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] Muir, Kenneth, ed. (1984) [1951]. Macbeth (11thed.). The Arden Shakespeare, second series. ISBN 978-1-903436-48-6. Morrison, Michael A. (2002). "Shakespeare in North America". In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge Companions to Literature. Cambridge: Cambridge University Press. pp.230–258. doi: 10.1017/CCOL0521792959.013. ISBN 978-0-511-99957-4– via Cambridge Core. Paul, Henry Neill (1950). The Royal Play of Macbeth: When, Why, and How It Was Written by Shakespeare. New York: Macmillan. hdl: 2027/mdp.39015012064237. OCLC 307817. OL 6084940M. Papadinis, Demitra, ed. (2012). The Tragedie of Macbeth: A Frankly Annotated First Folio Edition. Jefferson, North Carolina: McFarland. ISBN 978-0-7864-6479-1.

Dyce, Alexander, ed. (1843). The Works of Beaumont and Fletcher. Vol.1. London: Edward Moxen. hdl: 2027/osu.32435063510085. OL 7056519M. 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. In 1849, Macbeth even caused a riot in New York. The Astor Place Riot was caused by two rival actors arguing about whose portrayal of Macbeth was better. American actor Edwin Forrest and English thespian William Charles Macready were both playing the role of Macbeth in different productions at different theatres on the same night, and a longstanding rivalry erupted.

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Soon afterwards, King Duncan names Macbeth Thane of Cawdor as a reward for his success in the recent battles. The promotion seems to support the prophecy. The King then proposes to make a brief visit that night to Macbeth's castle at Inverness. Lady Macbeth receives news from her husband about the prophecy and his new title. She vows to help him become king by whatever means are necessary (*ominous music*). All theatres were closed down by the Puritan government on 6 September 1642. Upon the restoration of the monarchy in 1660, two patent companies (the King's Company and the Duke's Company) were established, and the existing theatrical repertoire divided between them. [76] Sir William Davenant, founder of the Duke's Company, adapted Shakespeare's play to the tastes of the new era, and his version would dominate on stage for around eighty years. Among the changes he made were the expansion of the role of the witches, introducing new songs, dances and 'flying', and the expansion of the role of Lady Macduff as a foil to Lady Macbeth. [77] There were, however, performances outside the patent companies: among the evasions of the Duke's Company's monopoly was a puppet version of Macbeth. [78] Xu Xiaozhong's 1980 Central Academy of Drama production in Beijing made every effort to be unpolitical (necessary in the aftermath of the Cultural Revolution): yet audiences still perceived correspondences between the central character (whom the director had actually modelled on Louis Napoleon) and Mao Zedong. [136] Shakespeare has often been adapted to indigenous theatre traditions, for example the Kunju Macbeth of Huang Zuolin performed at the inaugural Chinese Shakespeare Festival of 1986. [137] Similarly, B. V. Karanth's Barnam Vana of 1979 had adapted Macbeth to the Yakshagana tradition of Karnataka, India. [138] In 1997, Lokendra Arambam created Stage of Blood, merging a range of martial arts, dance and gymnastic styles from Manipur, performed in Imphal and in England. The stage was literally a raft on a lake. [139] 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.

Clark, Sandra; Mason, Pamela, eds. (2015). Macbeth. The Arden Shakespeare, third series. London: Bloomsbury Publishing. ISBN 978-1-904271-40-6. 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. Shakespeare's source for the story is the account of Macbeth, King of Scotland, Macduff, and Duncan in Holinshed's Chronicles (1587), a history of England, Scotland, and Ireland familiar to Shakespeare and his contemporaries, although the events in the play differ extensively from the history of the real Macbeth. The events of the tragedy are usually associated with the execution of Henry Garnet for complicity in the Gunpowder Plot of 1605. [3]

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Wells, Stanley; Orlin, Lena Cowen, eds. (2003). Shakespeare: An Oxford Guide. Oxford: Oxford University Press. ISBN 978-0-19-924522-2. Theatre workshop for children". The Tribune. 12 June 2006. Archived from the original on 3 March 2016 . Retrieved 31 January 2018. 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.