1994

Shakespeare Electronic Conference, Vol. 5, No. 0161.  Monday, 28 February 1994.
 
(1)     From:   Jerald Bangham <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Saturday, 26 Feb 1994 19:16:34
        Subj:   Re: SHK 5.0156  *Tempest* Problem
 
(2)     From:   Cary M. Mazer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Sunday, 27 Feb 94 11:31:34 EST
        Subj:   Re: SHK 5.0156  Staging The Tempest
 
 
(1)----------------------------------------------------------------------------
From:           Jerald Bangham <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 26 Feb 1994 19:16:34
Subject: 5.0156  *Tempest* Problem
Comment:        Re: SHK 5.0156  *Tempest* Problem
 
>I've been reading through the Tempest and I want to do it for the Fall
>production at my university.  However, the vanishing banquet scene has got me
>boggled.  I want to do the play in the round and I am curious if any one has
>seen this play done in the round and if so how was this scene done.
 
I saw the scene at Stratford Ont, but don't remember how it was
staged.  One possibility would be a platform that could be carried
on stage that had some kind of a flip top and a flash box.
 
You might just have "spirits" come in and whisk the stuff away, again
with lights, smoke etc.
 
Jerry Bangham
This email address is being protected from spambots. You need JavaScript enabled to view it.
 
(2)----------------------------------------------------------------------------
From:           Cary M. Mazer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 27 Feb 94 11:31:34 EST
Subject: 5.0156  Staging The Tempest
Comment:        Re: SHK 5.0156  Staging The Tempest
 
To Chris Daigle,
 
Before you get tied up in the logistics of blocking, you might ask some
more fundamental questions about magic and theatre and audiences in the play.
What--to borrow a concept from Alan Dessen--does it mean to see or not to
see something?  What can Prospero see that the other Italians can't (e.g.
Ariel)?  What does he see that we in the audience can or cannot?  Find a
theatre conventon that helps you to establish how seeing works vis-a-vis
magic, and you can throw away the strobe lights, blackouts, fairy dust and
trap doors.
 
Have fun.
 
Cary M. Mazer

Subscribe to Our Feeds

Search

Make a Donation

Consider making a donation to support SHAKSPER.