The TempestCambridge University Press, 2013 M05 16 - 282 pages The Tempest is one of the most suggestive, yet most elusive of all Shakespeare's plays, and has provoked a wide range of critical interpretations. It is a magical romance, yet deeply and problematically embedded in seventeenth-century debates about authority and power. In this updated edition, David Lindley has thoroughly revised the introduction and reading list to take account of the latest directions in criticism and performance. Including a new section on casting in recent productions, Lindley's introduction explores the complex questions this raises about colonization, racial and gender stereotypes, and the nature of the theatrical experience. Careful attention is also given to the play's dramatic form, stagecraft, and use of music and spectacle, to demonstrate its uniquely experimental nature. |
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actor Aeneid Alonso Andrew Gurr Antonio Ard3 argued Ariel audience Baxter Theatre Boatswain Caliban Capell Ceres characterised colonial compositors court masque Crane critical David Lindley difficult ding dong Dymkowski edition editors elision emendation emphasises example Exeunt F’s comma figure final find first fish fit five Folio give Gonzalo hath Hymenaei implied influence island Jonathan Bate Jonson Juno Kermode king lineation lords magic manuscript marriage masque meaning Milan Miranda modern monster Naples narrative ofthe Ovid performance perhaps phrase play’s political Pope possible production prose Prospero punctuation Ralph Crane reading reflects relationship Renaissance response rhetorical S.Sur scene Sebastian seems sense Shakespeare Shakespeare’s play short line significance song speaks specifically speech spirit stage directions Steevens Stephano Stephano and Trinculo Stephen Orgel storm strange Stratford suggests Sycorax Tempest Textual Analysis Theatre theatrical thee Theobald thou Tilley tion Trinculo verse words