Abstract: At the Théâtre du Soleil, in 2014, Ariane Mnouchkine’s Macbeth, in a translation developed by the director during the course of rehearsals, is performed by a multi-cultural company of forty-six actors; the witches are a veritable gang. The production’s numerous scene-changes are made by uniformed, black-clad stage-hands during virtuosic, rapidly choreographed interludes. These stage-hands bear witness to the Evil created onstage and, as the action proceeds, they function more and more like a chorus, as they react silently to the deeds of the Macbeths. The time-setting of the production is timeless-contemporary.
