THE TEMPEST
description
Transcript of THE TEMPEST
![Page 1: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/1.jpg)
THE TEMPESTChapter 19
SHAKESPEARE: Script, Stage, ScreenBevington, Welsh and Greenwald
Pearson Longman, 2006
![Page 2: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/2.jpg)
“Our Revels Now Are Ended”
THE TEMPEST was the first play in the Folio of 1623 suggesting that Shakespeare’s colleagues John Heminges and Henry Condell believed it to be one of his most important works.
![Page 3: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/3.jpg)
Shakespeare’s farewell to the
theatre?The text suggests as such…
…But this rough magic I here abjure…I’ll break my staff…Bury it certain fathoms in the earthAnd deeper than did ever plummet
soundI’ll drown my book. (V.1. 50-57)
![Page 4: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/4.jpg)
Scholarship is inconclusive
Associating Shakespeare with Prospero provides an intriguing view of the play, but THE TEMPEST can still be appreciated as the capstone to his career for its “superb synthesis of his themes, language, and theatricality.” (820)
![Page 5: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/5.jpg)
It is unique among his works
…seemingly the only play for which there is no attributable source for its plot.
![Page 6: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/6.jpg)
Several contemporary sources suggest that he might have been inspired by accounts of numerous shipwrecks during the age of exploration. To place it in a faraway place, he chooses a mysterious Mediterranean island.
Prospers is the artist-autocrat, creating situations in which people are tested to learn about themselves and their values.
When faced with the choice, however, between vengeance or forgiveness, he chooses forgiveness, even relinquishing his extraordinary powers before returning to his home in Milan.
![Page 7: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/7.jpg)
First Performance November 1, 1611 at King James’s court theatre at
Whitehall Scholars speculate that the folio edition was a
revision of this 1611 text Apparently Shakespeare amended the text to honor
the royal wedding in January 1613 when 17-year-old Princess Elizabeth married Frederick of Heidelberg, the union which produced the royal Hanoverian line
Celebrations at that wedding included court performances of THE TEMPEST and BEATRICE AND BENEDICK
![Page 8: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/8.jpg)
Public performances During his lifetime, the play was produced
numerous times at THE GLOBE and BLACKFRIARS (the indoor home of the King’s Men)
“Our revels now are ended. These our actors,As I foretold you, were all spirits andAre melted into air, into thin air:And, like the baseless fabric of this vision,The cloud-capp'd towers, the gorgeous palaces,The solemn temples, the great globe itself,Ye all which it inherit, shall dissolveAnd, like this insubstantial pageant faded,Leave not a rack behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep…” (IV.1.148-153)
![Page 9: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/9.jpg)
CHARACTERS
![Page 10: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/10.jpg)
Single plot, single locale
Spans two days in actual time Only subplot is the comic rebellion of Trinculo,
Stephano and Caliban which is integrated into the main plot
The best example in Shakespeare of Neoclassicism
Like his early plays, however, it is romantic dramatizing magic, spirits and monsters
Its unity of action, however, is its strength, Prospero’s obsession is limited by time
![Page 11: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/11.jpg)
Traditional/stock characters
Prospero is the artist-magician
William Hutt – Stratford Festival, Ontario
![Page 12: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/12.jpg)
AntonioProspero’s Machiavellan brother banished Prospero from Milan 12 years earlier
Chris Cooper as ANTONIO in the Julie Taymor film
![Page 13: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/13.jpg)
MirandaProspero’s innocent daughter
![Page 14: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/14.jpg)
CalibanGrotesque creature in love with Miranda and enslaved by Prospero
Djimon Hounsou in the Julie Taymor film
![Page 15: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/15.jpg)
Ferdinand Young Prince, son of King
Alonzo
Joseph Wright engraving (1800) of Ferdinand and Miranda in Prospero’s cell
![Page 16: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/16.jpg)
SebastianVillainous brother of King Alonzo
Alan Cumming in the Julie Taymor film
![Page 17: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/17.jpg)
GonzaloThe faithful Counselor
![Page 18: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/18.jpg)
ArielThe sprite who carries out Prospero’s magical commands (like Puck)
![Page 19: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/19.jpg)
Trinculo and Stephano
The clowns. Stefano is Alonzo’s butler and Trinculo is the court jester.
Russell Brand and Alfred Molina in the Julie Taymor film
![Page 20: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/20.jpg)
![Page 21: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/21.jpg)
Sources and inspirations
ACTUAL EVENTNine English ships set out on a 1609 Voyage to Jamestown, Virginia. On July 24, a powerful storm struck the fleet near the Bermuda Islands. Eight ships escaped. Survivors from the flagship, “Sea Adventure” constructed two small boats and made it to Jamestown in May 1610. Several accounts of this voyage were widely published. Shakespeare’s text seems to echo accounts by Sylvester Jourdain (A Discovery of the Bermudas) and a 1610 manuscript by William Strachey.
![Page 22: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/22.jpg)
Sources and inspirations
THE COURTLY MASQUE Originated by the French
and popularized at the Courts of Elizabeth, James and Charles in England. The fourth act of THE TEMPEST features a Masque in which Juno, Iris and Ceres, goddesses of fertility and marriage bless the marriage of Miranda and Ferdinand.
![Page 23: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/23.jpg)
Sources and inspirations
New Technology for the Theatre
Inigo Jones, the foremost designerof Court Masques developed manyintricate theatrical machines toprovide “the quaint device” whichis employed at the end of the Masque in THE TEMPEST.
![Page 24: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/24.jpg)
Sources and inspirations
Some Literary Inspirations
![Page 25: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/25.jpg)
Sources and inspirationsOvid’s Matamorphoses
![Page 26: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/26.jpg)
Language, Music, Dance
Written while Shakespeare was “at the height of his powers” so he made use of everything available to himSome of his most eloquent poetry is given to CalibanThe text demonstrates his most flexible command of Blank Verse. In addition to Caliban’s speeches, Prospero is provided with memorable “arias”
Patrick Stewart, RSC, 2006
![Page 27: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/27.jpg)
Music and Dance
Caliban describes the “thousand twangling instruments” (III.2.139) Songs and incidental music was composed, in part, by Robert Johnson, a musician to King James. Particularly memorable is Ariel’s (Come unto these yellow sands). The dances that accompany the masque no doubt took advantage of dance-masters at court
![Page 28: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/28.jpg)
Themes and issues Virtue and vengeance. The play considers the
consequences of usurpation…amazingly rather than vengeance or violence, the play ends in forgiveness
Art and artifice. As with other of his great late plays, Shakespeare uses the Theater as a metaphor and even ends with an epilogue seeking the forgiveness of the audience.
Colonialism.Caliban’s character expresses a view of “the noble savage” that was depicted in Shakespeare’s day. Revolution, usurpation, colonialization are all explored in this play.
![Page 29: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/29.jpg)
Staging challenges The Tempest and the Shipwreck
![Page 30: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/30.jpg)
Shakespeare’s Globe 2013
![Page 31: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/31.jpg)
The Sprite and the Monster
![Page 32: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/32.jpg)
The Sprite and the Monster
![Page 33: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/33.jpg)
The Masque
![Page 34: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/34.jpg)
The Magic Circle
![Page 35: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/35.jpg)
The Magic Circle
![Page 36: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/36.jpg)
The Magic Circle
![Page 37: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/37.jpg)
The Tempest on stage
In the Elizabethan era, many productions at court, at Blackfriars and at the Globe
The Globe and Blackfriars had stage machinery that would allow for the magic effects as well as a discovery space to be used when Prospero discovers Ferdinand and Miranda “playing at chess”
![Page 38: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/38.jpg)
17th and 18th centuries
In 1667, it was re-devised as THE ENCHANTED ISLE by John Dryden and William Davenant
It became a popular spectacle throughout the period with music, musicians, extravagant stage effects. A 1674 operatic adaptation by Thomas Shadwell was revised as recently as 1959 at the Old Vic and in 1983 by the RSC
In 1757, David Garrick replaced Shakespeare’s text for the Shadwell opera at Drury Lane. When his version failed, he staged the original text, a novel concept for its time.
In 1787, John Philip Kemble created a pastiche with elements from Dryden, Shadwell, Shakespeare and some stage business of his own
![Page 39: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/39.jpg)
19th Century: Spectacle and
Calibans William Charles Macready (1838) played
Prospero restoring almost all of Shakespeare’s text
Still most 19th century productions were the operatic version
Notable examples are the 1857 production by Charles Kean and an 1889 production at the McVickers Theater
In his 1904 spectacular, Sir Herbert Beerbohm Tree invented a pantomime to bridge Acts I and II
![Page 40: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/40.jpg)
Tree as Caliban in 1904
![Page 41: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/41.jpg)
Caliban evolved over time
In the Shadwell opera, Caliban is a grotesque
In the 1838 Macready production, George Bennet played him as a victim of Prospero’s oppression
William Evans Burton in 1854 played him as a comic rebel
Darwin’s ORIGIN OF THE SPECIES (1859) provided future Caliban’s with new possibilities
![Page 42: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/42.jpg)
Hogarth’s depiction (1753)
![Page 43: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/43.jpg)
The Maly Theatre 1905
Detail from Hogarth painting
![Page 44: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/44.jpg)
The 20th CenturyPeter Brooks version in 1957 at Stratford featured John Gielgud as Prospero and was very simply staged.
![Page 45: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/45.jpg)
1974 – National Theatre
Gielgud was also lauded for his performance in the 1975 production under the direction of Peter Hall.The production featured areproduction of a JacobeanCourt Masque.
![Page 46: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/46.jpg)
At end of 20th century
Producers seemed more interested the the play’s politics rather than its spectacle. As early as 1934, Caliban was portrayed at the Old Vic as a Black man enslaved by a white Prospero.
In a 1945 production, American Canada Lee, played Caliban in a fish-like costume
![Page 47: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/47.jpg)
1970, Jonathan Miller
Max Van Sydow played Prospero.Both Ariel and Caliban were depicted as tattered “field slaves.”
![Page 48: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/48.jpg)
American productions followed suit
1980 – Shakespeare and Company (Tina Packer) In this production, Stephano was also black. And in the course of the action enslaved a black Caliban.
Geroge C. Wolfe’s multicultural Tempest at the New York Shakespeare Festival presented Ariel and Caliban as black slaves to Prospero
![Page 49: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/49.jpg)
Other productions of note
Caliban as a Jamaican Rastafarian in a 1989 production at London’s OLD VIC
Peter Brook’s 1990 production featured a white actor as Caliban. Prosero and Ariel were played by black actors.
![Page 50: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/50.jpg)
1982 - RSC
Derek Jacobi as Prospero, Alice Krige as Miranda
![Page 51: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/51.jpg)
1993 – Sam Mendes - RSC
When Prospero set Ariel free, Ariel spat in his face
Alec McGowen wasProspero, Simon RussellBeale played Ariel
![Page 52: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/52.jpg)
RSC-2006
Patrick Stewart as Prospero, Ariel (Julian Bleach), Miranda (Mariah Gale).
![Page 53: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/53.jpg)
2012- RSC
Kirsty Bushell as Sebastian in The Tempest.
![Page 54: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/54.jpg)
![Page 55: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/55.jpg)
Television and Film Very cinematic in nature, the play has
enjoyed most of its success on film…but primarily as adaptations.
Peter Greenway’s Prospero’s Books
![Page 56: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/56.jpg)
1960 NBC Television
Roddy McDowell as Ariel, Maurice Evans as Prospero, Richard Burton wasCaliban and Lee Remick played Miranda. Produced by Hallmark Hall of Fame.
![Page 57: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/57.jpg)
1980-BBC (John Gorrie)
Michael Hordern (Prospero)
Derek Godfrey (Caliban)
David Dixon as Ariel
![Page 58: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/58.jpg)
1980 – Derek Jarman
The Tempest by William Shakespeare, as Seen Through the Eyes of Derek Jarman was a low budgetavant-garde experiment
![Page 59: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/59.jpg)
Adaptations
Prospero’s Books (1991) Directed by Peter Greenway
![Page 60: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/60.jpg)
Yellow Sky (1948)
![Page 61: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/61.jpg)
Forbidden Planet (1954)
![Page 62: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/62.jpg)
Paul Mazurky’s Tempest (1982)
Paul Mazursky, MollyRingwald, Susan Sarandon,Raul Julia
![Page 63: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/63.jpg)
The Tempest - 1998
Featurning Katharine Hegel and Peter Fonda, it was set in the American Civil War
![Page 64: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/64.jpg)
Julie Taymor - 2010
![Page 65: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/65.jpg)
![Page 66: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/66.jpg)
![Page 67: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/67.jpg)
![Page 68: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/68.jpg)
![Page 69: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/69.jpg)
![Page 70: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/70.jpg)
![Page 71: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/71.jpg)
![Page 72: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/72.jpg)
![Page 73: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/73.jpg)
![Page 74: THE TEMPEST](https://reader036.fdocuments.us/reader036/viewer/2022062410/56816448550346895dd60ea3/html5/thumbnails/74.jpg)