The Tempest

Front Cover
Cambridge University Press, Aug 17, 2000 - Drama - 373 pages
23 Reviews
This edition of The Tempest is the first dedicated to its stage history. Dymkowski examines four centuries of mainstream, regional, and fringe productions in Britain, nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian, and Japanese productions. She analyses the cultural significance of changes in theatrical representation, eg. 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 contemporary reception.
  

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Review: The Tempest

User Review  - David - Goodreads

I have always felt a little slighted about my middle name - Prosper - even though it is felicitous in the most literal sense of the word, I have always been a bit put out by it's oddness. I inherited ... Read full review

Review: The Tempest

User Review  - Mike - Goodreads

There's a sweetness and sense of humor to this play, especially in the last act, that I enjoyed. It's very strange, and unlike the other Shakespeare plays I've read. And somehow I was swept up in ... Read full review

Contents

Introduction
1
List of characters
94
The Tempest and commentary
95
selected textual variations
336
list of principal players
343
Bibliography
349
Index
360
Copyright

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About the author (2000)

William Shakespeare, 1564 - 1616 Although there are many myths and mysteries surrounding William Shakespeare, a great deal is actually known about his life. He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to send their oldest son to Stratford Grammar School. At 18, Shakespeare married Anne Hathaway, the 27-year-old daughter of a local farmer, and they had their first daughter six months later. He probably developed an interest in theatre by watching plays performed by traveling players in Stratford while still in his youth. Some time before 1592, he left his family to take up residence in London, where he began acting and writing plays and poetry. By 1594 Shakespeare had become a member and part owner of an acting company called The Lord Chamberlain's Men, where he soon became the company's principal playwright. His plays enjoyed great popularity and high critical acclaim in the newly built Globe Theatre. It was through his popularity that the troupe gained the attention of the new king, James I, who appointed them the King's Players in 1603. Before retiring to Stratford in 1613, after the Globe burned down, he wrote more than three dozen plays (that we are sure of) and more than 150 sonnets. He was celebrated by Ben Jonson, one of the leading playwrights of the day, as a writer who would be "not for an age, but for all time," a prediction that has proved to be true. Today, Shakespeare towers over all other English writers and has few rivals in any language. His genius and creativity continue to astound scholars, and his plays continue to delight audiences. Many have served as the basis for operas, ballets, musical compositions, and films. While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. At the height of his career, he wrote an average of two plays a year as well as dozens of poems, songs, and possibly even verses for tombstones and heraldic shields, all while he continued to act in the plays performed by the Lord Chamberlain's Men. This staggering output is even more impressive when one considers its variety. Except for the English history plays, he never wrote the same kind of play twice. He seems to have had a good deal of fun in trying his hand at every kind of play. Shakespeare wrote 154 sonnets, all published on 1609, most of which were dedicated to his patron Henry Wriothsley, The Earl of Southhampton. He also wrote 13 comedies, 13 histories, 6 tragedies, and 4 tragecomedies. He died at Stratford-upon-Avon April 23, 1616, and was buried two days later on the grounds of Holy Trinity Church in Stratford. His cause of death was unknown, but it is surmised that he knew he was dying.

Christine Dymkowski is Professor of Drama and Theatre History at Royal Holloway, University of London. She has a special interest in Edwardian theatre, feminist/women's theatre and the history of Shakespeare production within its wider cultural contexts. Co-founder of the working group on Feminist Theatre/Women in Theatre for the International Federation for Theatre Research, she has written numerous articles and papers on Lena Ashwell, Edith Craig, Cicely Hamilton, Susan Glaspell, Caryl Churchill, Sarah Daniels and Timberlake Wertenbaker. Her work on Shakespeare includes Harley Granville Barker: A Preface to Modern Shakespeare (1986); The Tempest in the Cambridge University Press Shakespeare in Production series (2000); 'Ancient [and Modern] Gower: Presenting Shakespeare's Pericles', in P. Butterworth (ed.), The Narrator, the Expositor and the Prompter in European Medieval Theatre (2007); and 'Measure for Measure: Shakespeare's twentieth-century play', in Shakespeare in Stages, which she co-edited with Christie Carson (Cambridge University Press, 2010). She is also Theatre History editor of the forthcoming New Variorum Tempest.

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