Theatrical art aims to reach a specific group of people at a specific time and place. It is in direct contact with society, with its imagination, symoblic representations, opinions, and value system. For this reason, dramatic dialogue has a direct affinity with social discourse. The current article aims to demonstrate that translation for the stage is dependent on what is being said and written in the society of which the translation is intended. The author examines Shakespeare's Macbeth, translated and peformed in Québec in the late 70s, shortly before the referendum which could have heralded independence for this Francophone province.