1. THE TEMPEST Chapter 19 SHAKESPEARE: Script, Stage, Screen
Bevington, Welsh and Greenwald Pearson Longman, 2006

2. “Our Revels Now Are Ended”
THE TEMPEST was the first play in the Folio of suggesting that Shakespeare’s colleagues John Heminges and Henry Condell believed it to be one of his most important works.

3. 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 earth And deeper than did ever plummet sound I’ll drown my book. (V )

4. 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)

5. It is unique among his works
…seemingly the only play for which there is no attributable source for its plot.

6. 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.

7. 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

8. 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 and Are 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 dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep…” (IV )

9. CHARACTERS

10. 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

11. Traditional/stock characters
Prospero is the artist-magician
William Hutt – Stratford Festival, Ontario

12. Antonio
Prospero’s Machiavellan brother banished Prospero from Milan 12 years earlier
Chris Cooper as ANTONIO in the Julie Taymor film

13. Miranda
Prospero’s innocent daughter

14. Caliban
Grotesque creature in love with Miranda and enslaved by Prospero
Djimon Hounsou in the Julie Taymor film

15. Ferdinand Young Prince, son of King Alonzo
Joseph Wright engraving (1800) of Ferdinand and Miranda in Prospero’s cell

16. Sebastian Villainous brother of King Alonzo
Alan Cumming in the Julie Taymor film

17. Gonzalo
The faithful Counselor

18. Ariel
The sprite who carries out Prospero’s magical commands (like Puck)

19. 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

21. Sources and inspirations
ACTUAL EVENT Nine 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 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.

22. 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.

23. Sources and inspirations
New Technology for the Theatre Inigo Jones, the foremost designer of Court Masques developed many intricate theatrical machines to provide “the quaint device” which is employed at the end of the Masque in THE TEMPEST.

24. Sources and inspirations
Some Literary Inspirations

25. Sources and inspirations
Ovid’s Matamorphoses

26. Language, Music, Dance
Written while Shakespeare was “at the height of his powers” so he made use of everything available to him Some of his most eloquent poetry is given to Caliban The 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

27. 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

28. 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.

29. Staging challenges
The Tempest and the Shipwreck

30. Shakespeare’s Globe 2013

31. The Sprite and the Monster

32. The Sprite and the Monster

33. The Masque

34. The Magic Circle

35. The Magic Circle

36. The Magic Circle

37. 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”

38. 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 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

39. 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

40. Tree as Caliban in 1904

41. 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

42. Hogarth’s depiction (1753)

43. The Maly Theatre 1905
Detail from Hogarth painting

44. The 20th Century
Peter Brooks version in 1957 at Stratford featured John Gielgud as Prospero and was very simply staged.

45. 1974 – National Theatre
Gielgud was also lauded for his performance in the production under the direction of Peter Hall. The production featured a reproduction of a Jacobean Court Masque.

46. 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

47. 1970, Jonathan Miller Max Van Sydow played Prospero.
Both Ariel and Caliban were depicted
as tattered “field slaves.”

48. 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

49. Other productions of note
Caliban as a Jamaican Rastafarian in a 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.

50. RSC
Derek Jacobi as Prospero, Alice Krige as Miranda

51. 1993 – Sam Mendes - RSC
When Prospero set Ariel free, Ariel spat in his face
Alec McGowen was Prospero, Simon Russell Beale played Ariel

52. RSC-2006
Patrick Stewart as Prospero, Ariel (Julian Bleach), Miranda (Mariah Gale).

53. 2012- RSC
Kirsty Bushell as Sebastian in The Tempest.

55. 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

56. 1960 NBC Television
Roddy McDowell as Ariel, Maurice Evans as Prospero, Richard Burton was Caliban and Lee Remick played Miranda. Produced by Hallmark Hall of Fame.

57. 1980-BBC (John Gorrie) Derek Godfrey (Caliban)
Michael Hordern (Prospero)
David Dixon as Ariel

58. 1980 – Derek Jarman
The Tempest by William Shakespeare, as Seen Through the Eyes of Derek Jarman was a low budget avant-garde experiment

59. Adaptations
Prospero’s Books (1991) Directed by Peter Greenway

60. Yellow Sky (1948)

61. Forbidden Planet (1954)

62. Paul Mazurky’s Tempest (1982)
Paul Mazursky, Molly Ringwald, Susan Sarandon,
Raul Julia

63. The Tempest
Featurning Katharine Hegel and Peter Fonda, it was set in the American Civil War

64. Julie Taymor