Another Note on the Three Days of Darkness
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“Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
“Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man. -
Ladies and Gentlemen ... the Circus I
6 REVIEW February 12, 2019 Ladies and gentlemen ... the circus is back in town No circus like Cirque du Soleil to hold its breath while watching one of the Cirque du Soleil, in its big blue and yellow goddesses as she balanced 13 palm leaf ribs. tent, opened a five-week run at Lone Star Park There is no music playing. The only sound in Grand Prairie. This time the circus presents is the heavy breathing of the artist as she the tale “Amaluna,” based on Shakespeare’s concentrates. “The Tempest.” The show opened Jan. 23 and One of the most touching acts involves a runs through March 3. scene between Miranda and her lover. Romeo “Amaluna” is the story of a magical island watched Miranda enjoy herself in choreogra- ruled by goddesses. Miranda, the daughter of phy that moved between playing in the water the Queen and shaman Prospera, is a happy bowl and displaying her strength skills in a dreamer and a romantic young girl who is difficult hand-balancing routine. The artists about to reach womanhood. also excel in their acting as the audience The queen creates a big storm that brings a watches the couple share a first kiss. group of young men to the island. The leader, “Amaluna” combines the theatrical story Prince Romeo and his men are trapped. with remarkable acrobatic acts. Watching the The show evolves into a love story between show likely gives viewers hope that dreams Romeo and Miranda. can come true. The couple confronts challenges to be The spectacle is one of more than 23 shows together, including dealing with the jealousy of by Cirque du Soleil. -
The Tempest: Synopsis by Jo Miller, Grand Valley Shakespeare Festival Dramaturg
The Tempest: Synopsis By Jo Miller, Grand Valley Shakespeare Festival Dramaturg Long ago and far away, Prospero, the Duke of Milan, pursued the contemplative life of study while turning the administration of his Dukedom over to his brother [in our play a sister, Antonia], who, greedy for power, made a deal with the King of Naples to pay tribute to the King in exchange for help in usurping Prospero’s title. Together they banished Prospero from Milan, thrusting him out to sea in a rotten, leaky boat with his infant daughter, Miranda. Miraculously, the father and daughter survived and were marooned on an island where Sycorax, an evil witch who died after giving birth to Caliban, had also been exiled. Caliban is thus the only native inhabitant of the isle besides the spirit, Ariel, and his fellow airy beings. For twelve years now, Prospero and Miranda have lived in exile on this island, with Prospero as its de facto king, ruling over Caliban and all the spirits as his slaves, while he has nurtured Miranda and cultivated his powerful magic. At the moment play begins, that same King of Naples and his son Prince Ferdinand, along with the King’s brother [here a sister, Sebastiana], Prospero’s sister, Antonia, and the whole royal court, are sailing home from having given the Princess Claribel in marriage to the King of Tunis. Prospero conjures up a mighty tempest, which wrecks the King’s boat on the island, separating the mariners from the royal party, and isolating Ferdinand so that the King believes him drowned. -
Proposed Temporary Entry and Use Permit No.1715 with Cirque Du Soleil America, Inc
LA THE PORT OF LOS ANGELES Executive Dire ctor's Report to the Board of Harbor Commissioners DATE: JANUARY 22, 2019 FROM: WATEFRONT & COMMERCIAL REAL ESTATE SUBJECT: RESOLUTION NO. ____ - PROPOSED TEMPORARY ENTRY AND USE PERMIT NO.1715 WITH CIRQUE DU SOLEIL AMERICA, INC. FOR PREMISES AT BERTHS 88-89 AND LIBERTY PLAZA PARKING LOT SUMMARY: Staff requests approval of Temporary Entry and Use Permit (TEUP) No. 1715 to Cirque Du Soleil America, Inc. (C irque) to construct, operate, and maintain a temporary live entertainment facility for the show "Amaluna" at Berths 88-89, in front of the USS Iowa, from March 25 through June 7, 2019. "Amaluna" performances will run from April 25 through May 26, 2019. During weekends, Cirque staff will utilize Liberty Plaza Parking Lot for staff parking. Cruise passenger parking will not be impacted because cruise passengers will have parked and boarded cruise ships prior to the start of Cirque performances. The proposed TEUP exceeds Executive Director authorization under the TEUP Policy and requires Board action because (1) the negotiated total TEUP fee of $200,000 to be paid to the City of Los Angeles Harbor Department (Harbor Department) exceeds the $150,000 authority delegated to the Executive Director and (2) the proposed TEUP duration of 75 days exceeds the 60-day threshold time frame in the current Board approved TEUP Policy. · RECOMMENDATION: It is recommended that the Board of Harbor Commissioners (Board): 1. Find that the Director of Environmental Management has determined that the proposed action is categorically exempt from the requirements of the California Environmental Quality Act (CEQA) under Article Ill Class 1(1) and Class 4(6) of the Los Angeles City CEQA Guidelines; 2. -
Environmental Indulgence in the Tempest Austin Harris
This Thing of Darkness: Environmental Indulgence in The Tempest Austin Harris This paper was written for Dr. Brevik’s Shakespeare course. “O brave new world that has such people in’t” (V. i. 1241), Miranda exclaims in the final act of Shakespeare’s The Tempest. “Tis new to thee” (V. i. 1241), her father, Prospero replies, and, indeed, the presence of civilized men on the island is new to Miranda. However, the world in which the setting of The Tempest exists is one of unreality in which nature and art collide to create an environment of mystery. An island described as “uninhabitable,” “desolate,” “inaccessible,” “lush,” and “green,” it is an island of shifting time, space, and vegetation. The Tempest is a play of indefinite setting, and for that reason lends itself to uncommon transportability (Vaughn 73). The poet John Keats once described the work of Shakespeare as having great “negative capability,” meaning his work has “the ability to remain in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason” (Leher 197). The Tempest, more than any other of Shakespeare’s plays, possesses this quality, and for this reason lends itself to nearly unlimited interpretation. This paper will examine the ecological aspects of The Tempest and present an ecocritical interpretation of nature and man’s role and use of natural resources on the island. The mysterious and supernatural nature of the island is reinforced by the “subtleties o’ the isle” (Sherwood 67), these subtleties being Prospero’s magic, nature, and the environmental conditions of the island. Much of what we learn about the ecological aspects of the island are from descriptions by the characters: “this most desolate isle” (Ariel, III. -
The Tempest Entire First Folio
First Folio Teacher Curriculum Guide The Tempest by William Shakespeare directed by Kate Whoriskey March 22 — May 22, 2005 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to The Shakespeare Theatre’s production of The Tempest by William Shakespeare! A Brief History of the Audience…………………….1 Each season, The Shakespeare Theatre presents About the Playwright five plays by William Shakespeare and other On William Shakespeare…………………………………3 classic playwrights. The Education Department Elizabethan England……………………………………….4 continues to work to deepen understanding, appreciation and connection to these plays and Shakespeare’s Works……………………………………….5 classic theatre in learners of all ages. One Shakespeare’s Verse and Prose……………………..7 approach is the publication of Teacher A Timeline of Western World Events…….……...9 First Folio: Curriculum Guides. About the Play In the 2004-05 season, the Education Synopsis of The Tempest.……………………………..10 Department will publish Teacher A Whole New World…………………………………….11 First Folio: Curriculum Guides for our productions of It’s a Long, Long Road………………………………….14 Macbeth, Pericles and The Tempest. The Guides Elizabethan Masters and Servants.……………..16 provide information and activities to help She Blinded Me with Science………………………17 students form a personal connection to the play Tell Me about Your Mother………………….………21 before attending the production at The Shakespeare Theatre. First Folio guides are full of Classroom Connections material about the playwrights, their world and • Before the Performance……………………………23 the plays they penned. Also included are Stormy Weather approaches to explore the plays and Love at First Sight productions in the classroom before and after Be a Sound Designer the performance. -
San Francisco's African-American Shakespeare Kicks Off 20Th Year
San Francisco’s African-American Shakespeare Kicks Off 20th Year With The Tempest Set in Milan Circa 2020 The groundbreaking theater company stages The Tempest for the first time since 2001 when it reimagines the play for contemporary audiences by placing the action on a floating island of debris in the Pacific where Prospero, the former CEO of SYCORAX—an industrial conglomerate based in Milan under investigation for dumping tons of garbage into the ocean and thus creating the island in the first place—has been banished; with daughter Miranda in tow and an application named Ariel built from reclaimed circuitry and other useful detritus, Prospero begins a campaign of holographic manifestations and manipulations of weather Saturdays and Sundays, October 18 through November 9; Saturdays at 8pm, Sundays at 3pm; Buriel Clay Theatre; Tickets: $15-$34.00 http://www.african-americanshakes.org/productions/the-tempest/ September 15 2014, San Francisco – The African-American Shakespeare Company continues its tradition of “enhancing the classics with color” with an ambitious roster of plays to celebrate its 20th anniversary. Directed by Nancy Carlin and starring Michael Gene Sullivan as Prospero, The Tempest inaugurates the 2014/15 season and is the first production of the play by the company since 2001, a full 13 years ago. The year is 2020. SYCORAX, the mother of all multi-product industrial conglomerates, based in Milan, is under investigation for dumping tons of waste into the Pacific. Into this disaster wades the company’s former CEO, Prospero who, perceived as a threat is banished to sea, only to wash up on an island in the middle of the floating debris field. -
The Tempest by William Shakespeare
The Tempest by William Shakespeare Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Cover art by Scott McKowen The Shakespeare Theatre of New Jersey THE TEMPEST: Audience Guide InThis Guide – Shakespeare’s Romances ..................................................................................................................... 2 –The Tempest: A Synopsis ....................................................................................................................... 3 –The Tempest: Sources and History of the Play ....................................................................................... 5 – John Clements on The Tempest ............................................................................................................ 6 – Who’s Who in The Tempest .................................................................................................................. 7 – Glossary of Words and Phrases ............................................................................................................ 8 – Commentary and Criticism .................................................................................................................. 9 – In This Production .............................................................................................................................. 10 – Food for Thought................................................................................................................................ 11 – Explore -
Stephen Mortlock Asks If the 10 Plagues of Egypt Were the Result of an Ecological Domino Effect Or Divine Intervention?
THE BIOMEDICAL SCIENCE SCIENCE THE BIOMEDICAL 18 SCIENTIST History History SCIENTIST 19 Stephen Mortlock asks if the 10 plagues of Egypt were the result of an ecological domino effect or divine intervention? s children, many of us will these might not have been referred have read how the Hebrew to the royal court for insertion in people living in Egypt were official chronicles. suffering under the cruel rule of the Pharaoh. Moses Recording history asked the Pharaoh to let When did the plagues occur and them return to their who was the tyrannical Pharaoh? homelands in Canaan, but The Greek historian Herodotus put the he refused. As a consequence, 10 plagues dates around 1570-1550 BC when Egypt Awere inflicted on the Egyptians in a was under the rule of the Hyksos (an divine demonstration of power and Asiatic tribe), but there was no Pharaoh, displeasure designed to persuade the until Ahmose I (1550-1525 BC) raised Pharaoh to reverse his decision. But were rebellion and overthrew the invaders. the plagues historical events or, as some During this time apocalyptic rainstorms, historians have suggested, simply devastated much of Egypt, and were passed-down accounts of several natural described on the Tempest Stele of Ahmose disasters? Some scholars concede that I, these have been attributed to short- from an historical standpoint, the first term climatic changes caused by the nine plagues resemble natural events and Thera volcanic eruption on the island of while some are disconnected, others Santorini around 1630 BC (although it has appear to be part of a chain reaction with also been suggested that the storm set patterns and a rapid succession. -
Portico Avances 1029 Egiptología 82
Muñoz Seca, 6. 50005 Zaragoza (España) P.O. Box 503. 50080 Zaragoza (Spain) AVANCES www.porticolibrerias.es 1029 Fax (+34) 976 353 226 de PÓRTICO LIBRERÍAS Tel.: 976 557 039 • 976 350 303 • 976 357 007 4 de mayo de 2011 Fundada en 1945 Responsable de la Sección: Carmen Alcrudo Dirige: José Miguel Alcrudo EGIPTOLOGÍA 82 01 Ägypten und Levante. Internationale Zeitschrift für ägyptische Archäologie und deren Nachbargebiete, 20 — 2010 2010 – 463 pp., fig., lám.col. € 103,00 ÍNDICE: A. Ahrens: A stone vesel of princess Itakayet of the 12th dynasty from tomb VII at Tell Mišrife/Qat.na (Syria) — A. Ashmawy Ali: Tell el-Yahudia: new information from unpublished excavations — E. Breyer: Hethitologische Bemerkungen zum Keilschrift «Zipfel» aus Qantir/Pi-Ramesse — J. Budka: Varianz im Regelwerk. Bestattungsabläufe im Monumentalgrab von Anch-Hor, Obersthofmeister der Gottesgemahlin Nitokris (TT 414) — M. H. Feldman / C. Sauvage: Objects of prestige? Chariots in the late bonze age eastern Mediterranean and Near East — H. Genz & al.: A middle bronze age burial from Tell Fadous- Kfarabida, Lebanon — A. Hassler: Mykenische Keramik aus verlorenen Kontexten – die Grabung L. Loats in Gurob — C. Jurman: Ein Siegelring mit kryptographischer Inschrift in Bonn — C. Knoblauch: Preliminary report on the early bronze age III pottery from contexts of the 6th dynasty in the Abydos middle cemetery — L. Morgan: A pride of leopards: a unique aspect of the Hunt frieze from Tell el-Dabca — L. Morgan: An aegean griffin in Egypt: the Hunt frieze al Tell el-Dabca — N. Marinatos: Lions from Tell el Dabca — T. Mühlenbruch: Eine mykenische Bügelkanne aus Ägypten in Marburg und ihre Implikationen für den Handel zwischen Sügelkanne und dem östlichen Mittelmeerraum in SH III B2 — J. -
A Point in Time Malcolm H Wiener
36 A point in time Malcolm H Wiener Chronology is the spine of history. I. INTRODUCTION 1525 BC for the Theran eruption. In 1984, an article in the journal Nature6 reported that the long-lived The publication in 1989 of Aegean Bronze Age bristlecone pines of California showed a serious frost Chronology (henceforth ABAC), the monumental work year at 1626 BC, and suggested that this might be related by Peter Warren and Vronwy Hankey, marked a to the eruption ofThera. Peter Warren promptly replied decisive moment in the study of Aegean prehistory. with an article showing that many major eruptions had Subsequent discoveries have led to minor modifications left no record in tree rings.' In addition, tree rings to the chronology proposed, amounting to no more sometimes indicate the possibility of an eruption when years at any BC than 25 point after 1450 in the Late none was reported in that year. Bronze Age.2 I have contributed to this genre myself, The 1628-1626 BC proposition received an contending that the Late Helladic (Mycenaean) IIIA2 additional impetus when it was initially reported that period required a lengthening in light of a reconsidera- tree rings at Porsuk, a Hittite site near the Cilician Gates tion of the Mycenaean pottery from the datable Amarna in Turkey, 840 km downwind from Thera, also showed deposit and other Egyptian contexts. I also noted the a major event within those years.' Anatolian junipers large amount and wide distribution of LH IIIA2 do not live for thousands of years as do California and pottery over the Mediterranean -
The Egyptian Tempest Stele: an Example of Ancient Natural Disaster
HDS06-02 Room:422 Time:May 2 09:25-09:50 The Egyptian Tempest Stele: an Example of Ancient Natural Disaster PETROVA, Anastasia1¤ 1Institute of Oriental Studies, Russian Academy of Sciences Some Ancient Egyptian texts tell us about violent storms and rains. One of the most impressive ancient accounts of natural disasters is the so-called Tempest stele (1550 BC), which describes a very destructive storm happened under Ahmose I, the king of Egypt’s 18 dynasty. The upper portion of the stele describes the catastrophe. Many essential details are given, such as the specific noise, overall darkness etc. Numerous houses were washed into the river; temples, tombs and pyramids were badly damaged. The main features of the storm can be highlighted: torrential rain; darkness; and loud noise, probably caused by a thunder or a wind, or both. It evidently occasioned large-scale flooding, property damage, and loss of life. After describing the events, the stele gives account of the restoration works made by the king to repair the damages made by this great disaster. There are Egyptologists who believe the stele to be propaganda put out by the pharaoh, the ”tempest” being the depredations of officials of the embattled seventeenth dynasty of Egypt drawing upon the financial resources of the temples during the escalating conflict with the Hyksos. To my opinion, we don’t have sufficient grounds to deny that the storm took place in reality. Nevertheless, the Tempest Stele actually is a political propaganda, because the main purpose of the erection of the stele was to draw attention to the role of the king in coping with the disaster.