Macbeth is arguably Shakespeare’s greatest experiment in the phenomenology of horrible imaginings. For all of its visible supernatural trappings, Macbeth is a play radically steeped in the invisible, which exerts a gravitational force on all aspects of performance. The phantom dagger, King Duncan’s slain body, Lady Macbeth’s murky hell—these unseen supernatural sights are as phenomenologically palpable and horrifying in the theater as the weird sisters are. Invisible elements of the play’s world permeate the visible, producing a pervasive sense of unease, dread, and horror in the theater. The experience of horror co-exists with another strongly felt experience, that of rapture, which arises especially in moments when the Macbeths are fascinated with invisible phenomena and enter into trance-like states of deep absorption, ecstasy, and madness.

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狂喜与恐怖：麦克白戏剧隐形现象学

麦克白可以说是莎士比亚在可怕想象的现象学中最伟大的实验。对于所有可见的超自然装饰，麦克白是一部完全沉浸在无形之中的戏剧，它对表演的各个方面都施加了引力。幻影匕首、邓肯国王被杀的尸体、麦克白夫人的阴暗地狱——这些看不见的超自然景象在剧院里像奇怪的姐妹一样在现象学上显而易见和可怕。戏剧世界中无形的元素渗透到可见的事物中，在剧院中产生一种普遍的不安、恐惧和恐怖感。恐怖的体验与另一种强烈的感受并存，狂喜的体验尤其出现在麦克白夫妇对隐形现象着迷并进入深度吸收、狂喜和疯狂的恍惚状态的时刻。