The running time of Charles Kean's production at the Princess's Theatre, for example, was five hours, even though the text itself was heavily cut. Typical examples of the spectacular delights conjured up for Victorian audiences are those in the final scenes of the play, in which Ariel was to be seen soaring off to freedom, while the restored Duke sailed away from the island.
Throughout the last third of the 19th century, the focus shifted onto Caliban, who was now presented as a more human creature whose soul struggles to get free of his brutish instincts. The actor-manager, Beerbohm Tree, took the role of Caliban in his production of the play at Her Majesty's Theatre in and gave the role great prominence. Tree rearranged the ending so that Caliban closed the play. He was seen creeping out of his cave as the ship bearing Prospero and his companions disappeared on the horizon.
Crouched on a lonely rock, the creature stretched out his arms in mute despair before the final curtain triggered tumultuous applause. In , the Elizabethan Stage Society, under the direction of William Poel, produced The Tempest in stage conditions corresponding closely to those of the original production. The aim of the Society was to return to the 'authenticity' of the Elizabethan thrust stage and swift, fluid stage action. Poel commissioned Arnold Dolmetsch, the founder of the early music movement in Britain, to arrange music from early sources to be played on authentic Renaissance-style instruments.
The dancer, Leslie French, took the role, with Ralph Richardson as Caliban and John Gielgud as Prospero - the first of four portrayals by the actor in major productions of the last century.
Although women were still sometimes cast in the role after this production, it quickly became rare for Ariel to be played in the prettily obliging style that had become the custom throughout the eighteenth and nineteenth centuries.
Marius Goring, at the Old Vic in , led the way with his remote, alien characterisation, indifferent to human affairs and longing only for freedom. His interpretation was no serene, omniscient puppet-master, but 'a man who is contained and controlled. He can barely reveal himself to himself… [Gielgud] shows the agony that Prospero is going through from the very beginning of the play.
John Goodwin, In , at the Mermaid Theatre, Jonathan Miller's production interpreted the play from the perspective of colonialism. Ariel was an educated slave, planning to take control when the colonialists left, while Caliban was an uneducated field slave. In the brief moments between the departure of the Europeans and the final curtain, Ariel picked up Prospero's broken staff and pointed it menacingly at Caliban.
Declan Donnellan reflected contemporary politics in his production for Cheek By Jowl in when he replaced the King of Naples with Queen Alonsa, who bore an unmistakable resemblance to the current Prime Minister, Margaret Thatcher. At the beginning of the play, Antonio pushed the Boatswain out of the way and grabbed the imaginary wheel of the ship, only to be thrown to the ground by the force of the storm: he was forced to acknowledge that he was unable to control the power he had usurped.
In , at the Royal Exchange Theatre in Manchester, Braham Murray's storm scene was played out in Prospero's book-lined study, with Prospero seated at his desk throughout. This study remained as the permanent set, neatly matching Prospero's former chosen isolation in his library in Milan with his current enforced imprisonment in his book-filled cell on the island. In the same year, Derek Jarman directed a much freer and provocative interpretation on film, with Heathcote Williams in the lead role.
Shakespeare's players Shakespeare may well have written the play with an indoor playing space in mind because by the time The Tempest was written, the King's Men had begun to use the indoor Blackfriars Hall as a theatre. Restoration additions The Restoration theatre knew Shakespeare's play only in the adapted form given it in by William Davenant, with some additions by Dryden.
Spectacular scenes It was not until William Charles Macready's production at Covent Garden in that the Restoration additions to the text were finally banished. Return to original staging In , the Elizabethan Stage Society, under the direction of William Poel, produced The Tempest in stage conditions corresponding closely to those of the original production.
John Goodwin, Reflecting politics In , at the Mermaid Theatre, Jonathan Miller's production interpreted the play from the perspective of colonialism. You are in: About Shakespeare. Also in this section Also in this section Dates and sources Famous Quotes. He meets Miranda and they fall instantly in love.
After various murder plots and masque-like illusions created by Prospero and Ariel, who informs his enemies that it is their evil treatment of Prospero that has caused their predicament, the play moves to its climax with Prospero forgiving Alonso and Antonio.
Alonso restores Prospero to his dukedom, while Prospero promises to renounce magic and sets Caliban free. The achievement of serenity and harmony is symbolised and perfected by the loving union of Miranda and Ferdinand. For a change, Shakespeare made the plot up, but there was a real Duke Prospero of Milan who was deposed in and Shakespeare could have read about him.
The Tempest is about reconciliation and forgiveness between enemies and the achievement of contented happiness. Shakespeare lived on comfortably in Stratford until his death there in , as he approached his 52nd birthday. Months Past. Elizabethan Britain Literature. Popular articles.
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