Abstract The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the “voodoo” Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play’s setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms “national origins” and “originality” intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.

中文翻译：

---

“以井为底的万事通”：奥森·威尔斯和“ Voodoo”麦克白

摘要联邦剧院项目成立于1935年，旨在使失业的美国人在大萧条后重返工作，后来在其鼎盛时期雇用了10,000多人，资助了莎士比亚特别原创的一部改编电影：奥森·威尔斯导演的“巫毒”麦克白1936年。该剧在哈林区首次亮相，剧场布置类似于海地岛，而不是古老的苏格兰，韦尔斯还为巫婆增添了伏都教女祭司，他们认为伏都教的习俗更有意义，甚至更多。现实，对于当代观众而言，要比早期的现代巫术更重要。在本文中，我将考虑“民族血统”和“起源”一词如何以三种截然不同的方式相交：剧本的哈林区，悲剧的加勒比海地区，