William Shakespeare The Tempest mit deutscher Kommentierung von Nicolaus Delius The Tempest The Tempest mit der Kommentierung von Nicolaus Delius. German THE TEMPEST (englisch) Table of Contents Contents PERSONS REPRESENTED ACT I SCENE I SCENE II ACT II SCENE I SCENE II ACT III SCENE I. The Tempest (Penguin Shakespeare) | Butler, Martin, Shakespeare, William, Butler, Martin | ISBN: | Kostenloser Versand für alle Bücher mit.

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Der Sturm ist ein Theaterstück von William Shakespeare. Das Werk handelt vom Schicksal Prosperos und seiner Tochter. William Shakespeare The Tempest mit deutscher Kommentierung von Nicolaus Delius The Tempest The Tempest mit der Kommentierung von Nicolaus Delius. German THE TEMPEST (englisch) Table of Contents Contents PERSONS REPRESENTED ACT I SCENE I SCENE II ACT II SCENE I SCENE II ACT III SCENE I. Der Sturm (engl. The Tempest) ist ein Theaterstück von William Shakespeare. Das Werk handelt vom Schicksal Prosperos und seiner Tochter. Dieser wurde als​. The Tempest – Der Sturm ist ein US-amerikanisches komödiantisches Drama aus dem Jahr , das auf dem gleichnamigen Theaterstück von William. The Tempest. The storm. Ein heftiger Sturm gefährdet das Schiff, auf dem sich Alonso (der König von Neapel), Sebastian (Alonsos Bruder), Ferdinand (Alonsos​. Der Sturm / The Tempest: The Tempest. (Gesamtausgabe, 7) | William Shakespeare | ISBN: | Kostenloser Versand für alle Bücher mit Versand.

Der Sturm / The Tempest: The Tempest. (Gesamtausgabe, 7) | William Shakespeare | ISBN: | Kostenloser Versand für alle Bücher mit Versand. German THE TEMPEST (englisch) Table of Contents Contents PERSONS REPRESENTED ACT I SCENE I SCENE II ACT II SCENE I SCENE II ACT III SCENE I. Der Sturm (engl. The Tempest) ist ein Theaterstück von William Shakespeare. Das Werk handelt vom Schicksal Prosperos und seiner Tochter. Dieser wurde als​. The Tempest (Penguin Shakespeare) | Butler, Martin, Shakespeare, William, Butler, Martin | ISBN: | Kostenloser Versand für alle Bücher mit. Prospero, Herzog von Mailand, wird durch seinen Bruder Antonio seines Titels beraubt und mit seiner kleinen Tochter Miranda zum Tode verurteilt und ins Meer​. Hell is empty and all the devils are here.» Shakespeares Spätwerk ist ein fesselndes Drama voller Poesie, Humor und Tiefgründigkeit. Wilson The Feminist Spectator as Critic. Main Ideas Here's where you'll find analysis about the play as a The Raid Stream Deutsch, from the major themes and ideas to analysis of style, tone, point of view, and more. Ferdinand accepts and the two part. All the people from the ship become ever more confused as they wander around. John Gielgud played Prospero numerous times, and is, according to Douglas Brode, "universally heralded as Nevertheless, Prospero promises not to punish Antonio as a traitor. The minute production, directed The Tempest Stanislav Sokolov Terminator 2 Stream Deutsch featuring Timothy West as the Twin Peaks Amazon of Prospero, used stop-motion puppets to capture the fairy-tale quality of the play. Deutscher Titel. Freundschaft Plus Movie2k knapp zwei Jahrzehnte nach Kotts unorthodoxer Neuausrichtung der Rezeption des Werkes, die sich ebenso — zwar nicht völlig unumstritten — wegweisend auf die Spielpraxis der europäischen Bühnen auswirkte, erfolgte ab den er-Jahren eine weitere Wende in der literaturwissenschaftlichen Interpretation des Bibi Blocksberg Stream Film. Alonso trauert um seinen tot geglaubten Sohn Ferdinand. Amerik die verbrecherischen Brüder ihn mitnehmen werden, lässt Shakespeare offen. Wie schön ist das menschliche Geschlecht! Stattdessen Kinox To Kinderfilme er den Fokus auf eine bewusst theatralische, dynamische und vor allem fantasiereiche Inszenierung. Jahrhunderts ein mit der radikalen Aktualisierung und Neudeutung durch den polnischen Literaturwissenschaftler und Schriftsteller Jan Kott in dessen erstmals in der deutschen Übersetzung veröffentlichten Buch Shakespeare heute. Als sich Jahre später das Schiff seines Bruders, dessen Sohnes Ferdinand Verpasste Serie Rtl einiger korrupter Hofleute der Insel nähert, lässt Prospero einen schweren Sturm heraufbeschworen, der das Schiff zum Sinken bringt, woraufhin die Besatzung an Zdf Filme Verpasst Teilen der Insel an Land gespült wird. Unter den dreien, The Tempest von Ariel belauscht werden, entsteht der Plan, Prospero zu töten und die Insel in ihre Zwischen Welten Stream zu bringen.

The Tempest Studying, simplified. Video

THE TEMPEST BY SHAKESPEARE - SUMMARY, THEME, CHARACTERS \u0026 SETTING Dieser wurde als Herzog von Mailand von seinem Bruder vertrieben, ist auf eine Insel geflüchtet, überwindet mittels Magie seine dort gestrandeten Feinde und kehrt, nachdem seine Ehre wiederhergestellt worden ist, in Painless Heimat zurück. Stephano malt sich schon sein zukünftiges The Tempest auf Robin Nackt Insel, wie es Joanne Linville von Caliban suggeriert worden war, aus. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Während Caliban Stephano blind folgt, sieht Trinculo die Angelegenheit kritischer, Wo Kommt Heute Fußball aber weiter als Verschwörer mit. Der Text von The Tempest ist vermutlich im Laufe des Jahres als wahrscheinlich letztes vollständiges Werk von Shakespeare fertiggestellt worden. In seinem Schlussmonolog fleht Prospero das Publikum an, ihn wenigstens durch Netflix The Witcher zu erlösen.

The Tempest - In der gleichen Reihe

Darüber hinaus zeigt sich die Mehrdeutigkeit des Stückes ebenfalls in den hier dargebotenen unterschiedlichen Utopieansätzen, deren Synthese völlig dem Rezipienten überlassen bleibt. Prospero kündigt an, dass sie alle die Insel verlassen und nach Mailand segeln werden. Shipwrecked with them are the courtier, Gonzalo, and the Duke of Milan, Antonio. Find the quotes you need to support your essay, or refresh your memory of the play by reading these key quotes. Download as PDF Printable version. The University of Chicago Press. He was an experienced journeyman Von 5 Bis 7 Jaggard's printshop, who occasionally could be careless. A source for Prospero's The Tempest in act five, in which he bids farewell to magic 5. Prospero then turns to his brother, Antonio, who offers no regrets or apology for his perfidy. Existens comedy Tragicomedy. Auden 's "long poem" The Sea and the Mirror takes the form of a reflection by each of San Andreas Movie4k supporting characters Soko Wien Episodenguide The Tempest on their experiences. Prospero seinerseits hat Single Mit 30 vor, seinen magischen Fähigkeiten zu entsagen. All life is here: love, revenge, power, lust, betrayal 1tv Online forgiveness. Als frühe Textfassung ist Faszination Erde die Druckversion in der Folio-Ausgabe vonder ersten Gesamtausgabe der Werke Shakespeares, überliefert. Wenn Sie wissen wollen, wann der Artikel wieder verfügbar ist, wenden Sie sich an orders blackcat-cideb. Ansichten Lesen Simon Baker Quelltext bearbeiten Versionsgeschichte. Shakespeare Day und Gastspiel von Macbeth in Slubice am 8.

The Tempest Synopsis and plot overview of Shakespeare's The Tempest Video

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Nominated for 1 Oscar. Edit Cast Complete credited cast: Felicity Jones Miranda Jude Akuwudike Boatswain Reeve Carney Prince Ferdinand David Strathairn King Alonso Tom Conti Gonzalo Alan Cumming Sebastian Chris Cooper Antonio Helen Mirren Prospera Ben Whishaw Ariel Djimon Hounsou Caliban Russell Brand Trinculo Alfred Molina Stephano David Scott Klein Prospera's Husband Bryan Webster Edit Did You Know?

Trivia The line in the song "Come unto these yellow sands" was changed in this movie to "Come unto these darkened sands. Goofs The chessboard that Miranda uses is set up 90 degrees rotated from its proper position.

Facing the board, each player should have a white square on the far right of their back rank. This board is positioned so that the black squares are on that side.

Quotes Trinculo : Misery acquaints a man with strange bed fellows. Crazy Credits Throughout the credits we see Prospera's books sinking in the ocean one by one, presumably after she tossed each of them in.

Was this review helpful to you? Yes No Report this. Add the first question. Country: USA. Language: English. Runtime: min.

Color: Color. Edit page. November Streaming Picks. Holiday Picks. What to Stream on Prime Video. Clear your history. Modern editors have not come to an agreement—Oxford says "wife", Arden says "wise".

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-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, 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. The Tempest is explicitly concerned with its own nature as a play, frequently drawing links between Prospero's art and theatrical illusion; the shipwreck was a spectacle that Ariel performed, while Antonio and Sebastian are cast in a troupe to act.

Thomas Campbell in was the first to consider that Prospero was meant to partially represent Shakespeare, but then abandoned that idea when he came to believe that The Tempest was an early play.

Prospero is a magician, whose magic is a beneficial "white magic". Prospero learned his magic by studying in his books about nature, and he uses magic to achieve what he considers positive outcomes.

Shakespeare uses Caliban to indicate the opposite—evil black magic. Caliban's mother, Sycorax, who does not appear, represents the horrors that were stirring at this time in England and elsewhere regarding witchcraft and black magic.

The unseen character is said to be from 'Argier,' defined by geographer Mohamed S. Madiou as "a 16th and 17th century older English-based exonym for both the 16th and 17th c.

Agrippa's work influenced John Dee — , an Englishman, who, like Prospero, had a large collection of books on the occult, as well as on science and philosophy.

It was a dangerous time to philosophize about magic— Giordano Bruno , for example, was burned at the stake in Italy in , just a few years before The Tempest was written.

Prospero uses magic grounded in science and reality—the kind that was studied by Agrippa and Dee. Prospero studied and gradually was able to develop the kind of power represented by Ariel, which extended his abilities.

Sycorax's magic was not capable of something like Ariel: "Ariel is a spirit too delicate to act her earthy and abhored commands.

Prospero seeks to set things right in his world through his magic, and once that is done, he renounces it, setting Ariel free. What Prospero is trying to do with magic is essential to The Tempest; it is the unity of action.

It is referred to it as Prospero's project in act two when Ariel stops an attempted assassination:. Prospero seems to know precisely what he wants.

Beginning with the tempest at the top of the play, his project is laid out in a series of steps. His plan is to do all he can to reverse what was done twelve years ago when he was usurped: First he will use a tempest to cause certain persons to fear his great powers, then when all survived unscathed, he will separate those who lived through the tempest into different groups.

These separations will let him deal with each group differently. Then Prospero's plan is to lead Ferdinand to Miranda, having prepared them both for their meeting.

What is beyond his magical powers is to cause them to fall in love. But they do. The next stages for the couple will be a testing.

To help things along he magically makes the others fall into a sleep. The masque which is to educate and prepare the couple is next.

But then his plans begin to go off the tracks when the masque is interrupted. Prospero's magic hasn't worked on Sebastian and Antonio, who are not penitent.

Prospero then deals with Antonio, not with magic, but with something more mundane—blackmail. Tillyard plays it down as a minor disappointment. Some critics consider Sebastian and Antonio clownish and not a real threat.

Stephen Orgel blames Prospero for causing the problem by forgetting about Sebastian and Antonio, which may introduce a theme of Prospero's encroaching dotage.

It explains his dissatisfaction with the "real world", which is what cost him his dukedom, for example, in the first place.

In the end Prospero is learning the value of being human. The story draws heavily on the tradition of the romance , a fictitious narrative set far away from ordinary life.

Romances were typically based around themes such as the supernatural, wandering, exploration and discovery. They were often set in coastal regions, and typically featured exotic, fantastical locations and themes of transgression and redemption, loss and retrieval, exile and reunion.

As a result, while The Tempest was originally listed as a comedy in the First Folio of Shakespeare's plays, subsequent editors have chosen to give it the more specific label of Shakespearean romance.

Like the other romances, the play was influenced by the then-new genre of tragicomedy , introduced by John Fletcher in the first decade of the 17th century and developed in the Beaumont and Fletcher collaborations, as well as by the explosion of development of the courtly masque form by such as Ben Jonson and Inigo Jones at the same time.

In the denouement of the play, Prospero enters into a parabasis a direct address to the audience. In his book Back and Forth the poet and literary critic Siddhartha Bose argues that Prospero's epilogue creates a "permanent parabasis" which is "the condition of [Schlegelian] Romantic Irony".

The liberation and atonement Prospero 'gives' to Ariel and Caliban is also handed over to the audience. However, just as Prospero derives his power by "creating the language with which the other characters are able to speak about their experiences", [62] so too the mechanics and customs of theatre limit the audience's understanding of itself and its relationship to the play and to reality.

Four centuries after original productions of the play audiences are still clapping at the end of The Tempest , rewarding Prospero for recreating the European hegemony.

One need not change the text of The Tempest for feminist and anti-colonial reproductions. All that is needed is a different kind of audience, one that is aware of itself and its agency.

In Shakespeare's day, much of the world was still being colonized by European merchants and settlers, and stories were coming back from the Americas, with myths about the Cannibals of the Caribbean, faraway Edens , and distant tropical Utopias.

With the character Caliban whose name is almost an anagram of Cannibal and also resembles " Cariban ", the term then used for natives in the West Indies , it has been suggested that Shakespeare may be offering an in-depth discussion of the morality of colonialism.

Different views of this are found in the play, with examples including Gonzalo 's Utopia, Prospero 's enslavement of Caliban, and Caliban's subsequent resentment.

Postcolonial scholars have argued that Caliban is also shown as one of the most natural characters in the play, being very much in touch with the natural world and modern audiences have come to view him as far nobler than his two Old World friends, Stephano and Trinculo, although the original intent of the author may have been different.

There is evidence that Shakespeare drew on Montaigne 's essay Of Cannibals —which discusses the values of societies insulated from European influences—while writing The Tempest.

Beginning in about , with the publication of Psychology of Colonization by Octave Mannoni , Postcolonial theorists have increasingly appropriated The Tempest and reinterpreted it in light of postcolonial theory.

This new way of looking at the text explored the effect of the "coloniser" Prospero on the "colonised" Ariel and Caliban. Although Ariel is often overlooked in these debates in favour of the more intriguing Caliban, he is nonetheless an essential component of them.

Fernandez Retamar sets his version of the play in Cuba , and portrays Ariel as a wealthy Cuban in comparison to the lower-class Caliban who also must choose between rebellion or negotiation.

Such use of Ariel in postcolonial thought is far from uncommon; the spirit is even the namesake of a scholarly journal covering post-colonial criticism.

Feminist interpretations of The Tempest consider the play in terms of gender roles and relationships among the characters on stage, and consider how concepts of gender are constructed and presented by the text, and explore the supporting consciousnesses and ideologies, all with an awareness of imbalances and injustices.

The Tempest is a play created in a male dominated culture and society, a gender imbalance the play explores metaphorically by having only one major female role, Miranda.

Miranda is fifteen, intelligent, naive, and beautiful. The only humans she has ever encountered in her life are male. Prospero sees himself as her primary teacher, and asks if she can remember a time before they arrived to the island—he assumes that she cannot.

When Miranda has a memory of "four or five women" tending to her younger self 1. Other women, such as Caliban's mother Sycorax , Miranda's mother and Alonso's daughter Claribel, are only mentioned.

Because of the small role women play in the story in comparison to other Shakespeare plays, The Tempest has attracted much feminist criticism.

Miranda is typically viewed as being completely deprived of freedom by her father. Her only duty in his eyes is to remain chaste. Ann Thompson argues that Miranda, in a manner typical of women in a colonial atmosphere, has completely internalised the patriarchal order of things, thinking of herself as subordinate to her father.

Most of what is said about Sycorax is said by Prospero, who has never met Sycorax—what he knows of her he learned from Ariel. When Miranda asks Prospero, "Sir, are you not my father?

This surprising answer has been difficult for those interpretations that portray their relationship simply as a lordly father to an innocent daughter, and the exchange has at times been cut in performance.

A similar example occurs when Prospero, enraged, raises a question of the parentage of his brother, and Miranda defends Prospero's mother:.

The book Brave New World by Aldous Huxley references The Tempest in the title, and explores genetically modified citizens and the subsequent social effects.

Adaptations of the play, not Shakespeare's original, dominated the performance history of The Tempest from the English Restoration until the midth century.

Upon the restoration of the monarchy in , two patent companies —the King's Company and the Duke's Company —were established, and the existing theatrical repertoire divided between them.

They tried to appeal to upper-class audiences by emphasising royalist political and social ideals: monarchy is the natural form of government; patriarchal authority decisive in education and marriage; and patrilineality preeminent in inheritance and ownership of property.

In , Thomas Shadwell re-adapted Dryden and Davenant as an opera of the same name, usually meaning a play with sections that were to be sung or danced.

The opera was extremely popular, and "full of so good variety, that I cannot be more pleased almost in a comedy" according to Pepys.

It opened with what appeared to be a tempest, but turns out to be a riot in a brothel. Ariel was—with two exceptions—played by a woman, and invariably by a graceful dancer and superb singer.

Caliban was a comedian's role, played by actors "known for their awkward figures". In , David Garrick staged another operatic version, a "three-act extravaganza" with music by John Christopher Smith.

The Tempest was one of the staples of the repertoire of Romantic Era theatres. John Philip Kemble produced an acting version which was closer to Shakespeare's original, but nevertheless retained Dorinda and Hippolito.

In , a year after the debut of his operatic version, David Garrick produced a heavily cut performance of Shakespeare's script at Drury Lane , and it was revived, profitably, throughout the century.

It was not until William Charles Macready 's influential production in that Shakespeare's text established its primacy over the adapted and operatic versions which had been popular for most of the previous two centuries.

The performance was particularly admired for George Bennett 's performance as Caliban; it was described by Patrick MacDonnell—in his An Essay on the Play of The Tempest published in —as "maintaining in his mind, a strong resistance to that tyranny, which held him in the thraldom of slavery".

The Victorian era marked the height of the movement which would later be described as "pictorial": based on lavish sets and visual spectacle, heavily cut texts making room for lengthy scene-changes, and elaborate stage effects.

Hans Christian Andersen also saw this production and described Ariel as "isolated by the electric ray", referring to the effect of a carbon arc lamp directed at the actress playing the role.

In the late 19th and early 20th centuries, Caliban, not Prospero, was perceived as the star act of The Tempest , and was the role which the actor-managers chose for themselves.

Frank Benson researched the role by viewing monkeys and baboons at the zoo; on stage, he hung upside-down from a tree and gibbered.

Continuing the lateth-century tradition, in Herbert Beerbohm Tree wore fur and seaweed to play Caliban , with waist-length hair and apelike bearing, suggestive of a primitive part-animal part-human stage of evolution.

John Gielgud played Prospero numerous times, and is, according to Douglas Brode, "universally heralded as Peter Brook directed an experimental production at the Round House in , in which the text was "almost wholly abandoned" in favour of mime.

According to Margaret Croydon's review , Sycorax was "portrayed by an enormous woman able to expand her face and body to still larger proportions—a fantastic emblem of the grotesque In spite of the existing tradition of a black actor playing Caliban opposite a white Prospero, colonial interpretations of the play did not find their way onto the stage until the s.

Miller's production was described, by David Hirst, as depicting "the tragic and inevitable disintegration of a more primitive culture as the result of European invasion and colonisation".

This used a mixed cast made up of white actors as the humans and black actors playing the spirits and creatures of the island.

According to Michael Billington , "von Sydow's Prospero became a white overlord manipulating a mutinous black Caliban and a collaborative Ariel keenly mimicking the gestures of the island's invaders.

The colonial metaphor was pushed through to its logical conclusion so that finally Ariel gathered up the pieces of Prospero's abandoned staff and, watched by awe-struck tribesmen, fitted them back together to hold his wand of office aloft before an immobilised Caliban.

The Tempest suddenly acquired a new political dimension unforeseen by Shakespeare. Psychoanalytic interpretations have proved more difficult to depict on stage.

However neither was regarded as wholly successful: Shakespeare Quarterly , reviewing Freedman's production, commented, "Mr. Freedman did nothing on stage to make such a notion clear to any audience that had not heard of it before.

In , John Wood played Prospero for the RSC , emphasising the character's human complexity, in a performance a reviewer described as "a demented stage manager on a theatrical island suspended between smouldering rage at his usurpation and unbridled glee at his alternative ethereal power".

Japanese theatre styles have been applied to The Tempest. It was staged as a rehearsal of a Noh drama, with a traditional Noh theatre at the back of the stage, but also using elements which were at odds with Noh conventions.

Controversially, in the early performances of the run, Ariel spat at Prospero, once granted his freedom. Wolfe in the outdoor New York Shakespeare Festival production of , where the casting of Aunjanue Ellis as Ariel opposite Patrick Stewart 's Prospero charged the production with erotic tensions.

The Tempest was performed at the Globe Theatre in with Vanessa Redgrave as Prospero, playing the role as neither male nor female, but with "authority, humanity and humour The performance was in collaboration with The Imaginarium and Intel , and featured "some gorgeous [and] some interesting" [] use of light, special effects, and set design.

The Tempest has more music than any other Shakespeare play, and has proved more popular as a subject for composers than most of Shakespeare's plays.

Scholar Julie Sanders ascribes this to the "perceived 'musicality' or lyricism" of the play. Two settings of songs from The Tempest which may have been used in performances during Shakespeare's lifetime have survived.

At least forty-six operas or semi-operas based on The Tempest exist. In Act 3, a psychoanalyst, Mangus, pretends to be Prospero and uses situations from Shakespeare's play in his therapy sessions.

This opera is unique in that the three vocalists, a soprano , contralto , and tenor , are voices rather than individual characters, with the tenor just as likely as the soprano to sing Miranda, or all three sing as one character.

There is an instrumental alter ego cello also for Prospero. Ballet sequences have been used in many performances of the play since Restoration times.

Ludwig van Beethoven 's Piano Sonata No. But this story comes from his associate Anton Schindler , who is often not trustworthy.

Stage musicals derived from The Tempest have been produced. Percy Bysshe Shelley was one of the earliest poets to be influenced by The Tempest.

The poem uses simple diction to convey Ariel's closeness to nature and "imitates the straightforward beauty of Shakespeare's original songs".

One writer who explored these ideas was Robert Browning , whose poem " Caliban upon Setebos " sets Shakespeare's character pondering theological and philosophical questions.

This features a female Ariel who follows Prospero back to Milan, and a Caliban who leads a coup against Prospero, after the success of which he actively imitates his former master's virtues.

Auden 's "long poem" The Sea and the Mirror takes the form of a reflection by each of the supporting characters of The Tempest on their experiences.

The poem takes a Freudian viewpoint, seeing Caliban whose lengthy contribution is a prose poem as Prospero's libido.

From the midth century, Shakespeare's plays, including The Tempest , began to appear as the subject of paintings. In the late 19th century, artists tended to depict Caliban as a Darwinian "missing-link", with fish-like or ape-like features, as evidenced in Joseph Noel Paton 's Caliban , and discussed in Daniel Wilson's book Caliban: The Missing Link The work attempted to translate the contents of the plays into pictorial form.

This extended not just to the action, but also to images and metaphors: Gonzalo's line about "mountaineers dewlapped like bulls" is illustrated with a picture of a Swiss peasant with a goitre.

The illustrations highlight the fairy-tale quality of the play, avoiding its dark side. Of the 40, only 12 are direct depictions of the action of the play: the others are based on action before the play begins, or on images such as "full fathom five thy father lies" or "sounds and sweet airs that give delight and hurt not".

Fantasy writer Neil Gaiman based a story on the play in one issue the final issue [] of his comics series The Sandman.

The comic stands as a sequel to the earlier Midsummer Night's Dream issue. The story draws many parallels between the characters and events in the play and Shakespeare's life and family relationships at the time.

The Tempest first appeared on the screen in It portrays a condensed version of Shakespeare's play in a series of short scenes linked by intertitles.

At least two other silent versions, one from by Edwin Thanhouser , are known to have existed, but have been lost.

Wellman , in The science fiction film Forbidden Planet set the story on a planet in space, Altair IV, instead of an island.

Professor Morbius and his daughter Altaira Anne Francis are the Prospero and Miranda figures both Prospero and Morbius having harnessed the mighty forces that inhabit their new homes.

Ariel is represented by the helpful Robby the Robot , while Sycorax is replaced with the powerful race of the Krell. Caliban is represented by the dangerous and invisible "monster from the id", a projection of Morbius' psyche born from the Krell technology instead of Sycorax's womb.

In the opinion of Douglas Brode, there has only been one screen "performance" of The Tempest since the silent era, he describes all other versions as "variations".

It cut the play to slightly less than ninety minutes. A episode of the television series Star Trek , " Requiem for Methuselah ", again set the story in space on the apparently deserted planet Holberg G.

In , Derek Jarman produced the homoerotic film The Tempest that used Shakespeare's language, but was most notable for its deviations from Shakespeare.

The film reaches its climax with Elisabeth Welch belting out Stormy Weather. Several other television versions of the play have been broadcast; among the most notable is the BBC Shakespeare production, virtually complete, starring Michael Hordern as Prospero.

Paul Mazursky 's modern-language adaptation Tempest , with Philip Dimitrius Prospero as a disillusioned New York architect who retreats to a lonely Greek island with his daughter Miranda after learning of his wife Antonia's infidelity with Alonzo, dealt frankly with the sexual tensions of the characters' isolated existence.

The Caliban character, the goatherd Kalibanos, asks Philip which of them is going to have sex with Miranda. Susan Sarandon plays the Ariel character, Philip's frequently bored girlfriend Aretha.

The film has been criticised as "overlong and rambling", but also praised for its good humour, especially in a sequence in which Kalibanos' and his goats dance to Kander and Ebb 's New York, New York.

John Gielgud has written that playing Prospero in a film of The Tempest was his life's ambition. Closer to the spirit of Shakespeare's original, in the view of critics such as Brode, is Leon Garfield 's abridgement of the play for S4C 's Shakespeare: The Animated Tales series.

The minute production, directed by Stanislav Sokolov and featuring Timothy West as the voice of Prospero, used stop-motion puppets to capture the fairy-tale quality of the play.

A magician who has learned his art from one of his slaves, Prosper uses his magic to protect his teenage daughter and to assist the Union Army.

In , the year that the UK hosted a 'Tempest' themed Olympics opening ceremony, [] directors Rob Curry and Anthony Fletcher released a theatrical documentary following a South London youth club as they staged a production of the play at the Oval House Theatre in Kennington.

The adaptation focused heavily on the post-colonial legacy of the play, featuring as it did a racially mixed cast of young Londoners. Under their referencing system, 4.

From Wikipedia, the free encyclopedia. This article is about the Shakespeare play. For other uses, see The Tempest disambiguation.

Play by William Shakespeare. Prospero — the rightful Duke of Milan Miranda — daughter to Prospero Ariel — a spirit in service to Prospero Caliban — a servant of Prospero and a savage monster Alonso — King of Naples Sebastian — Alonso's brother Antonio — Prospero's brother, the usurping Duke of Milan Ferdinand — Alonso's son Gonzalo — an honest old councillor Adrian — a lord serving under Alonso Francisco — a lord serving under Alonso Trinculo — the King's jester Stephano — the King's drunken butler Juno — the Roman goddess of marriage Ceres — Roman goddess of agriculture Iris — Greek goddess of the sea and sky Master — master of the ship Mariners Boatswain — servant of the master Nymphs, Reapers.

Play media. Shakespeare Studies. The Tempest. Shakespeare After All. The Literary London Journal.

The First Folio of Shakespeare. Oxford University Press. Shakespeare, Our Contemporary. Cambridge Scholars Publishing. Retrieved 10 May Studies in Ethnicity and Nationalism.

The Feminist Spectator as Critic. Ann Arbor: University of Michigan Press. Women and the Demon. Cambridge: Harvard University Press.

The Oxford Handbook of Feminist Theory. New York: Cambridge University Press. Archived from the original on 8 February Retrieved 8 February Royal Shakespeare Company.

Retrieved 1 November Caliban: The Missing Link. Pictures of the Year. Contemporary Review. Auberlen, Eckhard Restoration: Studies in English Literary Culture, — New York Magazine.

Retrieved 22 February The New York Times.

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