Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information SHAKESPEARE IN PRODUCTION Shakespeare’s last play seems unusually elastic, capable of radically differ- ent interpretations, which reflect the social, political, scientific or moral concerns of their period. This edition of The Tempest is the first dedicated to its long and rich stage history. Drawing on a wide variety of sources, it examines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant’s Restoration adaptation), nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian and Japanese productions. In a substantial, illustrated introduction Dr Dymkowski analyses the cultural significance of changes in the play’s theatrical representation: for example, when and why Caliban began to be represented by a black actor, and Ariel became a man’s role rather than a woman’s. The commentary annotates each line of the play with details about acting, setting, textual alteration and cuts, and contemporary reception. With extensive quotation from contemporary commentators and detail from unpublished promptbooks, the edition offers both an accessible account of the play’s changing meanings and a valuable resource for further research. © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information SHAKESPEARE IN PRODUCTION : . This series offers students and researchers the fullest possible staging of individual Shakespearean texts. In each volume a substantial intro- duction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself, offers detailed, line-by-line evidence for the overview presented in the introduction, making the volume a flexible tool for further research. The editors have selected interesting and vivid evocations of settings, acting and stage presentation and range widely in time and space. A Midsummer Night’s Dream, edited by Trevor R. Griffiths Much Ado About Nothing, edited by John F. Cox Antony and Cleopatra, edited by Richard Madelaine Hamlet, edited by Robert Hapgood Macbeth, edited by John Wilders Julius Caesar, edited by James Rigney King Henry V, edited by Emma Smith Romeo and Juliet, edited by James N. Loehlin The Taming ofthe Shrew, edited by Elizabeth Schafer The Merchant ofVenice, edited by Charles Edelman As You Like It, edited by Cynthia Marshall Troilus and Cressida, edited by Frances Shirley © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information THE TEMPEST Reader in Drama and Theatre, Royal Holloway, University ofLondon © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, -, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Typeface in Monotype Ehrhardt ⁄. pt, System in QuarkXPressTM [] A catalogue record for this book is available from the British Library Library ofCongress Cataloging in Publication Data Shakespeare, William, –. The Tempest / edited by Christine Dymkowski. p. cm. – (Shakespeare in production) Includes bibliographical references (p. ) and index. (hb) . Survival after airplane accidents, shipwrecks, etc – Drama. Shakespeare, William, - – Stage history. Shakespeare, William, –. Tempest. Fathers and daughters – Drama. Castaways – Drama. 6. Magicians – Drama. I. Dymkowski, Christine, – II. Title. III. Series. .¢ – dc - hardback paperback Transferred to digital printing 2003 © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information For Pauline © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information CONTENTS List of illustrations page viii Series editors’ preface ix Acknowledgements xi Editor’s note xii List of abbreviations xiv List of productions xix Introduction List of characters The Tempest and commentary Appendix : selected textual variations Appendix : list of principal players Bibliography Index vii © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information ILLUSTRATIONS Michael Fitzgerald as Prospero, with multiple Ariels, in Silviu Purcarete’s production. By courtesy and kind permission of Nottingham Playhouse. Photo: Sean Hudson. page Leah Hanman as Ariel in Frank Benson’s production. By permission of the Shakespeare Centre Library, Stratford-upon-Avon. Michael Redgrave as Prospero and Alan Badel as Ariel in Michael Benthall’s production. By permission of the Shakespeare Centre Library, Stratford-upon-Avon. Photo: Angus McBean. Ralph Richardson as Prospero and Margaret Leighton as Ariel in Michael Benthall’s revival. By permission of Hulton Getty Picture Collection. Photo: Central Press Photos, the Shakespeare Centre Library, Stratford-upon-Avon. The masque in Declan Donnellan’s production. By permission of photographer Robert Workman. The masque in Jonathan Miller’s production. By permission of photographer Simon Annand. Thomas Grieve’s set for Act , Scene of Charles Kean’s production. By permission of V & A Picture Library. Page of The Sketch, September , showing scenes and characters from Herbert Beerbohm Tree’s production. By kind permission of The British Library (Shelfmark LD). Act I, Scene of John Barton’s production, designed by Christopher Morley with Ann Curtis. By permission of photographer Zoë Dominic. Act , Scene of Peter Brook’s production, designed by the director. By permission of the Shakespeare Centre Library, Stratford-upon-Avon. Photo: Angus McBean. Act , Scene of Nicholas Hytner’s production, designed by David Fielding. By permission of the Shakespeare Centre Library, Stratford-upon-Avon (Joe Cocks Studio Collection). Photo: Joe Cocks. Michael Maloney as Ferdinand, Mark Rylance as Ariel, Derek Jacobi as Prospero, and Alice Krige as Miranda in Ron Daniels’s production, designed by Maria Bjornson. By permission of photographer Donald Cooper © Photostage. viii © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information SERIES EDITORS’ PREFACE It is no longer necessary to stress that the text of a play is only its starting- point, and that only in production is its potential realized and capable of being appreciated fully. Since the coming-of-age of Theatre Studies as an academic discipline, we now understand that even Shakespeare is only one collaborator in the creation and infinite recreation of his play upon the stage. And just as we now agree that no play is complete until it is produced, so we have become interested in the way in which plays often produced – and preeminently the plays of the national Bard, William Shakespeare – acquire a life history of their own, after they leave the hands of their first maker. Since the eighteenth century Shakespeare has become a cultural con- struct: sometimes the guarantor of nationhood, heritage and the status quo, sometimes seized and transformed to be its critic and antidote. This latter role has been particularly evident in countries where Shakespeare has to be translated. The irony is that while his status as national icon grows in the English-speaking world, his language is both lost and renewed, so that for good or ill, Shakespeare can be made to seem more urgently ‘relevant’ than in England or America, and may become the one dissenting voice that the censors mistake as harmless. ‘Shakespeare in Production’ gives the reader, the student and the scholar a comprehensive dossier of materials – eye-witness accounts, contempo- rary criticism, promptbook marginalia, stage business, cuts, additions and rewritings – from which to construct an understanding of the many mean- ings that the plays have carried down the ages and across the world. These materials are organized alongside the New Cambridge Shakespeare text of the play, line by line and scene by scene, while a substantial introduction in each volume offers a guide to their interpretation. One may trace an argument about, for example, the many ways of playing Queen Gertrude, or the political transmutations of the text of Henry V; or take a scene, an act or a whole play, and work out how it has succeeded or failed in presen- tation over four hundred years. For despite our insistence that the plays are endlessly made and remade by history, Shakespeare is not a blank, scribbled upon by the age. Theatre history charts changes, but also registers something in spite of those changes. Some