USQ Artsworx
School Resources
The Tempest teachers’ notes
Prepared by
Lauren Sherritt in consultation with Dr Janet McDonald.
Contents
1
Cast list
3
2
Synosis
4
3.
Style of the play
5
3.1.
Tragedy
5
3.1.2
Romance
5
3.1.3
Comedy
5
Neoclassicism
5
3.2.1
The three unities
5
3.2.2
Verisimilitude
5
3.2.3
Decorum
6
Colonialism
7
4.1
Demonising
7
4.2
Fear of miscegenation
7
4.3
Appropriation
7
4.4
The colonised: why aren’t they grateful?
8
5
Pretty monsters
6
Playlists
7
5
3.1.1
3.2
4
Genre
9
10
6.1
How to create a playlist
10
6.2
Example playlists
10
Links and resources
11
1 Cast list
Prospero- the rightful Duke of Milan
Miranda - Prospero's daughter
Alonso - King of Naples
Sebastian - Alonso's sister*
Antonio - Prospero's brother, the usurping Duke of Milan
Ferdinand - Prince of Naples
Gonzalo - kind and honest councillor*
Adrian - student of Gonzalo*
Francisco - court poet of Naples
Caliban - son of Sycorax, servant of Prospero
Trinculo – Alonso's jester
Stephano – Alonso's drunken butler
Boatswain - officer in charge of the ship
Ariel - Prospero's enslaved spirit
Sycorax - deceased witch, former ruler of the island
Iris - Juno's messenger, Goddess of the rainbow and virginity
Ceres - Goddess of motherhood and the harvest
Juno - Queen of the God's, Jupiter's wife, Goddess of marriage
Nymphs & Reapers - mythological creatures in human form called upon by Prospero
Mariner – seaman
*Characters, such as Sebastian, Adrian and Gonzalo, written in the original script as male parts will
be played as female characters in this production.
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2 Synosis
It is important to keep in mind that a performance of a script is a very different entity to the written
piece itself.
On stage, the meaning of the scripted words is revealed through the actor's body and costume and
the production's set, sound and lighting design.
Each director and company will interpret a script in a unique manner and evolve a distinctive way in
which to tell the story through each of these elements.
The synopsis of the play has been especially written for this version of The Tempest and many
creative devices; such as mime, dance movement and set have been employed to express this
adaptation of the play, which have been added to complement the provided script.
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3. Style of the play
3.1.Genre
When it was written (thought to have been in 1610-11), The Tempest was regarded as one of
Shakespeare's comedies and as such features in the First Folio under this genre. However, as time
has passed, there has been much debate between scholars over how to classify the play.
3.1.1 Tragedy
The beginning of the play holds great potential for tragedy; the wild tempest and wrecking of the ship
and Prospero's passion for revenge. However, Prospero's choice to take Ariel's advice and spare his
betrayers prevents the play from a possible tragic ending.
3.1.2 Romance
Obviously, the romance fostered between Ferdinand and Miranda is a key part of The Tempest and
plays an important role in preventing the plot from becoming that of a tragedy. When Prospero
realises that he can see Naples join with Milan through the marriage of his daughter and the Prince,
he resolve to forgo exacting revenge upon his betrayers deepens as instead he works to cultivate the
romance between Miranda and Ferdinand. (Confusing! - When Prospero realises that Naples can join
with Milan through the marriage of his daughter to the Prince, he resolves to forgo exacting revenge
upon his betrayers and instead, work to cultivate the romance between Miranda and Ferdinanad.)
3.1.3 Comedy
Of course, The Tempest has comic elements as well. The two clown characters, Stephano and
Trinculo, bring comic relief to the plot, however many other characters add humour to the play. As in
all of Shakespeare's plays, the language is laced with double entendres and clever jokes and the
many side plots of characters vying to usurp each other makes for many comic encounters.
In this version of The Tempest all of these genres are brought to the fore and used to complement
each other to create a production that is dynamic, entertaining and accessible to a modern audience.
This allows all characters and their roles within the play to be fully explored in the variety of genres.
3.2 Neoclassicism
King Louis XIII's reign had commenced in France during the time when Shakespeare wrote The
Tempest. With him came French Neoclassicism which gradually spread to other countries across
Europe, including England. The tenets of neoclassical theatre were strict and Shakespeare did not
adhere to them in the majority of his plays. In The Tempest however, signs of this Neoclassical
influence can be seen.
3.2.1 The three unities
The Tempest comes very close to observing the three unities of Neoclassical theatre; time, place
and action. The play takes place all at the one time; many scenes occurring at the same time as
each other, and the play does not skip forward or backward over great lengths of time. Because of
the island setting, the play is set in various locations around the same place and therefore adheres
to the Neoclassical rule that the play must have a constant setting. The tenet of action is more
loosely seen through The Tempest. In Neoclassical theatre, all action should be single and with the
purpose of advancing a single plot. In this play, there are many subplots running constantly with
various characters involved in each. Their actions, under the magic of Prospero's ‘power' bring
conclusion to each story-line that rights any wrongs and ‘restores order'.
3.2.2 Verisimilitude
The concept of verisimilitude or of ‘very similar to' real life in Neoclassical theatre had a specific
purpose; to demonstrate and teach how life is supposed to be lived. In The Tempest, Miranda
demonstrates verisimilitude through her culture and choices. She is contrasted with the uncivilised
Caliban and exemplifies the way in which a girl of her age and standing would have been expected to
behave in renaissance times. By making an advantageous match which will also ensure her
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happiness, Miranda fulfils her female role. Verisimilitude is also evident in this play through the
character of Prospero. Prospero's actions are that of a nobleman or even a god; his actions are to be
observed from the audience as benevolent and kind, perhaps that of the Christian notion of God as
exposed by Renaissance Protestantism.
3.2.3 Decorum
The tenet of decorum held that any fighting or violent acts in the plot must occur offstage. This was
not the case in Shakespearean plays which contained fight scenes and death on stage. It is seen
that in The Tempest, however, violence is often alluded to, but never seen in action; the attempted
rape of Miranda is often spoken about, but purposefully not shown as part of the performance. Many
sinister plans go awry at the last minute throughout the play, allowing for the nature of characters' to
be revealed, but keeping indecorous acts from being performed.
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4 Colonialism
Colonialism was the clear intent of all major powers in Europe in the Renaissance: Spain, Portugal,
France and England were all travelling about the globe in search of booty and wealth in the form of
rich pastures and places to deposit their civilisations. They raced across the globe to conquer and
colonise and as a result England gained great masses of land throughout the Americas in the 1600s
– what was to become the USA was the jewel in the colonial ‘crown' of England. Italy was also in on
the action, sending ships through the Caribbean islands to South America. It was the actions of
these two countries which inspired Shakespeare when writing The Tempest and throughout many
colonialist attitudes are strongly displayed.
Particular attention must be paid to the relationships between the indigenous inhabitants of the
island and those who have come from the outside; first Prospero and Miranda and then the
shipwrecked group from Naples.
In modern times, many playwrights have re-written the The Tempest in an attempt to give the play a
postcolonial voice, Aimé Césaire wrote A Tempest in 1969. The play is written for an all-black cast
and aims to give the colonised a voice; deliberately commenting on slavery and the truth of
colonisation. In modern times, Shakespeare is often seen as the great, white, male playwright
whose voice overpowers all others. A similar depiction can be made of colonial countries and also,
notably, of the character Prospero. Writers such as Césaire attempt to show a different perception of
events and give voice to those who have been drowned out.
4.1
Demonising
It was common for colonialist countries to demonise the indigenous peoples who populated the
countries to which they laid claim. This went beyond treating them as ‘others' and is shown through
the language they used to describe them: savages, barbarians, monsters, and was used as an
excuse to massacre and enslave these people.
Prospero, coloniser of the island, demonises Caliban for many reasons; because he fears him,
because he could not understand him and because he could not change him. He constantly refers
to Caliban as a "monster", as "filth" and as "deformed". In the first scene of Act four he calls him, "A
devil, a born devil, on whose nature/Nurture can never stick" (ln. 188). Despite Prospero's lessons,
guidance and "nurture", Caliban cannot be changed from his true nature and cannot unlearn his
culture. He cannot understand why it would be wrong to rape Miranda, for him it seems only natural,
however he is intelligent enough to realise that the idea causes great distress for Prospero and so
he deliberately plays upon this. For these differences he is enslaved and treated by both Prospero
and Miranda as a lesser creature than themselves.
4.2
Fear of miscegenation
Simply put, colonisers feared what would happen if indigenous people were allowed to breed with
them and worked to maintain a ‘pure bloodline'. Usually, if people did mix races, they and their
children would be outcast and the children labelled half-casts who were often not accepted by either
culture. Indigenous people were viewed as lesser people and often used as slaves and so having
children with an indigenous person also meant the colonialists lowering below their rank.
Prospero is horrified when Caliban talks of breeding with Miranda, scared not only for the honour of
his daughter but disgusted at the thought of contaminating his bloodline with that of what he calls a
"vile race" (Act 1, Scene 2). Conversely, when Ferdinand comes along, his duty as royalty to
produce heirs would have been known to Prospero; however he encourages the advantageous
match between his daughter and the prince.
4.3
Appropriation
Often, colonisers would take or copy for themselves pieces of the indigenous people's culture or
lifestyle. Art, pottery and decoration of the time from all over Europe shows influences from the
many cultures that had been encountered in their patterns, textures and design. When Stephano
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and Trinculo happen upon Caliban, their first thoughts are to take him back home and make a
business of showing him as an attraction. Taking indigenous people back to Europe and displaying
them for money was common among those returning from colonised countries.
4.4
The colonised: why aren’t they grateful?
This was the eternal question asked by colonisers and is evoked time and again by Prospero. Why,
asks Prospero, is Caliban not grateful for the language and ‘civilisation' he has tried to teach him?
Why is Ariel not satisfied with being freed from the tree? He cannot understand why they only demand
from him liberty and the repossession of their home when, in Prospero's opinion, under his control the
island has much improved. Colonisation gave no credit to the unique cultures which came before. The
aim of it was to spread the country's influence and holding over as much land as possible, making it
just like home.
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5 Pretty monsters
As discussed in the Colonialism section, Caliban is seen as the monster in this play. Often, Caliban
will be described as a savage or as a deformed beast. In this version however, Caliban is merely
termed as Son of Sycorax, slave of Prospero. He is seen as a wild creature, after growing up alone
after the death of his mother, who is "alien" to the refined culture of Prospero and Miranda. The
unique representation of Caliban in this performance questions how he is distinctly different from his
colonisers; he is attractive rather than disfigured or ugly.
It can be seen in many cultures that physicality often plays a large role in the story of an evil
character. There are the beautiful Sirens of ancient sea tales whose enchanting voices lured men to
their deaths and, more recently, the story of the beautiful vampires in the film Twilight and their
appearance of ethereal and serene beauty which belies a fierce nature and instinct to kill. The visual
attractiveness of these creatures is a natural tool used to aid them in their monstrousness. Will a
Caliban similarly unhampered by physical repulsiveness in fact be a more efficient and dangerous
monster?
The theme of ‘pretty monsters' runs deep in a lot of youth targeted media and literature. The Twilight
phenomenon which has recently spread world over causing millions of teens to pore over books and
line up at crowded cinemas is a perfect example. In this story, the monsters are vampires. It is the
nature of the vampires to live off the blood of human beings and every part of them from their
physical attractiveness to their inhuman strength, speed and power is engineered to be efficient
hunters. The story centres around the Cullens; a ‘family' of vampires who live and partake in human
society and Bella, a human girl who inadvertently falls in love with one of the younger vampires,
Edward. The Cullens refrain from human blood in an effort to live peacefully, a feat which is not easy
for them, and among other things the book witnesses the struggle of Edward and his family to not
devour his young girlfriend. The vampires in this series are an example of perfect beings with fatally
flawed natures. Edward is incredibly attractive to Bella and her teenage counterparts both physically
and mentally, and yet his nature compels him to kill her. This, combined with his superhuman
abilities makes him her largest predator.
This theme is echoed throughout countless stories; seen in Dexter, a detective show in which one of
the main detectives, Dexter, is also a deadly serial killer, the 2008 movie Wanted in which Angelina
Jolie plays a beautiful but manic assassin and in every television show, movie, book or play in which
appears a ‘bad boy' character who breaks a delicate, young girl's heart. Many theorists have delved
into psychology and pop-culture to explain this prominent, recurring theme of the perfect yet fatally
flawed creature.
Theorist, Walter Evans speculates on monsters in his chapter on horror movie monsters in Pop
Culture: An Introductory Text (1992). He develops his theories around the notion that monsters are,
in essence, all created by humans themselves, and so are made up of those parts of people that
they cannot control or explain; the parts that scare them. In particular Evans believes that
adolescence is a key point at which youth become aware of their body and nature changing beyond
their control and it is likely that this is why monsters feature so heavily in youth media. Experiencing
tumultuous upheaval in their own lives, youth are very receptive to not only the fear of monsters but
to feel sympathy for them. By giving these creations human qualities and making them physically
and mentally attractive, they become more effective and dangerous and also attract more empathy.
Regardless of the medium; horror movies, romantic teen fiction or colonialist theory, monsters
essentially represent human's fear of other humans and of themselves and their own nature. In this
production of The Tempest, the more humanistic approach to Caliban will allow audiences to
empathise with the character and his story.
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6 Playlists
Theatre is often thought of as a visual medium, however what is heard during a performance goes a
long way to creating a play's atmosphere and mood. The script of The Tempest contains many
songs which are performed mainly by the nymphs during the play.
Music can be a strong tool in understanding a piece of theatre and can help explore the themes and
characters. As an activity to develop a deeper understanding of The Tempest and approach the play
from a different angle we encourage you to create a list of music, or playlist, which exemplifies your
interpretation of the play.
6.1





How to create a playlist
Try to think of this activity as creating a soundtrack to your version of The Tempest. Be clear
and creative in what this play means to you and how you interpret the story. Every person
will experience The Tempest in a different way.
Think of the themes of the play; there are the obvious ones of revenge, isolation and
romance but be sure to go beyond that to create a well rounded playlist. Some other
examples that could be explored are father/daughter relationships, the supernatural and
magic, control, power and despair.
If there are songs that speak of symbols throughout the play, these will be great to use.
Also, try to imagine what mood or atmosphere your particular version of The Tempest would
have.
Do any songs represent a particular character to you? You could create a playlist
specifically focussed on Miranda or about the spirit creatures of the island.
There are no rules for which songs relate to The Tempest, they can be as abstract or as
literal as you want, as long as they complement your understanding of the play.
After you have created your playlists, they can be used to enhance your understanding of the play.
Activities such as workshopping scenes and incorporating their specifically chosen song may aid
you in creating a deeper, more layered performance. If media equipment can be accessed, work on
making a The Tempest themed music video one of your chosen songs, or work as a class to make a
silent movie based upon the play and using your playlist as the accompanying music.
6.2
Example playlists
Here are some example playlists created by members of the creative team and cast of The
Tempest.
Zamfir The Lonely Shepherd
Radiohead House of Cards
Vivaldi Four Seasons: Summer (Presto III)
Little Birdy Better off Alone
Bright Eyes Make a Plan to Love me
Death Cab for Cutie I Will Possess Your Heart
Aqualung Strange and Beautiful (I'll Put a Spell On You)
Weezer Island In The Sun
Oasis Columbia
Depeche Mode Blue Dress
Hole Violet
Placebo Where is my Mind?
Tim Buckley Song to the Siren
Led Zeppelin Dazed and Confused
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7 Links and resources
http://www.shakespeare-online.com/plots/tempestps.html
A detailed plot outline written scene by scene. Search the site for many more interesting Tempest
facts.
http://www.shakespeare-online.com/essays/tempestessays.html
An extensive link list to essays discussing the many themes of The Tempest.
http://www.enotes.com/tempest-text/strategies-for-understanding
A quick guide for students on how to read Shakespearean language.
http://www.britannica.com/shakespeare
The Encyclopaedia Britannica's guide to Shakespeare; his life and plays and theatre in renaissance
England.
Garber, M. 2005 Shakespeare After All, Anchor Books, New York.
Greenblatt, S. Cohen, W. Howard, J. Maus, K. ed. 1997, The Norton Shakespeare: Based on the
Oxford Edition, W. W. Norton & Company, London.
Nachbar, G. Lause, K. Evans, W. 1992, Pop Culture: An Introductory Text, Popular Press,
Wisconsin.
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