Although drama translation offers a rich platform for discussion and analysis, it is astonishing to see that it is the most neglected area in translation studies. Susan Bassnett, one of the most prominent theorists for drama translation, suggests five types of strategies for the drama translator. This comparative study focuses on Susan Bassnett’s first and the final strategies to find out the differences between two translations of Shakespeare’s Macbeth. Among five types of drama translation strategies, co-operative translation is the most accomplished one in terms of stage performance, while with regard to fidelity, literary translation stands at the opposite pole from it. The scholar, translator and critic Orhan Burian’s translation of Macbeth in 1946 is a typical example of literary translation; on the other hand, the well-known director and actor Haluk Bilginer’s translation of Macbeth in 2010 is considered to be a successful co-operative translation.  Burian’s conservative style produced a faithful yet stilted translation. The dialogues were too long and implausable for the stage performance. On the contrary, Bilginer worked with the director and even with the actors at times in order to achieve the rhytm of speech, simplicity of pronunciation and easy graspability. Bilginer made alterations such as omitting some acts and scenes thereby keeping the audience’s attention focused on the play. His usage of easy-flowing daily spoken tongue and common Turkish idioms and slang expressions where appropriate also functioned to bring the text closer to the audience and to create playable and speakable dialogues which performers could utter without difficulty.