Answer TWO of the following as a Comment below:
1. Compare Act One, Scene One to what we saw of the Chinese
Opera production of The Tempest (which covered almost all of the First
Act). How effectively do you feel the
opera captured the essence of the characters, the drama, or the ‘music’ of the
play? What elements resisted or escaped
translation? Did the opera help you
understand or appreciate the opening act...or was it like reading an entirely
different play?
2. The Tempest is classified as a ‘romance,’ which is
a very loose category for Shakespeare’s late plays which defy categorization as
a comedy, tragedy, etc. Based on the
first act, what makes this play distinct from the previous plays we’ve read (if
anything)? Is there some quality of the
plot, characters, or language which makes it feel like a new genre? How useful is the term ‘romance’ in reading
this play?
3. Caliban is arguably the greatest character in The
Tempest, and is unlike almost anyone else in Shakespeare. He enters the play spewing curses, yet he
speaks in verse and offers some of the best lines in the play—ex: “You taught
me language, and my profit on’t/Is, I know how to curse” (Norton, 19). How does Shakespeare present Caliban to us
in the first act? Is he more a Shylock
or an Edmund? Why does everyone in the
play dismiss him as a “villain”—and should we?
The Chinese Opera version compared to The Tempest was a little overstaged at worst, and compelling at best. The boat guy remains my favorite addition as well as the overworked percussion section! Those poor little musicians with their tiny instruments just hounding away while the actors try to keep up with odd Chinese pronunciation, I mean how big are their timpanis? Anyway, the differences were obvious in style and language, but the main and obvious escaped translation for me was the music. And don’t get me wrong with my elitist thinking, but if Shakespeare is going to be classified as romance, which ironically brings me into question 2, where is the light comic music? Why does it have to be so loud? Is the man in the back really paying attention? Is anybody listening to me?
ReplyDeleteComic relief aside, traditionalists can at least raise a brow to the romantic century of harps and flutes, and lighter, less energetic drumming styles. Then again I haven’t watched the whole Chinese Opera, but if I were to it had better be live!
Felicia Doyle.
Oh gaw a double comment how lovely.
DeleteHa. Ha. Ha.
DeleteHey! I think Grasso got rid of my double comment! Yay!
Delete1. I thought the Chinese Tempest had a much more dramatic beginning than the original. The whole scene with Prospero summoning the storm added a whole new level to his character—in the text we are told what he can do with his powers (call down a storm), but in the play we are shown what he can do. Because the images are so much more striking than the text, I found the Chinese Prospero much more intimidating than the original; although, any menacing persona that Prospero might have had is immediately negated by the rather comical portrayals of Caliban and the others.
ReplyDeleteOne thing that I found myself missing in the Chinese version of The Tempest was the stereotypical Shakespearean wit. Although I am a huge fan of opera, I just don’t think Chinese opera can give me what I want from my Shakespeare. I want the sassy Boatswain talking down to the King of Naples and all the sneaky sexual innuendos of the original; however, these things require dialogue, something I didn't see a lot of in the Chinese Tempest.
This isn't to say that I didn't enjoy the Chinese version (although Miranda’s voice left much to be desired—such as earplugs). I thought the sets and theatricality of the Chinese Tempest was amazingly done and highly entertaining to watch.
2. Although I found myself sympathizing with Caliban at the beginning of his conversation with Prospero, a lot of my sympathy was discarded when his attempted rape of Miranda became the topic of discussion. Caliban spends a large part of his dialogue complaining about having to live “in this hard rock, whiles you do keep from me the rest o’th’ island” (1.2.343-44) and cursing Prospero for his harsh treatment.
However, as Prospero rightly points out, the only reason Caliban is living in what I presume to be a cave is because of his attempted rape of Miranda: “I have used thee…with humane care, and lodged thee in mine own cell till thou didst seek to violate the honor of my child” (1.2.345-48). Caliban’s reaction—“O ho, O ho! Would’t had been done!”—erased any sympathy I had for his character. Although, I am trying to delay forming a concrete opinion of him until I have seen more of his character. At this point, however, he does not resemble Shylock in the slightest.
Consider, though, how much you're trusting Prospero's account of things--when not a scene later, he sets up a mock romance between Miranda and Ferdinand, and then splits them apart, calling Ferdinand a usurper. What was the act of "rape"? Remember that in Shakespeare's time, "making love" was typically the act of wooing--even kissing; in the same way, rape doesn't mean sexual assault or even sex. Caliban may have fallen in love with Miranda and been moved to kiss or embrace her--and Prospero conveniently left them alone for this to happen. Later, when Caliban gleefully admits that he tried to, it's probably more out of bitterness since he has become a slave and lost his entire island--as well as the father that cared for him. Certainly he would want to 'rape' her now and kill her father. After all, they taught him to curse--something he formerly knew nothing of; they probably taught him what rape was as well, something he had little concept of, if he even understood the idea of sex. It reminds me of Shylock's speech when he tells the Christians, you have taught me to revenge and I'll do it even better than you. Caliban is of the same mindset; if you give me a chance to 'rape' her again, then I just might do it--and I won't regret hurting either of you hypocrites! Again, Prospero's actions in Act 1.2 seem to put his motives in question, since he is nothing if not a schemer and a playwright. Just a counterpoint to consider, since Caliban has become the focus of much modern scholarship (and note how he speaks verse AND has some of the best lines in the Act).
Delete(although Miranda’s voice left much to be desired—such as earplugs).
Delete^^^^ very funny
2. It's very different from the others. Maybe not in terms of plot or language, but in terms of characterization and world-building. Until the end of As You Like It, nothing indicates a supernatural world; The Merchant of Venice is completely "real" except for the tiny fact that Belmont doesn't exist; and King Lear's difference is that it is grounded in the "real" world with supernatural elements coming from a mad king's mind. Here, the magical elements have concrete form. Miranda is not like Rosalind, Portia, Cordelia, her sisters, or even Jessica. She's innocent and seems to have no amount of guile to her at all. Prospero, her father, steps into the shoes of "clever person controlling everything". There are hints of Ferdinand and Miranda being interested in each other (which isn't very subtle, as Prospero is planning it). As a "romance," it could work, but that term would become very specific in this instance as it refers not only to a sprouting love (with all its potential comedy) or the tragedy that could befall anyone (and has in the backstory) to being a world where both are very likely and the elements of the supernatural are not only alluded to but take a very real presence--even more so than Hymen.
ReplyDelete4. Prospero is a very ambiguous man. He says he was overthrown because he buried himself in his studies and didn't realize his brother was plotting until it was too late, but why was he so immersed in studying these arts in the first place? How did he become such a powerful wizard, and why? As a ruler in his own right, he should have seen something brewing, even if he didn't connect to dots (unless he did and didn't want to believe his own brother was like that?). His people didn't even revolt or come looking for him in twelve years? If he was that beloved, unless Antonio was very good at cowing the populace, someone must have tried something--yet there is no mention of it. Why would Gonzalo (an advisor of the King of Naples, Prospero's enemy) take pity on the man and his young daughter? Prospero describes the craft as something tiny, like a barrel, but somehow it had room enough for supplies until father and child made it to a deserted island. He's definitely a schemer, though--Miranda and Ferdinand were already falling for each other, and he takes it on himself to hinder them (possibly testing Ferdinand's character wouldn't be amiss, though it is odd that he would approve his daughter and enemy's son being together). One might think his bitterness would lead to him becoming a "Count of Monte Cristo"-style executor of what he considers justice, but with the status of his power growing being unaccounted for, he doesn't seem quite as bitter as he ought (unless he's really good at hiding it). As a "father," he treats Miranda, who looks up to him in every way, very well, though as if she were still a child. Ariel, who does his bidding but shows hints of independence, is treated with alternating contempt and praise. Caliban, as a Goneril and Regan-like figure, gets the brunt of his scorn and rage (justly, in the case of Miranda's near-rape). For the most part, he seems mainly benevolent, but his negative traits could stem from impatience or from holding his anger in check for so long; his treatment of Ariel, in particular, seems to be a kind of love-hate thing, especially if he wants revenge and Ariel's pleas for freedom are hindering him. All in all, he seems an even mix of good and bad.
Jessie Randall
Nikki Ennis
ReplyDelete2. I feel like this play is different from the other plays we have read so far in that it has supernatural elements (nymphs, magic, etc.). This makes it all a bit fantastical, but also interesting because it is something we have yet to explore in this class. Therefore, I feel the term romance is fitting given that the play does not (so far) fit under any of the other categories.
4. Prospero is much like King Lear in that he is power hungry, and takes for granted those around him. Lear took advantage of his friends and his daughters. Prospero take advantage of Ariel and Miranda. Even though Lear removed himself from power, he still wanted to be king. Even though Prospero was removed from power and is living on an island with few inhabitants, he still wants to rule it. He manipulates things around him to get his way, much like Lear.
1. The opera helped me to understand more of the shipwreck and the dramatization of what was happening in the first act. The actual text of the play was more humorous than dramatic, and the text didn’t really capture the shipwreck/magic powers of Prospero. But in the opera version I did not understand the character of Prospero much at all. You get a lot of insight into Prospero’s character in act 1, and we don’t really see that in the opera. It was like reading an entire different play to me, the opera seemed like a very loose interpretation of the play to me.
ReplyDelete3. As we know now through the plays we have read, Shakespeare loves to glorify, or give a voice to, the outcasts of his plays. From Act 1, it seems pretty clear that Caliban will be another one of these strong out casted characters. Shakespeare lets us know of Caliban’s intelligence by having him speak in verse and say wise profound things in his responses to Prospero. Also, when the readers see how he is treated by Prospero, it enacts some form of sympathy from us as readers. As far as him being a villain, from just reading the first act, that is hard to predict. The way that Shakespeare represents him in the first act, it seems that Caliban will be a controversial character, having both good and bad attributes, as most of Shakespeare’s villains are.
-Tori
3. In Act 1, I feel it is too early to say whether Caliban is a villian or not. He is portrayed as this horrible "monster" and is accused of raping Prospero's daughter, Miranda. However, the text does show how mean Prospero is towards him and for all we know, he could have manipulated this situation as well. From the very beginning scenes we see Prospero manipulating the the waters in order to seek out his revenge, only to later on manipulate the first meeting between his daughter Miranda and Ferdinand. Prospero could have put Caliban in a situation that looked bad just so he could accuse him of harming his daughter. This way, he could have power of Caliban and take over the island. There really is no way of telling the early in the play. Just from this Act 1, it is hard to view Caliban as this horrible villain, certainly with the way Prospero treats him.
ReplyDelete4. Prospero resembles King Lear in several ways. Mostly in the way he treats the others around him. Much like King Lear, Prospero no longer has his kingdom, but still wants to rule. King Lear still tried to treat his daughters like he was the king, whereas Prospero tries to rule this island and manipulate the waters in order to get his revenge. He is seeking his kingdom back. Also, Prospero's relationship with Miranda sort of reminds me of King Lear's relationship with Cordelia. Even though Prospero manipulates Miranda, he still acts protective of her in the way that he did not tell her the story about his loss of the kingdom. Even though King Lear forced the sort of "test" upon his daughters to see how much they loved him, I feel he truly cared for Cordelia. So far, Act I makes it very hard to have sympathy for Prospero like we often do for King Lear. Even though they have similarities, Prospero does not seem as loving deep down as King Lear did.
Courtney White
Compare Act One, Scene One to what we saw of the Chinese Opera production of The Tempest (which covered almost all of the First Act). How effectively do you feel the opera captured the essence of the characters, the drama, or the ‘music’ of the play? What elements resisted or escaped translation? Did the opera help you understand or appreciate the opening act...or was it like reading an entirely different play?
ReplyDeleteAs others are saying, I feel the Opera was great and helped me understand what was happening but it over dramatized the scene greatly. It is always helpful for me to see a production, even one that makes me want to pull my teeth out from their singing as well as the fact that I was forced to read captions. Watching a production in another language to me becomes distracting because I miss his humor and I miss the action because I am reading not watching. The music and the girls hand movements were stuck in my head while reading it and although I knew what was really going on, Like I said before it was just distracting and I could not appreciate it fully. Reading the play was a lot easier to handle.
4)He is a manipulating jerk so far. He patronizes his daughter with his “are you listening” when obviously she is what else is there for her to do trapped on the island! Oh right, she can fall in love with the royal young man that her father pulled from the ocean for her to marry in order to farther his revenge plot. He will hold his grudges over his other “children” making promises he likely won’t keep. Like King Lear he taunts them with “you owe me” stories.
He may consider himself a deposed king but he, like Lear, gave up his kingdom. He chose to hide away and let his brother rule so honestly he made his decision and had no right to be uppity about not being duke if as duke he did not want to do anything either.
Melissa Williams
ReplyDeleteDr. J. Grasso
Tempest Act I
March 31, 2014
1. I cannot say that I find the Chinese Opera version as capturing what Shakespeare had wanted in his works. Yes, they did manage to create the chaos of the shipwreck, but they forgot to mention the individual torment of each character. Rather we get an elaborate choreographed display with lots of fabric that distract the audiences from the words of Shakespeare’s play. You cannot even tell who is who on the opera version of the boat because it is a total mess with no focus on characters to show who is who and what status they are. Another issue I had with the Chinese Opera version can be explained by examining page 16 in our edition of the Tempest. When Prospero gave his hate-filled speech to Ariel, in the Opera it was not nearly as spite-filled as the actual play. You get some anger and some wrath, but not spite.
2. I cannot call this a Romance. Sure, there are plenty of mystical elements such as the fae and witches that can make it seem like a Romance, but I prefer the term Comedy. All humor is based on suffering to some degree, so it only makes sense that with all of the suffering in the play that the characters begin to react in hilarious and ridiculous manners. The people on the ship flipping out while their king acts like it should be no big deal is damn funny, and Prospero’s fits are even more hilarious because they are uncalled for.
ReplyDelete2. From reading Act 1, so far you can just tell this play is different than Shakespeare’s earlier works. I do not believe it to be the plot or story line but mainly the characters and the way they have interacted with each other. Although, the magic plays a role in it as well. For the most part, many of his plays do not hint much at a magical world. They are all pretty serious and real like. I feel that it should be classified as a romance because there are so many new and unique elements that you could take out of it that I do not know what other category it would fit in to. Going back to the language of the play, it seems more personal to me. They are still speaking in Prose but everything seems to have a casual feel to it.
4. From reading King Lear Prospero seems to be another King trying to gain back some form of control and return back to how things were. He does that by controlling the ones closest to him and who he loves best. Like King Lear, he loses his kingdom. He was removed from King because he was preoccupied with his books on magic. Unlike King Lear, Prospero tries to rule the little island and gain control of everyone around ultimately manipulating people to have things his way. Prospero and Miranda are a lot like Lear and Cordelia he is very protective of her and tries to get her to do what he wants. Even with all of the similarities it seemed that King Lear was more affectionate and loving towards his daughters than Prospero is for Miranda. That is just how I felt it came off.
-Kayci Snider
1. The Chinese Opera version of the Tempest was visually breathtaking. I would not mind watching it all the way through if only it were muted. I agree with many others from the class that as far as the auditory aspect the Chinese Opera was painful. After reading the Tempest much of what is lost in the Opera version is Shakespearean wit and Language which usually makes or defines his plays. Another thing that I noticed that the Chinese version was very extravagantly preformed where as if done in Shakespearean times there would have been little to no props, lighting, etc... This over the top performance is breathtakingly beautiful just not necessarily what one expects from Shakespeare.
ReplyDelete3. Caliban seems much like Shylock in a way… He seems resentful to Prospero but then again Prospero is the tyrannical leader using his powers to keep everyone in check if he can somehow make use of them later I’m assuming for his own gain. As of yet I am not sure if I see Caliban as a villain or as a mistreated subject. Other than a unsuccessful attempt of rape on Caliban’s part has he done any wrong or is he being wronged against?
Lisa Edge