Redigerer Lady Macbeth (avsnitt)

==Etterliv==
John Rice, en ung gutt som jobbet som skuespiller for ''King's Men'', kan ha spilt Lady Macbeth i en oppførelse som sannsynligvis var Shakespeares [[tragedie]] på [[Globe Theatre]] på 20. april 1611. Fremførelsen ble overvært og beskrevet av [[Simon Forman]] i hans manuskript ''The Book of Plays and Notes thereof per Formans for Common Policy''. Hans berettning etablerer derimot ikke hvorvidt stykket var Shakespeares ''Macbeth'' eller et verk på det samme emnet av en annen dramatiker.<ref name="Bev">[[David Bevington|Bevington, David]]. ''Four Tragedies.'' Bantam, 1988.</ref> Rollen kan ha vært utenfor rekkevidde av talentet til en ung gutt og kan ha blitt spilt av en mann i tidlige fremførelser.<ref name="Braunmiller">Braunmiller, A. R. ''Macbeth.'' Cambridge University Press, 1997.</ref>

I midten av det 18. århundre spilte [[Hannah Pritchard]] Lady Macbeth mot [[David Garrick]]s følsomme og poetiske Macbeth. Hun var, i Thomas Davies ord, "insensible to compunction and inflexibly bent on cruelty." Pritchard og Garrick var så overbevisende i sine roller at de lånte autoritet og motivasjon til studier av rollefigurene som den sentrale egenskapen i Shakespeareiansk drama og dens literaturkritikk.<ref name="Bev" />

[[Sarah Siddons]] spilte i [[John Philip Kemble]]s produksjon i 1794 på [[Theatre Royal, Drury Lane]] og ga et intenst psykologisk portrett av Lady Macbeth i samme tradisjon som Hannah Pritchard. Siddons var særlig dyktig til å bevege publikum i søvngjengerscenen med sin fremstilling av en skjel i fundamental pine. Siddons og Kemble styrket synet etablert av Pritchard og Garrick om at rollefigurene var essensen i Shakespeareansk drama.<ref name="Bev" />

[[William Hazlitt]] bemerket på Siddons fremførelse:<blockquote>"In speaking of the character of Lady Macbeth, we ought not to pass over Mrs. Siddons's manner of acting that part. We can conceive of nothing grander. It was something above nature. It seemed almost as if a being of a superior order had dropped from a higher sphere to awe the world with the majesty of her appearance. Power was seated on her brow, passion emanated from her breast as from a shrine; she was tragedy personified. In coming on in the sleeping-scene, her eyes were open, but their sense was shut. She was like a person bewildered and unconscious of what she did. Her lips moved involuntarily—all her gestures were involuntary and mechanical. She glided on and off the stage like an apparition. To have seen her in that character was an event in every one's life, not to be forgotten."</blockquote>

[[Helen Faucit]] ble kritisert av Henry Morley, en professor i engelsk litteratur ved [[University College, London]], som mente skuespillerinnen var "too demonstrative and noisy" i scenene før mordet på Duncan der "Come, you spirits" talen ble "simply spouted" og avslutningen "Hold! Hold!" ropt på en "most unheavenly manner." I "I have given suck" talen mente han at Faucit "poured out" talen på en måte som minnet om en "scold at the door of a gin-shop." Faucit, mente han, var "too essentially feminine, too exclusively gifted with the art of expressing all that is most beautiful and graceful in womanhood, to succeed in inspiring anything like awe and terror." Han mente hennes talent mer egnet til den andre fasen til rollefiguren, og fant henne "admirably good" i bankettscenen. Søvngjengerscenen hennes derimot, ble beskrevet som å ha "the air of a too well-studied dramatic recitation."<ref>Morley, Henry. ''The Journal of a London Playgoer from 1851 to 1866.'' London: George Routledge & Sons, 1866. pp. 350-354</ref>

[[Image:Ellen_Terry_as_Lady_Macbeth.jpg|thumb|right|upright|[[Ellen Terry]] som Lady Macbeth av [[John Singer Sargent]] (1889)]]
In 1884 at the [[Gaiety Theatre, London|Gaiety Theatre]], [[Sarah Bernhardt]] performed the sleepwalking scene barefoot and clad in a clinging nightdress, and, in 1888, a critic noted [[Ellen Terry]] was "the stormy dominant woman of the eleventh century equipped with the capricious emotional subltety of the nineteenth century."

In 1915 and 1918, [[Sybil Thorndike]] played the role at [[Old Vic]] and then at the [[Prince's Theatre]] in 1926. [[Flora Robson]] played the role in [[Tyrone Guthrie]]'s Old Vic production in 1934. In 1955, [[Vivien Leigh]] played Lady Macbeth opposite [[Laurence Olivier]] at the [[Shakespeare Memorial Theatre]] in [[Stratford-upon-Avon]]. In 1977 at [[The Other Place (theatre)|The Other Place]] in Stratford, [[Judi Dench]] and [[Ian McKellen]] played the infamous husband and wife in [[Trevor Nunn]]'s production. Notable Lady Macbeths in the late 20th century included [[Judith Anderson]], [[Pamela Brown]], [[Diana Wynyard]], [[Simone Signoret]] and [[Janet Suzman]].

[[Jeanette Nolan]] fremførte rollen i [[Orson Welles]] [[Macbeth (1948)|1948 filmadapsjon]] og ble kritisert av [[Bosley Crowther]] i ''[[The New York Times]]'' for 28. desember 1950: "The Lady Macbeth of Jeanette Nolan is a pop-eyed and haggard dame whose driving determination is as vagrant as the highlights on her face. Likewise, her influence upon Macbeth, while fleetingly suggested in a few taut lines and etched in a couple of hot embraces, is not developed adequately. The passion and torment of the conflict between these two which resides in the play has been rather seriously neglected in this truncated rendering."<ref>Crowther, Bosley. "Orson Welles' Interpretation of Shakespeare's 'Macbeth' at the Trans-Lux 60th St." ''New York Times,'' December 28, 1950.</ref> Michael Costello fra ''[[Allmovie]]'' beskriver fremførelses hennes som ugjevn og at "Her unique Lady Macbeth is either an exhibition of rank scenery-chewing or a performance of intriguingly Kabuki-like stylization."