A Tempestade (The Tempest)

2013

A performance by Teatro Praga. Based on William Shakespeare’s The Tempest and Henry Purcell’s The Enchanted Island. Critics have observed how, in The Tempest, Shakespeare presents an island in which the virtues and flaws of characters are highlighted. This is the reason the island differs from character to character, depending on their past, personality, and intentions. The island depends on the personality of each person, which is why some have bad dreams and others good ones, some see images of usurpation and others a paradise island. As Harold Goddard puts it, “To innocent senses the isle itself is pure loveliness; to corrupted ones it is no better than a swamp”. Or, as Northrop Frye argues, “In this island the quality of one’s dreaming is an index of character”. Likewise, in Teatro Praga’s adaptation of The Tempest we see ourselves. Read More

The Tempest

Donnellan, Declan 2011, 2012, 2013, 2014

This production of The Tempest by Cheek by Jowl, a co-production with the Chekhov International Festival was first staged at Les Gemeaux, Sceaux, Paris, in January 2011, and played across North and South America, Europe and Asia. This was the second Shakespeare production in Russian that the company toured internationally (following Twelfth Night). Read More

The Tempest

Mirrione, James; Sturgess, Kim C. 2015

An Introduction by Dr. Kim C. Sturgess, August 2016 Many contemporary academics and theatre directors transport Prospero and his creator Shakespeare to the Atlantic Ocean and the so called “new world”. This appropriation of the characters and setting enables them to make the dual claim for The Tempest to be both of America and a post-colonial drama. Read More

La tempestad (The Tempest)

Garcini, Salvador 2011

This 2011 Mexican production of The Tempest, a joint venture involving Mexico’s National University (UNAM), National Institute for the Fine Arts (INBA), and Metroploitan University of Mexico City (UAM), served, among other things, to commemorate the 400th anniversary of the play’s first staging.

By having the stage, film, and television actor, Ignacio López-Tarso starring in the show, the play attracted even wider audiences than usual. Fittingly, his casting as Prospero was to a large extent due to the fact that López-Tarso made it his personal priority to play the lead once more, and for the last time, in an UNAM production of a Shakespeare play, after having performed as King Lear in the 1980s, so as to close his involvement with what he himself terms “the finest theatre made in Mexico”. This 86 year-old man is considered to be one of the country’s finest actors; despite his age, his experience and distinct voice made a striking Prospero. Working alongside such an established and renowned personality were both excellent young professionals from different acting schools and older actors from Mexican vaudeville and commercial venues, making it a productive combination of styles. The mix of actors comments upon the way youth and maturity interact in the actual play.

A slanted platform recalling a deck, a dock or a pier transforms into a ship, an island, or a library depending on how the mast is used and the ropes disposed. A few objects such as a chair and a couple of barrels help to define the space represented on stage. The flexible scenery underlines the sense of wonder and discovery present in the play.  In key moments such as the shipwreck and the banquet, a projector enhances the visual aspect. Lighting with blue, green, and purple hues emphasizes the fantastical quality of the island’s magic. The lights also establish contrast and aid the audience to keep track of the different stories in the play.

The costume design is quite eclectic. Prospero and Miranda wear ragged and self-made clothes that characterize their exile. As Miranda falls in love, her clothes change. Ariel, a very flirtatious female spirit, wears a blue corset and headdress that convey her airiness and stylized movements. The rest of the faeries are topless, only wearing skirts made out of leaves; their attire evokes Polynesian or Hawaiian dancers, but their dance is contemporary. Caliban is characterized as half reptile; his appearance foregrounds difference. Alonso and his men contrast with the inhabitants of the island; they wear more sober clothes with a slight hint to the Spaniard conquistadors. Although this is a Mexican production, the theme of colonialism was not stressed through the play.

The character’s costumes are not the only exotic sights of the island. The compelling atmosphere of the place is created through sound. Music is the vehicle of magic: the percussive music of the faeries dancing, finger cymbals for Prospero’s mild spells, strings for painful magic, Ariel’s alluring songs… These musical effects complement Alfredo Michel Modenessi’s excellent translation, conveying both the play’s poetical majesty and its keen sense of humor through Mexican idioms and different varieties of Spanish for Trinculo and Stephano. For over two hours, we question and examine how freedom, restraint, obedience, and rebellion take part in the most basic human relations. Yet, all is complicated with the erotic tensions that underlie many of these relations. Forgiveness seems to be the solution.

 

Type: stage

Year: 2011

Director: Salvador Garcini

Play: The Tempest

Language: Spanish

Venue: Teatro Juan Ruiz de Alarcón, Ciudad Universitaria; Mexico City, Mexico

 

Direction: Salvador Gracini

Translation and adaptation: Alfredo Michel Modenessi

Production: Dirección de Teatro UNAM

Set Design: Eloise Kazan

Costume Design: Edyta Rzewuska

Lighting Design: Víctor Zapatero

Choreography: Ruby Tagle

Live Music Coordinator: Isaac Pérez Calzada

Melodies and effects composition: Violeta Sarmiento, Mireya González, Isaac Pérez Calzada, Paola Izquierdo

Cartel Tempestadpath

Cast:

Edgar Omar Moreno-Master of a Ship

Rodrigo Alcántara-Boatswain

Isaac Pérez Calzada-Mariner

Felio Eliel- Alonso, King of Naples

Rafael Inclán-Antonio

Luis Couturier-Gonzalo

Roberto Sen-Sebastian

Adrian-Abraham Stavans

Violeta Sarmiento/Paola Izquierdo-Ariel

Lorena del Castillo-Miranda

Ignacio López Tarso-Prospero

Horacio García-Caliban

Osvaldo de León-Ferdinand

José María Seoane-Trinculo

Roberto Duarte –Stephano

Ixchel de la Rosa, Mitzi Elizalde, Nayelly Acevedo, Erandi Mondragón, Mireya González, Claudia Pastrana-Nymphs

 

Season: Semptember 8 to November 20, 2011

 

Direct information: http://www.teatro.unam.mx/wwwteatrounam/Paginas/la-tempestad.html

 

Reviews:

UNAM Culture Digital Diary:

http://www.cultura.unam.mx/?tp=articulo&id=2922&ac=mostrar&Itemid=&ct=0&titulo=el-perdon-en-el-centro-de-la-tempestad&espCult=ccu

http://www.cultura.unam.mx/?tp=articulo&id=2931&ac=mostrar&Itemid=&ct=0&titulo=la-tempestad-se-va&espCult=ccu

http://www.cultura.unam.mx/?tp=articulo&id=707&ac=mostrar&Itemid=103&ct=0

La Jornada newspaper:

http://www.jornada.unam.mx/2011/09/03/cultura/a03n1cul

http://www.jornada.unam.mx/2011/09/28/cultura/a05n1cul

Difusión Cultural UNAM, includes several photographs:

http://www.difusioncultural.unam.mx/saladeprensa/index.php?option=com_content&view=article&id=920:395-continua-la-tempestad&catid=5:direccion-de-teatro&Itemid=11

 

The Tempest

Oh, Tae-suk 2011 | 2 Comments

Shakespeare’s The Tempest is transported to 5th century Korea in this dramatic re imagining and adaptation of his final and most poetic play. King Zilzi, immersed in his study of Taoist magic, leaves the care of his kingdom in the hands of King Zabi. While he is away, Zabi takes control and, with the help of Zilzi’s brother, Soji, banishes him from his lands. Read More

The Tempest

Taymor, Julie 2010

In Julie Taymor’s version of ‘The Tempest,’ the gender of Prospero has been switched to Prospera. Going back to the 16th or 17th century, women practicing the magical arts of alchemy were often convicted of witchcraft. In Taymor’s version, Prospera is usurped by her brother and sent off with her four-year daughter on a ship. She ends up on an island; it’s a tabula rasa: no society, so the mother figure becomes a father figure to Miranda. This leads to the power struggle and balance between Caliban and Prospera; a struggle not about brawn, but about intellect. Read More

The Tempest

Adès, Thomas; Lepage, Robert 2012

The Tempest | From Thomas ADÈS | Libretto from Meredith OAKES | Opera based on Shakespeare’s play The Tempest | Created in London in 2004 | The new Robert LEPAGE production premiered in Québec. Read More

World Shakespeare Festival

2012

The Globe to Globe Festival ran from 23 April to 9 June 2012 as part of the World Shakespeare Festival, itself part of the 2012 Cultural Olympiad during the summer Olympic Games in London. The theme of the London Olympics opening ceremony was “Isles of Wonder”, inspired by William Shakespeare’s The Tempest. Read More

The Tempest

Lepage, Robert 2011 | One Comment

Ex Machina, in collaboration with the Huron-Wendat Nation, presented The Tempest, by William Shakespeare in Wendake during summer of 2011. This new staging by Robert Lepage was presented at the Wendake amphitheater from July 1st to 30th. The amphitheater is part of an exceptional natural setting near the St. Charles River. Read More

La tempesta

Strehler, Giorgio (1921-1997) 1977-78 and 1983-84

An Italian adaptation of Shakespeare’s The Tempest directed by Giorgio Strehler in 1983. Read More

The Tempest

Sohn, Jin-Chaek 2009

Sohn Jin-Chaek’s The Tempest, as a meta-theater, portrays a process that homeless people, in a shelter for the homeless, prepare to perform Shakespeare’s The Tempest for a drama therapy project. For a few months, while they passionately create the play by themselves, they become to understand each other. Through their work, like Prospero, the homeless people overcome their agony in a harsh reality and come to forgiveness and reconciliation. Read More

The London 2012 Summer Olympics

Boyle, Danny 2012

Kenneth Branagh dressed as Isambard Kingdom Brunel during the opening ceremony of the 2012 London Olympics (directed by Danny Boyle) and recited Caliban’s lines from The Tempest 3.2.138-145 (2005 Oxford edition). The closing ceremony featured Timothy Spall’s Winston Churchill reciting the same passage spoken by Branagh earlier. Read More

The Tempest

Tsui, Hark; Wu, Hsing-kuo 2008

In Putonghua (or Mandarin) with Chinese and English surtitles. See also the 2004 staging of The Tempest directed by Tsui Hark and Wu Hsing-kuo.

News article about The Tempest production scheduled for the 2008 New Vision Arts Festival, held from Oct. 23 to Nov. 23, 2008.

More details about the October 24-25 performances of The Tempest at the 2008 New Vision Arts Festival.

Caliban

Bonito, Eduardo 1997 | 5 Comments

CALIBAN is a play based on a research about this well-known character of William Shakespeare’s The Tempest. Caliban, the sole inhabitant of an island, is a primitive and savage creature, and is enslaved by Prospero, a noble chief of state who, after being exiled from his country, arrives on the island after a shipwreck. The process of civilization and domination serves as foundation for the plot. Thereafter, the play develops around only one man on stage, who will enact the metamorphosis of one character and create others, so breaking the linear narrative of the story, at times bringing the text into a contemporary focus to reveal it’s metaphors and reflections. Read More

The Tempest

Perng, Ching-hsi

Part of the Shashibiya Mingju Donghua (Animated Shakespeare) series.

The Tempest

Tsui, Hark; Wu, Hsing-kuo 2004

Co-directed by Wu Hsing-kuo and the Hong Kong filmmaker Tsui Hark, the Tempest combined jingju, kunju, and Taiwan’s aboriginal dance, with a cinematic visual language to comment on the tension between the aboriginals and mainland Chinese immigrants to the island of Taiwan. Read More