TEACHER’S NOTES
Act 1 Scene 3
Dynamic Learning resources
• Audio clip and audio transcript: Karen Bryson and Rachel Winters (the Witches from the
spring 2010 production) talk about the use of rhyming couplets in this scene.
• Audio clip and audio transcript: Elliot Cowan (Macbeth, from the summer 2010 Globe
Theatre production) and Janet Fullerlove (First Witch, also from the summer 2010
production) talk about the first meeting between Macbeth and the Witches.
• Audio clip and audio transcript: Matt Costain (Banquo, from the spring 2010 production)
talks about his relationship with Macbeth.
• Worksheet 2: Where is Macbeth on the line?: This two-page worksheet consolidates the
various times this exercise is done, and provides a simple grid for students to record their
answers.
• Worksheet 3: Asides: This worksheet comprises a group ‘From the Rehearsal Room’
activity on Shakespeare’s use of asides, as shown in Act 1 Scene 3.
Book pages 10–11
Photo activity: Good answers might pick the First Witch speaking about the master of the
Tiger in line 8 (‘Her husband’s to Aleppo gone, master o’ the Tiger’), or somewhere between
lines 15 and 26. In fact, although students should not be expected to get this answer, it is line
24 (‘Shall he dwindle, peak, and pine.’).
Book pages 12–13
Act 1 Scene 3: Dynamic Learning resources
• Photo activity: Good answers might look at the detail from the photograph. For example,
the Witch’s head seems to be looking at Banquo, so students may choose her line to Banquo
at line 68 (‘Thou shalt get kings, though thou be none.’).
• From the Rehearsal Room: Walk of Fame: The objective of this activity is to enable the
students to experience how it would feel as Macbeth to return to the court and receive such
positive accolades and respect for your actions on the battlefield.
In this activity it is important to maintain a continuous flow of words and phrases as the
whole class moves down the ‘Walk of Fame’. This ensures everybody in the class has an
opportunity to empathize with Macbeth. Before the pairs walk down the aisle, emphasise
the importance of repeating the words, phrases and actions continuously until everybody
has moved down the corridor. (You may need to remind the lines to move up as more
students move down the aisle.) Be prepared to stop the exercise and model the activity to
the class again if the beginning is hesitant.
Discuss the atmosphere created by the continuous repetition of the key words and phrases,
drawing on the students’ experience of any contemporary example of attending an event
where a person is greeted by a crowd of supporters, such as sporting events, or a concert.
Globe Education Shakespeare: Macbeth
COPYRIGHT © 2011 THE SHAKESPEARE GLOBE TRUST
1
Ask the students to consider how it felt to be welcomed in such a way and how they feel
Macbeth may have reacted to such an event – what are the potential dangers of being
greeted with such reverence?
Book pages 14–15
• Photo activity: Answers to the photo activity might be:
1 Probably in a military camp or depot – look at the sandbags and ammunition boxes.
2 Good answers will focus on Macbeth’s two lines at 111–2 (‘The Thane of Cawdor lives.
Why do you dress me/In borrowed robes?’), the only time he speaks after Ross enters.
• From the Rehearsal Room: Where is Macbeth on the line?: Begin by explaining that the
exercise will be repeated several times in the next few scenes. The objective of this exercise
is for students to realize that Macbeth, at this stage in the play, is beginning to consider the
Witches’ prophecies.
Following this exercise, discussion can focus on the reasons why Macbeth has begun to
entertain the thought of becoming king. The class can begin to predict the series of events
that can take place that will alter his decision altogether. The students can also consider the
importance of this scene from Shakespeare’s perspective as a writer, and think about why
he chose to write this scene, and how it affects the audience’s opinion of Macbeth at this
stage of the play.
Worksheet 2: Where is Macbeth on the line? in Dynamic Learning includes a grid to
record this activity, and the subsequent repeats throughout the book.
Book pages 16–17
Act 1 Scene 3: Dynamic Learning resources
• Photo activity: Good answers will likely go for one of Macbeth’s many asides during this
scene, and the best students may argue that, as this gesture comes from an aside ‘to
himself’, it is likely the arrangement of actors on the stage means this will continue to be
the case, and the line chosen should be another aside ‘to himself’.
• From the Rehearsal Room: Asides: The objective of this activity is to enable the students
to compare and contrast the effect of Macbeth revealing his inner thoughts, away from
Banquo or directly with the audience.
The student playing Macbeth can discuss how different it felt speaking directly to the
audience and the person being the audience can discuss the impact of Macbeth speaking
directly to them. Emphasis in the discussion can focus on the uniqueness of the Globe
Theatre where actors share the same light as the audience and, because of this intimate
relationship, how Shakespeare’s text instructs his characters to appeal or confide directly
with the audience, creating a sense of conspiracy and familiarity. The audiences are actively
drawn into the play by the use of asides and are given the sense that they are privy to the
character’s emotional journey and decision making process.
Worksheet 3: Asides in Dynamic Learning includes a version of this activity, plus the
Working Cut text.
Globe Education Shakespeare: Macbeth
COPYRIGHT © 2011 THE SHAKESPEARE GLOBE TRUST
2