| Abstrakt: |
The article examines the religious authenticity of the 1936 production of the late William Shakespeare's "Macbeth," nicknamed "Voodoo Macbeth," by the Federal Theatre Project (FTP) Harlem Negro Unit, directed by the late Orson Welles. Topics discussed include presentation of Haitian religion Voodoo, properly spelled Vodou, black authenticity vitalizing "Voodoo Macbeth" through power of Vodou, and promotion of interest in Haiti and Vodou with conduct of authentic Afro-Haitian religious rituals. |
