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In recent adaptations by Justin Kurzel and Lucas de Man, Shakespeare’s Macbeth is less a play about a courageous warrior driven to murder his king out of ambition than about a soldier suffering from post-traumatic stress disorder. This article links these interpretations of Macbeth’s motivation to Stephan Wolfert’s one-man show Cry Havoc!!, which also relates Shakespeare’s plays in general to combat-related post-traumatic stress disorder. This article argues that all three productions are symptomatic of our era in addressing Macbeth from the perspective of current constructions of masculinity as deeply problematic.

Flipping Macbeth: PTSD, gender, and generation in adaptations by Wolfert, Kurzel, and De Man