The Tempest: A History on Post-Colonial Themes

Word of the Day:

 

Post colonialism

 

[Noun] (post-cole-oni-all-ism)

 

1. Post colonialism is the study of the legacy of the era of European, and sometimes American, direct global domination. It ended roughly in the mid-20th century. The residual political, socio-economic, and psychological terms of the time effected that colonial history in which we know of today.

2. Post colonialism examines the manner in which emerging societies grapple with the challenges of self-determination and how they incorporate or reject the Western norms and conventions. Ironically, much early postcolonial theory, with its emphasis on overt rejection of imposed Western norms, was tied to Marxist theory, which also originated in Europe.

3. Contemporary studies focus more on the effects of postcolonial globalization and the development of indigenous solutions to local needs.

 

During the late 1500's and early 1600's of the artistic reign of Shakespeare: he was primarily fascinated with the culture of the time: Post colonialism. Othello, one of Shakespeare’s well known works of art: focuses on the post-colonial themes of racism and class-status.

 

What does this have to do with The Tempest?

 

Well, it’s simply elementary. The Tempest follows the themes of class and usurpations strongly to the point in where the entire play is structured on the status quo being revoked and reinstated. Let us start from, the beginning:

 

Prospero was the usurped duke of Milan. He we forcibly removed from power by his brother, Antonio. Throughout the play, history repeats in a series of bizarre and inhumane ways.

 

Upon Prospero’s arrival to the island he usurps the power from Caliban (possibly the greatest interpretation of post colonialism), and his mother Sycorax. In his time of enslavement (Caliban being the slavering worker and Prospero being to the man of power), Prospero begins to enlighten Caliban of western education, but ceases his teachings once Caliban attempts to rape his daughter, Miranda. This remains very true to the thoughts of post colonialism due to the times opinions on the African American Culture. (Normally Caliban is portrayed/played by an African American man.) Although it is not clearly spelled out in The Tempest, a better example of post-colonialism themes of race can be found in the pages of Othello.

 

“Othello, the protagonist of the play, is an African moor living in Venice, and a general in the Venetian army.

During Shakespeare's time, the Moors were described as stub- born’, ‘bestial,’ and 'intolerant'. To Elizabethan Londoners, Moors, or Africans in general, were viewed as barbaric.

Africans had visited the Mediterranean long before the time in which the events of the play are set, and a portrayal of Othello as an African makes the plot much more interesting. It adds much to the character's experience of alienation and suspicion as "a stranger in a strange land."

Moreover, Othello's failure to trust in his wife's faithfulness is attributed to the fact that they are from "two different worlds."

(If you want to read more click here: http://postcolonialism.50webs.com/)

 

This is THE TEMPEST, Not OTHELLO…What’s Your Point?

 

The point of using OTHELLO as a comparison is that Shakespeare was thoroughly inspired by the post-colonial movements of his time. The fascination with slaves and status: and the contrast between the freedoms a man is entitled to and the liberty a man has, is a clear theme and driving question of The Tempest. What will MCVTS’ do with the themes of post-colonialism in their production of The Tempest? See the show to find out.

 

For More Information on Post Colonialism click here: http://www.nilsole.net/referate/post-colonialism-definition-development-and-examples-from-india/

Sincerely,
Hayley Michelle & The Students of MCVYS School of Art

The Students of MCVTS School of the Arts
Performance Dates: March 14, 15, 16, 21, 22
112 Rues Lane East Brunswick, NJ
Tickets can be purchased by Students of MCVTS School of The Arts and or at the door

 

 

The Tempest: A History on Shakespeare Productions

Word of the Day

Globe Theatre

noun

1.      a theater on the south bank of the Thames in London, 1599–1613: many of Shakespeare's plays were first produced here.

Although the Globe theatre is infamously known for hosting Shakespeare’s plays: it was not the only house that accommodated to the needs of the theatre.  His plays were performed in private theatres, provincial theatres, and playhouses. Some plays were acted out in the yards of bawdy inns and in the great halls of the London Inns of Court; either way Shakespeare has truly seen and done it all. Our artistic culture is fascinated by the history of theatre and how we compare in technological growth as an advanced, and educated group of youths.

Sounds Like a Thesis…Where are we going with this?

The way Shakespearean productions were produced in the past are vastly different than that of today. Although we know little about Shakespeare himself, we make up for that lack of knowledge in information on exactly HOW his plays were created and fashioned.

For instance: Shakespeare did not have actors. The technically term  was “masterless men”. In the era, Europe ran efficiently on a strict system of guilds (or trades. This being where there would be a master and an intern, called a prodigy, apprentice, and or shadow). However, because theatre was not considered a guild until later in the century, the men were coined as outcasts. In fact, these “masterless men” were deemed so low on the totem pole, that prostitution and pirating were considered to be more suitable of a life than that of an actor.

However if an actor (or a company) could receive a PATRON, he would be legitimized to walk upon the earth as everyone else. Patrons, were Nobelmen who provided little financial help to their men. They also licensed the theatre company and approved their shows.

In London, Theatre companies were highly active. There were always at least 2-4 active companies at a time in the city (1580’s – 1642). The companies would perform their shows 6 days a week during the afternoons, yet they practically changed the billings every day. Now, come the 1590’s, an average London Theatre company would average a new play every 17 days, as compaired to the early 1580’s, were the process was much slower. The average life of these plays were about 10 performances. Most actors (such as Shakespeare) wrote their own work for their companies but many writers (such as Thomas Kyd) sold their works to companies on a one-time fee.

You’re Getting off Topic... What Does This have to do With The Globe Theatre?

The Globe Theatre wasn’t in existence until 1599, where it was solely used to house the works of Shakespeare. The inside of the globe is ornate and beautiful: known for its towering roof (dubbed “The Heavens”) and marvelous columns that hold the roof high above the stage. The Globe itself acted as the scenery for the plays. In fact, there was little to no set at all besides a basic backdrop. There were no given props: but if you were to use a prop (such as a bed, a throne or a basket) it would have to be your own property. In fact the clothing, was either their own clothing in which they wore every day or donated by the nobilities that sponsored them.

The companies had a range of 20-25 men (Shareholders, Hired Men and Apprentices).

All roles, conventionally, were played by men (the younger boys, whom had not yet reached puberty would play the female roles). The performance aspect of the plays were somewhat realistic: as the lines were all spoken. The use of masks were superfluous to the times, unless it was used as a disguise for a character. There were musical scores for Nobility members (for instance, whenever the royalty made an entrance). There were also elements of music during important announcements, battles (signaling the start) and there were indeed a few dance pieces. Most performances included a jig, which was a short lively music-and-fane piece.

Admissions for the plays were public, and depending on your “seat” location (standing room only), the fee was raised. For example: the cheapest of seats were located in the yard. The moderate pricings were in the galleries and the expensive area was the boxes, or better known as “the lord’s rooms”. There were absolutely no intermissions: however there were circulating vendors of wine, beer, ale, nuts and playing cards. The Atmosphere in a modern simile: Were very much alike todays sporting events.  

In today’s culture: theatre is what we desire it to be. The conventions of Shakespeare are not long relevant to today’s generation’s needs. In the now, audiences require showy sets, props. Not many shows use music (unless it is a musical, that is). In fact, when performing Shakespeare plays: many productions tend to choose to go over the top to relate the old customs to the new ideas of today’s generation.

So How Will MCVTS Tempest Be Performed?

It will most definitely be taken into a modern to post-modern theme: however we desire to pay a tribute to the customs of the old Shakespearean conventions. If you want to see how it really turns out…well, you’ll just have to come and see the show.

The Students of MCVTS School of the Arts
Performance Dates: March 14, 15, 16, 21, 22
112 Rues Lane East Brunswick, NJ
Tickets can be purchased by Students of MCVTS School of The Arts and or at the door

The Tempest: A History On Origin

Word of the Day:

O·rig·i·nal·i·ty

/əˌrɪdʒ əˈnæl ɪ ti/ Show Spelled [uh-rij-uh-nal-i-tee]  

1. The quality or state of being original.

 

2. Ability to think or express oneself in an independent and individual manner; creative ability.

 

3. Freshness or novelty, as of an idea, method, or performance.

 

Shakespeare is a household name in which resembles great literature and tales of the theatre. And although he is known throughout the pages of history books all across the world: many historians suggest that his works were unoriginal.  Spanning from Romeo and Juliet (based on a “The Tragical History of Romeus and Juliet” written originally by Arthur Brooke), to Midsummer Nights Dream (A play within a play. The play that Bottom and his workingmen perform is that of “Pyramus and Thisbe” written by Ovid): Shakespeare has been known to be a bit of a… copycat. (Many theories believe that he did indeed plagiarize, yet it cannot be proven…technically.)

 

Yet many historians still wonder that if his last play, The Tempest, was a true original?

 

Where Did The Tempest Come From?

 

The Tempest follows the venture of noblemen (Alonso, Gonzalo, Sebastian, Ferdinand, Antonio….and their underlining Triniculo & Stephano) as they attempt to survive in the revenge plot of their exiled ex-duke of Milan: Prospero. They have all landed on his island (Shipwreck, actually. The storm was caused by Prospero and his spirit servant: Ariel). The play sees through the eyes of the bewildered and bewitched men as they fall easily under Prospero’s spells, leading them to see phenomenon’s that the human brain was simply not ready to comprehend.

 

Men with mouths in their stomachs: Trees that grew fruit from the trunk instead of the leaves.

 

CANNIBALS of Monstrous physicality that conspire with spirits to hex the intruders.

 

 

Cannibals? Hexes? These sound like exaggerations--- where are you going with this?

True, they do sound like exaggerations: but I can assure you that this is no fib.

 

Back in the era of Shakespeare, 1600’s: sea venturing was quite common. It was only a few centuries ago that the “new brave world” was discovered. “Brave”, not in the tense of courage, but “brave” as in undiscovered.

 

As sailors took off in their fleets of ships: they would return back with the wildest of tales. Sometimes they would not come back at all.

 

Many conspiracy theories on where the Tempest originates, are based on the periodical time. Perhaps Shakespeare based The Tempest on real0life accounts that sailors had witnessed throughout their travels.

 

 One account that stands out to me was that of a small venture into the Bahamas in 1609. The Sea Venture a main ship for the powerful Virginia Company, left port in June for the New World, carrying settlers to the new town of Jamestown in Virginia. Nearly two months into the trip, the ship was caught in a hurricane, leading the captain to ground it on the reefs of an island. By crash landing on Bermuda, 150 people and a dog were saved from the storm. Survivors talked about their experiences on the island and the tales began to form from there.

 

Once the news of the wreck hit London, several accounts of the shipwreck and the events that followed it were published in pamphlet form by an eyewitness, William Strachey. Many believe that Shakespeare not only had access to Strachey’s tales, but drew on them extensively to write The Tempest. The timing certainly matches, as the play was first performed in 1611 and is believed to have been written no more than a year before.

 

Some scholars suggest that the island of The Tempest may not be in the New World at all, but considerably closer to England. Ireland has been suggested as a possible setting for the play, which deals at least partially with concepts of colonization and home rule. Many of the mystic creatures that appear in the play have a Celtic origin or Irish counterpart to which parallels may be drawn.

 

A controversial theory is that the island is actually a metaphor for London, and the morally obtuse figure of Prospero is a version of Shakespeare himself. Prospero is a man of great power and prestige on the island, the ruler of all creatures, yet he chooses to leave his domain behind and return to a life of peaceful, family rule. Similarly, Shakespeare quit the stage after The Tempest returning to his family estates in Stratford to live his few remaining years in relative peace. Experts cite the epilogue of the play as strangely direct, and have even suggested that it may be Shakespeare bidding farewell to the theater and asking forgiveness and love from his audience.

(taken from an article I read on www.WiseGeeks.com)

Interesting Theories: but What is The Truth?

 

The truth is what we choose to believe in. No one can concretely say that The Tempest was based on a specific story or event. The truth is in the eye of the beholder, as corny as it sounds.

So will we ever know? Perhaps not.

Yet, I have my own theories in which the play is based off. I believe that if you want to form your own opinion, you need to go out and experience your argument and answer.

 

Perhaps seeing really is believing.

 

Form your own opinions, your own theories: discuss them, further them: share them.

 

“Mercy itself, and frees all faults.

As you from crimes would pardoned be,

Let your indulgence set me free” ---Prospero, Epilogue
 
Sincerely,
Hayley Michelle & The Students of MCVYS School of Art
 
The Students of MCVTS School of the Arts
Performance Dates: March 14, 15, 16, 21, 22
112 Rues Lane East Brunswick, NJ
Tickets can be purchased by Students of MCVTS School of The Arts and or at the door

 

 

The Tempest: A History on Love (Part II)

Word of the Day:

Mi·ran·da

/mɪˈræn də; also for 1, 4, Spanish miˈrɑn dɑ/ [mi-ran-duh; also for 1, 4, Spanish mee-rahn-dah] noun

 

1.      Astronomy . a moon of the planet Uranus.

2.      daughter of Prospero in Shakespeare's The Tempest.

3.      a female given name: from a Latin word meaning “to be admired.”

 

 

Small song birds are common in nature. Known for their sweet melodies that mark the start of a new morning, Song birds have been dubbed untouchable by many due to their kind and true nature. “Never kill a mocking bird.” (Harper Lee). It is wrong to break a fragile glass that sits idly by and does nothing harmful or in spite. These things, these song birds: are creatures to be revered. Admired.

 

Small Song Birds? Where Are You Going With This?

 

Song birds are very similar to the character, Miranda, the daughter of Prospero in The Tempest. She is, alike the birds mentioned, pure in a nature that cannot tainted by the perfidious birds of prey (such as Caliban, the moon-calf slave of Prospero). Miranda has seen nor known anything except her father and herself, minus the presence of the monstrous slave who pursues to soil the purity of Miranda. As she matures to a sweet 15, she begins to discover that not everything is black and white; there is more to the world than the lonely island she has known her whole life. There are new things to discover. Things such as resentment, defiance: but mainly love.

 

How Miranda Met Ferdinand….

 

 
Hannah Suchomel (Pictured above) is a Junior at MCVTS School of the Arts, and shall be in the upcoming production on The Tempest in the role of Miranda. Miranda is the young and naïve daughter of Prospero. Throughout the play she falls in love with Ferdinand, portrayed by Brett. Brett is literally the boy-next-door. Living next to each other, Hannah and Brett have fallen into a form of love: a strong friendship.

 

“Hannah and I have been friends since 6^th grade” Said Brett when asked about his relationship with Hannah. “We’ve been friends for a long time, and we’ll always be friends. I think it can only benefit us once we begin to get into the territory of truly defining Miranda and Ferdinand.”

 

But Miranda and Ferdinand are more than just friends. In a way, it really is a mountain and molehill situation. Except here, we want to make a molehill into a Mount Everest. Friendship is a small form of true love—we want the farthest end of the spectrum. That is not something easily done. When interviewing Hannah about her tactics on how to climb this mountain she had this to say:

“What’s bigger than a mountain? A glacier? Being in love is kind of like trying to melt a glacier. Throughout time it begins to run into the ocean: drop by drop. That’s the strategy for now. To understand Miranda, I need to understand love. I write every night how I feel about love and how I feel about my love interest (meaning Brett). I pick things about him that I find intriguing---interesting. I find Brett interesting. I just need to find the interesting think that changes friendship to relationship.”

 

Miranda and Ferdinand Sitting in a Tree… T-A-L-K-I-N-G

 

The key to love is mutual sense of practicality and prose. Believe it or not: but collectively we’ll talk more in our lifespan than we’ll spend sleeping. We talk to our parents, we talk to our friends: but everyone we talk to is a loved one.

 

Love is the honesty of language.

 

The first step in a true relationship is being able to talk to each other. There should be no inhibitions on either side of the court: for that way it will be a fun and fair game. Once you can openly talk to another person, you can then let that person’s words effect you. Positively, negatively: love is action.

 

The Truth About Love….

 

The truth about love, is that love is truth. Boiled down to the bone and scrapped clean of doubt. Once you are truthful to not only the recipient of your love, but yourself as well: then you can find the truth pathway of the heart. Follow it. Don’t turn back.

 

“My affections, are then most humble; I have no ambition...” (Miranda.)

 

For more on Miranda and Ferdinand, click the link below

http://www.shakespeare-online.com/plays/thetempest/mirandaferdinand.html

Signed,
Hayley Michelle
&
The Students of MCVTS School of the Arts
Performance Dates: March 14, 15, 16, 21, 22
112 Rues Lane East Brunswick, NJ
Tickets can be purchased by Students of MCVTS School of The Arts and or at the door

The Tempest: A History On Love (Part I)

Word of the Day:

Love

/lʌv/ Show Spelled [luhv] noun, verb, loved, lov·ing.

1. A profoundly tender, passionate affection for another person.

2. A feeling of warm personal attachment or deep affection, as for a parent, child, or friend.

3. Sexual passion or desire.

4. A person toward whom love is felt for: lover, sweetheart, and valentine.

What is Love?

Love is a curious thing: known to come in disguise. It fools those stung by it' quiver and leaves them at to the loins of hormones and emotions: that ravage the brain, the gut and the heart. Love brings the tallest of towers crumbling to the ground. Love has even been called the most powerful force in the world. Love defies logic and death.

Everyone loves, yet we know so little about it.

Everyone has their views and opinions on love: believing that each one of us is correct in defining the emotion. Some say:

"Love is an irresistible desire to be irresistibly desired." - Robert Frost

"Love is like quicksilver in the hand. Leave the fingers open and it stays. Clutch it, and it darts away." - Dorothy Parker

"Love is the master key that opens the gates of happiness." - Oliver Wendell Holmes

"Love stretches your heart and makes you big inside." - Margaret Walker

"They do not love that do not show their love. The course of true love never did run smooth. Love is a familiar. Love is a devil. There is no evil angel but Love." William Shakespeare

Why All the Ruckus About Love? What Does This Have To Do With The Tempest?

Everything. Although the tempest follows Prospero and his emotional journey as he seeks revenge, love is a very important aspect of The Tempest. One of the smaller story lines is that of Ferdinand and Miranda. The two are young lovers who meet but are "forbidden" to talk to each other because Ferdinand was taken prisoner by Miranda's father, Prospero. To get a better understanding of What Love is and what it means to the young couple: Let's meet them, shall we?

World: Say Hello To Ferdinand.

This is Ferdinand... Well actually his name is Brett. Brett Temple, Sophomore at MCVTS School of the Arts. He is an actor, who will be starring as the strapping young lover in the upcoming production of The Tempest. When asked about his role, Brett had this to say:

"When I approach the character of Ferdinand, I can see many similarities between he and I. For starters, Ferdinand is a very privileged being- starting from when he was young prince and now a supposed king, or so he thinks-...-He has never had to fight for something he wanted. However once he arrives at the island where Prospero has been exiled to, he receives a major reality check. Personally, I believe that is the most interesting quality about him. The way his perspective changes drastically after his arrival on the island. Change catches my attention. Room for Growth drives me. I look forward to exploring the ranges of Ferdinand and giving him the light and truth he deserves".

Yet when asked about Love his views of how Ferdinand and him are similar changed drastically:

"I believe in true love, as corny as it sounds. I think Ferdinand believes it exists as well, but where we differ is our means of finding it. Love is a war tactic. Where Ferdinand believes in trying and trying again until you succeed, I believe that love will find you no matter what. So where Ferdinand has many girlfriends...I have many cats."

Here's a Hint: Love Comes When Least Expected.

Love is something that people have fought wars over and even died for. People go mad for it, people cry over it-- especially when it is unrequited. But those who try so desperately to find love, usually never find success. For you see: Love is not a bridge easily crossed. There is always a toll booth and troll- don't even get me started on the traffic. What you'll  need to do is find a sufficient mode of travel across the metaphorical bridge of doom to find the end of the rainbow: perhaps you can find Ferdinand and Love there. Sometimes you need to sit in the car for hours and listen to cheesy ballads from the 80's. When you stop trying--- love comes.

It's the little things that make the feeling love.

Weather it’s the way the person phrases something, or looks at you. When you notice the small changes like the way they part they're hair. When you are captivated by the tiniest detail or flaw- and you dismiss it because you are so strongly fascinated by the way they do what they do: that is when you realize that you are in love.

Also, Love does not always have to be romantic. It can be intimate, it can be raunchy. Love can be that for a family member, a close friend, a prized possession-- and furry companions (I do mean cats.)

Love can't be pressured, but only perused. Inches always add up to miles, Brett. Love is about taking your time and not rushing it away, but rather slowly savoring every passing second you can with the object of your futile affection. And when the other half of the equation adds up to your answer: that is love.

It's a puzzle. Just look at the box: follow the directions as loosely or closely as you see fit. There will be a missing piece, there always is. Just get creative. You'll find something to fill the emptiness.

Love: Don't Over-Think it!

When love comes to the brain naturally: it's real. When it is forced to be thought about, love is not in the air. Take your time, let it breathe: and it will come to you. Weather you’re an actor, or a regular person.

Good performances are the reflection of real life upon the stage. I have the upmost faith in Brett- and in Ferdinand to find their love before the curtain falls every night.

But we'll just have to wait and see: There is so much that is un-determined that is yet to come. Perhaps, love is one of those things....

"Hear my soul speak. Of the very instant that I saw you, Did my heart fly at your service" - Ferdinand (The Tempest, Act 3 Scene 1).

http://www.youtube.com/watch?v=8s2S9P9faNE (Follow Brett as he vlog's his process in discovering Ferdinand: click the link above!)

Signed,

Hayley Michelle

&

The Students of MCVTS School of the Arts

Performance Dates: March 14, 15, 16, 21, 22

112 Rues Lane East Brunswick, NJ

Tickets can be purchased by Students of MCVTS School of The Arts and or at the door