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The Tempest and Shakespeare’s Romances

The Tempest and Shakespeare’s Romances. Romances. Shakespeare’s final period as a playwright All of his themes come together in the end Theatrical illusion and its relation to life The conflict between appearance and reality The discovery of self

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The Tempest and Shakespeare’s Romances

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  1. The Tempest and Shakespeare’s Romances

  2. Romances • Shakespeare’s final period as a playwright • All of his themes come together in the end • Theatrical illusion and its relation to life • The conflict between appearance and reality • The discovery of self • The capacity of art to transform terror into beauty • And the power of love to heal

  3. Romances • Shakespeare’s imagination is set free • Elaborate stage directions • Shipwrecks, sprites, “Exit, pursued by a bear” • The Romances are tragedies in reverse • Out of evil and torment, wrongs are righted and warring families are reconciled. • See The Tempest as Hamlet in reverse

  4. Romances • In comedy, the future is wide open • In tragedy, the past is irrevocable • In romance, “What’s past is prologue.”

  5. Themes • Play begins with disorder and ends with a new world order • Virtue, forgiveness, and love • Transformation of art • Transformation of self (more satisfying) • Appearance vs. reality • Manipulation (Prospero vs. Shakespeare, island vs. theatre)

  6. Three Phases of Shakespeare’s career • Early works are unselfconscious, exuberant • Then he exhibits mature prowess and control • Last stage of all, he is nostalgic, self-conscious, and so completely the master of his material that he playfully revives old themes and ideas in a new and intriguing way. The Tempest is his most retrospective play.

  7. The Tempest How would you stage I.i? • An intense opening for a play: a shipwreck is noisy, emotions are heightened, and lives are at stake. For all groups, identify character details and make clear in the performance • Group 1: Stage the scene using Shakespeare’s words, • Group 2: Stage it again using interpretive dance/pantomime. • Group 3: Translate & Use Contemporary Dialogue

  8. The Tempest How would you stage I.i? • An intense opening for a play: a shipwreck is noisy, emotions are heightened, and lives are at stake. For all groups, identify character details and make clear in the performance • Group 1: Stage the scene using Shakespeare’s words. Then, stage it again using interpretive dance/pantomime. • Group 2: Stage the scene using Shakespeare’s words. Then, translate & use contemporary dialogue

  9. The power of art to transform even death Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange.

  10. Groups • Group 1: Stage the scene using Shakespeare’s words • Davis, Gomes, Hennessey, Hogan, Self, Rousselot, Cognetta, Ng • Group 2: Stage it again using interpretive dance/pantomime • Americano, Reed, Miller, Ozuna, Rebboah, Jones, Riis, Karr • Group 3: Translate & Use Contemporary Dialogue • Antes, McFeely, Wedekind, Carnesecca, Jorgensen, Weingarten, Pahl, Fontanilla

  11. Study Questions: reference the play and the reading packet directly. • How do closed, isolated environments like Prospero's island in The Tempest, Elsinore Castle in Hamlet, and the forest of Arden in As You Like It help Shakespeare develop his characters and further his plots? • Shakespeare uses allusions to mythology in The Tempest. What is an allusion? Where do allusions take place in Acts 3 and 4? • Lust for power, a theme in other Shakespeare plays, manifests itself in The Tempest in two independent conspiracies. What are these conspiracies and who is involved in them? • Would you consider Prospero's island an example of a microcosm? Explain your answer and define microcosm. • What was Prospero's wife like? (See lines spoken by Prospero in Act I.) Do you approve of the way Prospero treats Miranda? • Do you despise or pity Caliban? Explain your answer. • Read and analyze IV.i.165-180.

  12. ALONSO, King of Naples. SEBASTIAN, his Brother. PROSPERO, the right Duke of Milan. ANTONIO, Brother, usurping Duke of Milan. FERDINAND, Son to the King of Naples. GONZALO, an honest old Counsellor. ADRIAN, FRANCISCO, CALIBAN, a savage and deformed Slave. TRINCULO, a Jester. STEPHANO, a drunken Butler. Master of a Ship, Boatswain, Mariners. MIRANDA, Daughter to Prospero. ARIEL, an airy Spirit. IRIS, CERES, JUNO, Lords Spirits. • Bates • Bordenave • Orso • RJ • Chou • Ruder • Gloria • Mavor • Ho • Sullivan • Lavery • Hare • Tysanner • Jiang • Navarrete • Lee • Bourdillon • Ngo • Seebach

  13. Per 6 ALONSO, King of Naples. SEBASTIAN, his Brother. PROSPERO, the right Duke of Milan. ANTONIO, Brother, usurping Duke of Milan. FERDINAND, Son to the King of Naples. GONZALO, an honest old Counsellor. ADRIAN, FRANCISCO, CALIBAN, a savage and deformed Slave. TRINCULO, a Jester. STEPHANO, a drunken Butler. Master of a Ship, Boatswain, Mariners. MIRANDA, Daughter to Prospero. ARIEL, an airy Spirit. IRIS, CERES, JUNO, Lords Spirits. • Guzinski • Shanahanananan • Kevin • Mak • Darren • Nguyen • Cristofi • Kurt • Hasbany • Medal • Cihla • Savignano • Ahn • Sung-Lee

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