The Tempest In-School Residency Created by: Kat Martin

Session #1: Text and Choices – focusing on opening dialogue between Prospero and Caliban, ​ Act I, scene 2 3/23 B Block: 8:30-10:00 D Block: 10:15-11:45 F Block: 11:45-12:30

3/24 E Block: 10:15-11:45 A Block: 1:45-3:15

Kat introduces team and text (3 min) Discussion of character and activity: (30 min) Kat introduces the activity: We can tell a lot about who characters are and how we as performers should embody them by analyzing what the character says and what is said about the character by others. Remember how your character says something is as revealing or more than what they actually say. Also keep in mind the relationship that the speaker has with your character because will undoubtedly color their perception of them. By pulling apart the text in this way we can draw conclusions about the characters physically (height/weight/race/gender/age) economic (class) psychologically (what patterns do we see in their behavior? What patterns ground their decision making?) and moral ethically (what represents the highest good to your character)

Activity: Split the class into 3 groups one group will work with Caliban and one with Prospero one with Miranda using their full text: Make lists of what the character says (thinking about how they say it) and what is said about the character then use that List to draw conclusions about the 4 levels of character: physical, economic/class,psychological, and moral ethical

Share the findings (10 min)

The Tempest Residency Norfolk Academy

Created for Virginia Stage Company by: Kat Martin 1 Performance of I,ii (40 min) [using our cut version below. I will also print out copies for everyone] Miranda and Prospero visit Caliban [Ryan-Prospero Grace-Caliban Jenny-Miranda] Things to consider: while making adjustments based on what the students have found How should the actors embody their character physically? What is the quality of the relationship between the characters? Keeping in mind class and power Do the actions of the character in the scene fit in their patterns or break them? What do the characters want? How do we want this scene to effect the audience?

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Created for Virginia Stage Company by: Kat Martin 2

I,ii (Prospero finishes telling Miranda how they came to the island)

MIRANDA The strangeness of your story put Heaviness in me.

PROSPERO Shake it off. Come on; We'll visit Caliban my slave.

MIRANDA 'Tis a villain, sir, I do not love to look on.

PROSPERO But, as 'tis, We cannot miss him: he does make our fire, Fetch in our wood and serves in offices That profit us. What, ho! slave! Caliban! Thou earth, thou! speak.

CALIBAN [Within] There's wood enough within.

PROSPERO Come forth, I say! there's other business for thee: Come, thou tortoise! when?

PROSPERO Thou poisonous slave, come forth! Enter CALIBAN

CALIBAN As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen Drop on you both! a south-west blow on ye

The Tempest Residency Norfolk Academy

Created for Virginia Stage Company by: Kat Martin 3 And blister you all o'er!

PROSPERO For this, be sure, to-night thou shalt have cramps, Side-stitches that shall pen thy breath up; urchins Shall, for that vast of night that they may work, All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em.

CALIBAN I must eat my dinner. This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me and madest much of me, wouldst give me Water with berries in't, and teach me how To name the bigger light, and how the less, That burn by day and night: and then I loved thee And show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place and fertile: Cursed be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, whiles you do keep from me The rest o' the island.

PROSPERO Thou most lying slave, Whom stripes may move, not kindness! I have used thee, Filth as thou art, with human care, and lodged thee In mine own cell, I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other: till thou didst seek to violate The honour of my child.

CALIBAN

The Tempest Residency Norfolk Academy

Created for Virginia Stage Company by: Kat Martin 4 O ho, O ho! Would’t had been done! Thou didst prevent me; I had peopled else This isle with Calibans.

PROSPERO Therefore wast thou Deservedly confined into this rock, Who hadst deserbed more than a prison.

CALIBAN You taught me language; and my profit on't Is, I know how to curse. The red plague rid you For learning me your language!

PROSPERO Hag-seed, hence! Fetch us in fuel; and be quick, thou'rt best, To answer other business. Shrug'st thou, malice? If thou neglect'st or dost unwillingly What I command, I'll rack thee with old cramps, Fill all thy bones with aches.

CALIBAN No, pray thee. Aside I must obey: his art is of such power, It would control my dam's god, Setebos, and make a vassal of him.

PROSPERO So, slave; hence!

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Created for Virginia Stage Company by: Kat Martin 5

Session #2: Comedy in The Tempest – focusing on Act II, scene 2 (Stephano, Trinculo, and ​ Caliban – “Misery acquaints a man with strange bedfellows,” etc.) - Tuesday Morning 8:30-10: Jenny: Stephano Kat: Trinculo Ryan: Caliban - Tuesday Afternoon 1:45-3:15 Jenny: Stephano Grace: Trinculo Ryan : Caliban - Wednesday morning 8:30-11:45 Kat: Stephano Tommy: Caliban Grace: Trinculo - Wednesday Afternoon: 11:45- 3:15 Jenny: Stephano Kat: Trinculo Ryan: Caliban

Kat (Tuesday morning)/Grace (Tuesday Afternoon)/Tommy (Wednesday Morning) : Introduces comedy and commedia (10 min) Today we are going to talk about comedy in The Tempest. Who are some of your favorite comedians/actors/funny friends and what about them makes them funny. (writes list on board. We want to try to steer them toward physicality, delivery, timing, and or observation) So you guys know what makes a person funny. I am seeing a couple broad categories in your list (i.e. physicality, delivery, timing, and or observation, puns) Shakespeare also utilizes these basic tools in The Tempest while drawing on a template his Elizabethan audiences were already familiar: commedia del arte. Commedia is formula driven and improvisationally based. This theater style comes from the Italian Renaissance which inspires the Elizabethan era and its enlightenment.

The Tempest Residency Norfolk Academy

Created for Virginia Stage Company by: Kat Martin 6 Kat (Tuesday morning) /Jenny(Tuesday Afternoon): Commedia Presentation (15 min) -While discussing the types the actor should adjust their physicality -Questions for class -Which of these types do you see in The Tempest -Trinculo Stephano and Caliban are a kind of Zani and they are going to be our focus today

Ryan (Tuesday morning)/Grace (wednesday morning): Insult/Compliment game (15 min) -Once through with 2 lines for language -Once through to think about the commedia physicality and lazzis -And maybe once through with 2 insults from Act 2 Scene 2?

II, ii (40 min) - “Cold read” then ask the class if they noticed anything in the text that is a joke or an opportunity to show some commedia traits (10 min) - Tuesday Morning 8:30-10: Jenny: Stephano Kat: Trinculo Ryan: Caliban - Tuesday Afternoon 1:45-3:15 Jenny: Stephano Grace: Trinculo Ryan : Caliban - Wednesday morning 8:30-11:45 Kat: Stephano Tommy: Caliban Grace: Trinculo - Wednesday Afternoon: 11:45- 3:15 Jenny: Stephano Kat: Trinculo Ryan: Caliban - Actor mark scripts with class suggestions for following group work - Break into 2 groups and lay a rough blocking sketch in with your students as actors. (20 min) - Don’t worry about getting all the way through it get as far as you can with the level of detail you want - Present scenes (10 min)

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Created for Virginia Stage Company by: Kat Martin 7 TEMPEST II,ii

CALIBAN All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease! His spirits hear me And yet I needs must curse. Lo, now, lo! Here comes a spirit of his, and to torment me For bringing wood in slowly. I'll fall flat; Perchance he will not mind me.

TRINCULO Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; If it should thunder as it did before, I know not where to hide my head. What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish- like smell. Thunder Alas, the storm is come again! my best way is to creep under his gaberdine; there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. Enter STEPHANO, singing: a bottle in his hand

STEPHANO I shall no more to sea, to sea, Here shall I die ashore-- This is a very scurvy tune to sing at a man's funeral: well, here's my comfort. Drinks

CALIBAN Do not torment me: Oh!

STEPHANO What's the matter? Have we devils here? I have not scaped drowning to be afeard now of your four legs; for it hath been said, As proper a man as

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Created for Virginia Stage Company by: Kat Martin 8 ever went on four legs cannot make him give ground; and it shall be said so again while Stephano breathes at's nostrils.

CALIBAN The spirit torments me; Oh!

STEPHANO This is some monster of the isle with four legs. Where the devil should he learn our language? I will give him some relief, if it be but for that. if I can recover him and keep him tame and get to Naples with him, he's a present for any emperor that ever trod on neat's leather.

CALIBAN Do not torment me, prithee; I'll bring my wood home faster.

STEPHANO He's in his fit now and does not talk after the wisest. If I can recover him and keep him tame, I will not take too much for him; he shall pay for him that hath him, and that soundly.

CALIBAN Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling: now Prosper works upon thee.

STEPHANO Come on your ways; open your mouth; here is that which will give language to you, cat: open your mouth; this will shake your shaking, I can tell you, and that soundly: you cannot tell who's your friend: open your chaps again.

TRINCULO I should know that voice: it should be--but he is drowned; and these are devils: O defend me!

STEPHANO Four legs and two voices: a most delicate monster! His forward voice now is to speak well of his

The Tempest Residency Norfolk Academy

Created for Virginia Stage Company by: Kat Martin 9 friend; his backward voice is to utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come. Amen! I will pour some in thy other mouth.

TRINCULO Stephano!

STEPHANO Doth thy other mouth call me? Mercy, mercy! This is a devil, and no monster: I will leave him;

TRINCULO Stephano! If thou beest Stephano, touch me and speak to me: for I am Trinculo--be not afeard--thy good friend Trinculo.

STEPHANO If thou beest Trinculo, come forth: I'll pull thee by the lesser legs: if any be Trinculo's legs, these are they. Thou art very Trinculo indeed! How camest thou to be the siege of this moon-calf? can he vent Trinculos?

TRINCULO I took him to be killed with a thunder-stroke. But art thou not drowned, Stephano? I hope now thou art not drowned. Is the storm overblown? I hid me under the dead moon-calf's gaberdine for fear of the storm. And art thou living, Stephano?

STEPHANO Prithee, do not turn me about; my stomach is not constant.

CALIBAN [Aside] These be fine things, an if they be not sprites. That's a brave god and bears celestial liquor. I will kneel to him.

STEPHANO How didst thou 'scape? How camest thou hither?

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Created for Virginia Stage Company by: Kat Martin 10 swear by this bottle how thou camest hither.

CALIBAN I'll swear upon that bottle to be thy true subject; for the liquor is not earthly.

STEPHANO Here; swear then how thou escapedst.

TRINCULO Swum ashore. man, like a duck: I can swim like a duck, I'll be sworn.

STEPHANO Here, kiss the book. Though thou canst swim like a duck, thou art made like a goose.

TRINCULO O Stephano. hast any more of this?

STEPHANO The whole butt, man.How now, moon-calf! how does thine ague?

CALIBAN Hast thou not dropp'd from heaven?

STEPHANO Out o' the moon, I do assure thee: I was the man i' the moon when time was.

CALIBAN I have seen thee in her and I do adore thee: My mistress show'd me thee and thy dog and thy bush.

STEPHANO Come, swear to that; kiss the book.

TRINCULO By this good light, this is a very shallow monster! I afeard of him! A very weak monster! The man i' the moon! A most poor credulous monster!

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Created for Virginia Stage Company by: Kat Martin 11

CALIBAN I'll show thee every fertile inch o' th' island; And I will kiss thy foot: I prithee, be my god.

TRINCULO By this light, a most perfidious and drunken monster! when 's god's asleep, he'll rob his bottle.

CALIBAN I'll kiss thy foot; I'll swear myself thy subject.

STEPHANO Come on then; down, and swear.

TRINCULO I shall laugh myself to death at this puppy-headed monster. I could find in my heart to beat him,--

STEPHANO Come, kiss.

TRINCULO But that the poor monster's in drink: an abominable monster!

CALIBAN I'll show thee the best springs; I'll pluck thee berries; I'll fish for thee and get thee wood enough. A plague upon the tyrant that I serve! I'll bear him no more sticks, but follow thee, Thou wondrous man.

TRINCULO A most ridiculous monster, to make a wonder of a Poor drunkard!

CALIBAN I prithee, let me bring thee where crabs grow; And I with my long nails will dig thee pignuts; Show thee a jay's nest and instruct thee how To snare the nimble marmoset

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Created for Virginia Stage Company by: Kat Martin 12 Wilt thou go with me?

STEPHANO I prithee now, lead the way without any more talking. Trinculo, the king and all our company else being drowned, we will inherit here: here; bear my bottle: fellow Trinculo, we'll fill him by and by again.

CALIBAN [Sings drunkenly] Farewell master; farewell, farewell!

Session #3: Race, Gender, and Discovery – focusing on Act V, scene 1 (“This thing of ​ darkness I acknowledge mine.” And “O, brave new world that has such people in ’t!”)

Discussion of dramatic criticism and readings of a text (40 min) Kat: Dramatic criticism is reading a play analytically through a certain lense or with a theme in mind. In The Tempest there are several critical lenses that scholars have used to create specific “readings” of the play. We can read the play through the lense of discovery/colonialism, race and gender. (Draw a 3 part venn diagram on the board). These concepts are not mutually exclusive they bleed into and inform one another as you can see by this diagram. Which we can clearly see in Act Five scene 1 that we will be looking at today What is discovery? [jot some of their ideas down] It seems like we can say there are 2 major types of discovery geographical and emotional. How does geographical discovery relate to the Tempest? In the discovery of the island by Prospero then by the royal party after the storm (write island in venn diagram). Where is the island? [get their ideas point them to I,ii line 230 and II,ii line 33] -Location of the island: narratively located in the mediterranean (a state of mind related to newness, the unfamiliar, and discovery) , overtones of the new world, the western hemisphere where Thomas Moore situated the Utopia -Textual support: Prospero tells Ariel to go to The Bermudas (1,2 230), Caliban reminds Trinculo of dead indian (2,2 33), Setebos worshipped by south american natives -Inspiration: shipwrecked in 1609 in Bermuda on the the way the Virginia colony played performed at court in 1611 [Write new world (in shared center position), Virginia, caribbean in the discovery part of the venn diagram]

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Created for Virginia Stage Company by: Kat Martin 13

Ryan: -Geographical discovery leads to colonialism. -Interpreted as white man's burden, colonization was a means of conquering new lands and imposing the colonizer's culture from on the native people.[draw colonialism bubble off of discovery bubble] Don’t forget Shakespeare is writing during a time of major British colonial expansion. How different characters relate to the islands make statements about colonialism. Let’s look at some earlier scenes in the text. In Act 2 Scene 1 lines 150-171 Gonzalo describes his interpretation of the island and his “ideal commonwealth.” [select a student to read this section]. Gonzalo is the only character who responds positively to the island. He responds affirmatively to the illusion. In his eyes, their having been saved from drowning is a miracle; they breathe fresh air, the grass is green on the island, and their very garments appear fresh. His ideal commonwealth. The clowns Trinculo and Stephano, however, desire to exploit the natural wonders of the isle by taking Caliban back to civilization or getting him drunk and fanning his resentment against authority. They also attempt to become Kings and Viceroys of the island through the mastery of the island and Miranda’s femininity.

Kat: There are also emotional discoveries for characters throughout the play text. Let’s look at Miranda and Prospero. What discoveries do they make? [MIranda: love, her past, people, power. Prospero: forgiveness, mercy, freedom] [Add a few of these or the students suggestions to the discovery bubble Freedom in the shared center position] This idea of freedom leads us to read the play through the lens of race and gender. Who is free in the play and who is not? How is freedom manifested in the representation of Caliban and Miranda?

Jenny: Let’s begin by looking at gender in The Tempest. We only have one physical representation of “woman” in Miranda. she is prized for her virginal virtue, threatened with rape and eventually commodified as a bartering chip to reinstate Prospero’s power. Prospero’s obsession with Miranda’s sexuality demonstrates the value of chastity in a patriarchal society. With her chastity determining her future, Miranda is objectified and dependent. Prospero warns Ferdinand that if he “break her virgin-knot” before marriage, he will condemn the couple with “Sour-eyed disdain” and barrenness (4.1.15-20). Prospero obsessively protects Miranda’s virginity, making it more important than her future happiness. Prospero’s treatment of Miranda reinforces virginity as the key to a woman’s value and future. Upon meeting Miranda, Ferdinand

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Created for Virginia Stage Company by: Kat Martin 14 informs her and Prospero that he will make her “The Queen of Naples,” but only “if a virgin” (1.2.451-53). Ferdinand’s proposal wages Miranda’s future on her virginity. Miranda’s virginity is not her preference but a commodity that men may control or own. Because of the men’s patriarchal views, Miranda is restricted in her sexuality, which is constrained by the men’s desire for her virginity. MIranda’s education is controlled by Prospero as well as their isolation on the island. However, a feminist critique also reveals a level of opportunity for Miranda her naivete also contributes to her hope. Her curiosity sets up Miranda as the character with the most to gain through the exploration of “the brave new world with such people in it” She also discovers her ability to ensate and manipulate her own power [write commodification, sexuality, and power in the gender bubble placing power in a shared position]

Kat: BUt Miranda is not the only feminine energy we have in the play right? Who else do we learn about? Sycorax. While one can analyze male characters directly by their actions on stage, one can analyze Sycorax only by her influence on these characters. With Sycorax absent, Prospero envisions her as his female opposite. Through Prospero, Sycorax symbolizes everything that may question patriarchy. Sycorax exists only in male characters’ accounts; however, Sycorax influences the men’s perception of power because she is absent.Her absence is an extreme example of women lacking agency and representation. Prospero sees Sycorax as a representation of women and everything womanhood represents, in contrast to how he glorifies himself. As a woman, Sycorax is weaker, more evil, and more sexually deviant than Prospero. Representations create gender stereotypes and give women little existence outside this dichotomy of man/woman. In the mind of the male characters, Sycorax is only a gender stereotype, or a symbol of Prospero’s views on women. Sycorax exists only as a contradiction to Prospero and his masculinity. Sycorax’s absence gives Prospero the opportunity to construct her fully into a symbol of the evil woman, the opposite of himself; however, this construction also makes her an antagonist to Prospero and the patriarchy he represents. In The Tempest, gender ​ ​ is only one opposing force between Prospero and Sycorax. Gender combines with race to determine the degree of power each person holds. Many of today’s critics view Prospero as an aggressive upholder of patriarchal and colonial power.Therefore Prospero as colonialist consolidates power which is specifically white and male, and constructs Sycorax as a black, wayward and wicked witch in order to legitimize it. Sycorax’s race and gender oppose

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Created for Virginia Stage Company by: Kat Martin 15 Prospero’s. While Sycorax is a woman, possibly of color, Prospero is a white patriarch who censures the rule of Sycorax.

Which leads us to the lens of race in The Tempest, specifically as it relates to Caliban. Caliban: sensitivity to natural beauty. His very existence calls radically into question the value of civilization which has shown itself capable of limitless depravity. --The evolution of Caliban as it relates to Colonialism -19th century: grotesque specimen of Darwin evolution, outfitted with gills, scales, and long fingernails. 1904 Caliban as a hair ape hairy from head to foot pointed ears and sinister eyes. 1891 Caliban as the missing link in the evolution chain. More recently Caliban has often been seen as a Caribbean native, physically imposing and even handsome, a man with immense human dignity. The parallel between the two men who seek to possess Miranda sexually (Caliban and Ferdinand) also draws attention to the relationship established in the play between Europe and Africa, which is developed in both the marriage of Claribel to the King of Tunis and Prospero’s rivalry with Sycorax. The treatment of Caliban at the end of the show is very revealing We cannot be sure of the extent to which Shakespeare is a master of is own debate, or the extent to which today we should feel ourselves free to relativize, ironize, or in other ways criticize this play for apparent or probable prejudices _MIranda and Ferdinand have a positive outlook for the future “Brave new world” “with such people in it”even though PRospero says “new to thee” -Even Caliban may be reconciled to Prospero’s insentient idea of harmony between will and reason, no matter how perilously and delicately achieved. Prospero speaks of Caliban as a “thing of darkness I/ acknowledge mine,” and Caliban vows to “be wiser hereafter/ and seek for grace.” (5.1 278-9, 298-99)

Group scene work (40 min): In 2 groups (discovery/colonialism, race/gender read through 5,1 looking for things that relate to your critical lens stage it and present [feel free to cut sections as you go focusing on your critical issue)

Session #4: All juniors attend The Tempest performance, Friday April 15th at 10:30am ​

The Tempest Residency Norfolk Academy

Created for Virginia Stage Company by: Kat Martin 16 (incidental music by Sibelius) Presented by Virginia Arts Festival, Virginia Stage Company, Virginia Symphony Orchestra and Chorus

JoAnn Falletta, conductor

Patrick Mullins, stage director

http://www.sevenvenues.com/events/detail/shakespeares-the-tempest

Session #5: H bell on Thursday, April 21 from 11:45-12:30 ​ Pizza served during this H bell session (alumni speaker at lunch/second half of H bell) All juniors in Landmark for reactions to the performance we saw of the play and speculations for future versions of The Tempest

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Created for Virginia Stage Company by: Kat Martin 17