macbeth is my Rome. It’s the body play; the eating, sexing, the bloody, desiring, the operatic playscript.

Callas Macbeth3