Trevor Nunn on The Tempest Shakespeare Uncovered


Trevor Nunn on The Tempest

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'Just imagine you've been marooned on a deserted island

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'for 12 years...'

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when, amazingly,

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the men who conspired to put you here,

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are shipwrecked in a storm

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and are washed up, defenceless, onto the same shore.

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They're at your mercy.

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So what are you going to do?

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'This is a story of anger and the search for revenge,

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'of paternal love and sacrifice, all unfolding in a magical world.

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'Along the way, we'll see a creature that's barely human,

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'an airy spirit conjured from the elements,

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'a storm which stops as mysteriously as it began.

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'It sounds like a work of science fiction,

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'yet it comes from the imagination of a man writing 400 years ago.'

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It's the last complete play by William Shakespeare.

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It's The Tempest.

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'I directed The Tempest with Ralph Fiennes in the leading role in 2011.

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'It was a play I'd always wanted to do.

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'Alas, nothing of our work was filmed,

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'but what still intrigues me about this play

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'is what it tells us about Shakespeare himself.

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'It's more ambitious than anything he'd written before,

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'more radical in the ideas it explores

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'and more imaginative in the kind of staging it demands.

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'And yet, he was in his latter years when he set himself this challenge.'

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Astonishingly, what he decides to do

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at the end of his writing lifetime is an experiment.

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This is an experimental play that requires people to fly,

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spirits to emerge and shape-shift,

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apparitions, disappearing acts.

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It's all experiment.

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'This was his last complete play.

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'I think it's also one of his most personal, almost autobiographical.

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'It's even possible that Shakespeare, who was also an actor,

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'could have played the leading role himself.'

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Shakespeare would have been 50 at the point of this play.

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Prospero's 50.

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Did he play Prospero? Why not?

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I mean, is it not only his last play, but his last performance?

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'Different film versions of the play go back to the very earliest

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'attempt in 1911, but at its core,

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'The Tempest is the story of one man and a choice he must make.

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'The man is Prospero, Duke of Milan,

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'who's been betrayed by his brother,

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'cast away on a boat with his tiny daughter, Miranda.'

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That's extraordinary!

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'Left to their fate, they survive,

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'marooned on a deserted island for 12 years.

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'Prospero is no ordinary man.

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'He's a Magus, a magician who commands spirits and the elements.'

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Special effects!

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'Through this magic, his art,

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'he has discovered that his treacherous brother

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'and co-conspirators will pass his island on their ship.'

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Here are the villains.

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'He conjures up a tempest that hurls his enemies onto his shore.

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'But what will he do with them?

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'What will happen when his past and present lives collide?

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'This play will ask huge questions.

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'How do we become the people we are?

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'What does it mean to be human?

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'And what happens when, for the first time, we fall in love?

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'While the play tackles all of these issues,

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'a central theme is the relationship between a father and his daughter,

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'alone together for 12 years.'

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I think the relationship between Prospero and Miranda

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is one of the great interests and sort of puzzles of the play,

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because, really, the action kind of rests on it.

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I have done nothing

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But in care of thee.

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'There's obviously a lot of love there.

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'It's a very, very intimate relationship,

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'but also, from Prospero's side,

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'there's a real sense of controlling...'

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of her and controlling of her personality

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and wanting her to do certain things and not do other things.

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And so, immediately, there's a kind of tension there.

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Lend thy hand,

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And pluck my magic garment from me.

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'Since the age of three,

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'her father has been the only person in her life.'

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'This play is a paternal fantasy

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'about the daughter that I could raise...'

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if I had her to myself,

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if I didn't have mothers coddling her

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and I didn't have other people getting in the way

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of the person that she could become if I were to shape her.

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Lie there,

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My art.

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'Controlling he frequently is,

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'but Prospero's clearly devoted to his daughter.'

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He says, kind of, "You saved my life because YOU were in the boat,

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"then I felt there was something worth living for."

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It's very, very potent between the two of them.

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'It's an arresting premise,

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'a father and a daughter surviving a nightmare journey,

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'drifting in an open boat before finally reaching an island.

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'Shakespeare has invented a story of people...'

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surviving, marooned on a bare island.

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'They don't really know where they are.'

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This is 150 years ahead of Robinson Crusoe.

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'So where did Shakespeare get this idea from?

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'We know he had access to the London bookstalls

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'and we know that, like screenwriters today,

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'Shakespeare re-worked and embellished existing plots.

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'But uniquely, for this play, there was no existing fictional story.

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'It's possible that Shakespeare was influenced by a real event.'

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"Chapter VI. A true repertory of the wracke

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"and redemption of Sir Thomas Gates Knight,

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"upon and from the Ilands of the Bermudas."

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'It's quite clear...'

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that one of the most important events that Shakespeare

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almost certainly must be drawing on

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is the expedition of a ship called the Sea Venture

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that sets out for the Americas in the summer of 1609.

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Around 500 people are on this boat, and it disappears.

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"I. A most dreadful Tempest."

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We know it's actually stranded in Bermuda,

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but from the contemporary perspective, this is a disaster.

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"So huge a sea broke upon the poope and quarter upon us

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"as it covered our ship from stern to stem

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"as it rushed and carried the Helm-man from the helme

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"and wrested the whipstaff out of his hand

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"and all us about him on our faces."

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There are many accounts - William Strachey is the famous account

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that Shakespeare may have had access to -

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but there are any number of other little pamphlets that report

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this drastic and difficult expedition.

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"Sea breakes in. Leak cannot be found which cannot but be found.

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"The waters still increasing, we were now sinking."

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These sorts of episodes are absolutely embraced

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by the reading public in early 17th-century England.

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This sort of voyage of discovery,

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these abilities to imagine yourself a little person

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perhaps in Southwark imagining themselves

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in the Isle of Bermudas or the Indies or in the Americas.

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"Utter darkness. Their labour for life

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"three dayes and foure nights."

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'And, just as with Shakespeare's story,

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'all the shipwrecked passengers survived.'

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So then, a year later, or almost a year later, in May 1610,

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the wrecked people have managed to create their own boat

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and they arrive in Jamestown.

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It seems to me that it's just too much of a historical coincidence

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that these same themes of individuals being shipwrecked

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on an island in the middle of nowhere,

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who somehow eventually are recovered and go on their way...

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it's too much of a coincidence not to have been used by Shakespeare.

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'So Shakespeare may have been influenced by that real event,

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'but how was he going to get his Magus

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'to create a shipwreck on stage?

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'Shakespeare needed a way of manipulating

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'what his audience were seeing and hearing.

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'Finding new ways of playing with light and illusion.

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'But his theatre, the Globe, was open to the sky - hardly ideal.

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'Flying spirits would need be suspended from a ceiling,

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'disappearing acts needed darkness.

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'He needed a theatre with a roof where they could act by candlelight.

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'At the Globe today, they still recognise that problem.'

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Clearly, a lot of the atmosphere of this magic world of the play

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would have been so much more potent in an interior candlelit space

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than in an open-air space where you would see it in the afternoon.

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Candlelight is a massive game changer.

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It makes light sources unspeakably powerful.

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If you walk onto the Globe stage with a lantern, you look like

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an idiot, cos it's meaningless. If you come into a darkened room

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with a lantern, and that's the only light source in the room,

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you're a very powerful presence.

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'So Shakespeare and his company

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'took over an existing indoor theatre, the Blackfriars.

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'No-one knows exactly what it looked like.

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'But across the Atlantic, a reconstruction has been created.'

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'In Staunton, Virginia, they're rehearsing

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'the opening scene of The Tempest.

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'The shipwreck.'

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CRASHING AND RATTLING

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Boatswain!

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Here, master. What cheer?

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Good. Speak to the mariners.

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Heigh, my hearts! Cheerly, my hearts! Yare!

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'This is a daytime rehearsal with the house lights on,

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'but it reveals another demand of the play...

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'dramatic sound effects.'

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RATTLING

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RUSTLING

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The beginning of The Tempest has this huge storm.

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So trying to figure out how Shakespeare might have staged it

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when he didn't have smoke machines,

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he didn't have the special effects that we have in the 21st century,

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so trying to figure out how we can aurally create

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the idea of a big huge storm is what we were after.

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We've got all of these acoustic instruments

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that could have been something like what Shakespeare had,

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because he had the same issue that we did.

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How do you get a huge storm and a shipwreck

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in the Blackfriars playhouse?

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SHOUTING AND COMMOTION

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'It's like the beginning of a film.'

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The Tempest as a play takes you by the throat immediately.

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It opens in the middle of this storm, we're on a ship.

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Hence! What cares these roarers for the name of King? To cabin!

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'The ship is going down, there are sailors running across the stage,

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'the guests on the ship running the other way.'

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No-one knows what's going on.

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'At this stage, not even the audience knows what's really going on,

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'because, in fact, nothing is what it seems.'

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Take in the topsail!

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'These elements of high drama and magic

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'have inspired many different film versions,

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'but at the centre of every Tempest is this strange Magus character,

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'the betrayed duke, Prospero.

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'He's created the storm, he's stage-managing all the action.

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'No-one on the ship will be harmed, but they, of course, don't know that

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'and they're terrified.'

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We are in the company of a great magician, conjuror, alchemist

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who can control the elements

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and indeed, almost control people's destinies.

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Somebody who seems to be playing at God.

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Therefore, he's somebody to be feared.

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'Do we trust Prospero? I don't know.'

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He's conjured up this storm from nothing. He's made it go away again.

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He's actually brought the ship safely into harbour

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and he's deposited its passengers very carefully

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in different parts of the island, and it's clear

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that Prospero is setting this up

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because he wants to control this plot.

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He's going to bring them together when he wants them to be together.

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'And we don't really know what is going to result from that.'

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'He's brought his enemies to the same island

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'on which he struggled ashore. They are in his power.

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'The play hinges on a moral question. What will he decide to do with them?'

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Prospero begins The Tempest as somebody who is...metaphorically,

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as well as literally, on an island. He's stuck with himself,

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and all that he's had to say to himself for years is,

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"I was treated badly. I was treated badly."

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'Prospero is very human because he wants'

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to take revenge and he wants it to be extreme.

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He really wants to hurt the people who have hurt him.

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Prospero is a profoundly angry, bitter, enraged person,

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enraged, with absolute reason,

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absolutely rightfully enraged.

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'But definitely with a burning rage inside of his belly.'

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'Prospero doesn't ever spell out the intentions he has.'

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One of the main questions of this play is,

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will Prospero be capable of forgiveness?

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If by your art, my dearest father, you would put the wild waters in this roar, allay them.

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'Having depicted the angry Magus, the play then reveals Prospero, the reassuring father.

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'He tells his daughter for the first time how they became castaways.'

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How came we ashore?

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By providence divine. Some food we had, some fresh water,

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a noble Neapolitan, Gonzalo, out of his charity,

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being then appointed master of this design, did give us.

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From the first, Prospero's words to Miranda

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are some of the tenderest in the play.

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'He talks about his daughter as "dear", he tells her that she saved his life.

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'He's trying to instruct her about the world she's about to enter that she has no experience in.'

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And he's worried about it. She's 15, and he's worried about it.

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Know thus far forth, by accident most strange,

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bountiful fortune now, my dear lady, hath my enemies brought to this shore.

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He is my teacher. I have very few memories before this place.

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It's just the given, it's the given circumstances.

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'I know that my father talks to spirits and that he runs this storm and I know he's probably'

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got a purpose for these things he's doing,

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but I feel that it's just a given that I understand that he's got this magic

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and he's got this ability to talk to the spirits.

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'Prospero and Miranda are not completely alone.

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'Their fellow inhabitant is among Shakespeare's strangest characters.

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'Caliban, a creature possibly inspired by the talk in Shakespeare's local tavern.

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'The Globe Theatre was by the river.'

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Sailors returning from distant parts would of course exaggerate

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about the weird and wonderful creatures that they had seen.

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But strange creatures - half man, half animal - were thought to exist,

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and, indeed, drawings were made of them

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and those drawings were printed.

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'Caliban has always been a controversial character.

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'His existence provokes uncomfortable questions.'

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I want to try something. Really attack...

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'The Tempest is part of the RSC's new season.

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'In rehearsal, they're exploring the first time Caliban is seen with Prospero.'

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OK, let's go from waking Emily up.

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'Something has happened that has resulted in Prospero enslaving Caliban.'

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Slave! Caliban!

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Thou earth, thou...

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Speak!

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Caliban is a previous inhabitant of the island.

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He actually was here before Prospero.

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I think that's significant to their relationship.

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His mother, Sycorax, was a witch

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and she has died, leaving Caliban alone on the island.

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'Prospero has arrived on the island, and Prospero and Caliban initially were friends,'

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then a terrible event has taken place, a cataclysmic event.

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Poisonous slave.

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'The relationship is now full of anger.'

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Come forth!

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As wicked dew as e'er my mother brushed with raven's feather

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from unwholesome fen, drop on you both!

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A south-west blow on ye and blister you all o'er.

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'Each new production has to decide what Prospero feels about Caliban.'

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Tonight thou shalt have cramps.

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'I talked to the unusually youthful Prospero, Jonathan Slinger.'

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Your Prospero, does he think of Caliban as his servant,

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as his slave? Does he think of him as an animal?

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I think they have been on a real journey,

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their relationship has been on an incredible journey,

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which is articulated beautifully actually by Caliban himself,

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who talks about Prospero arriving and treating him very well,

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very nicely, giving him food.

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When thou cam'st first, thou strok'st me and made much of me,

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would give me water with berries in't.

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And then I loved thee.

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'He then betrayed me horribly'

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by trying to rape my daughter.

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And now he is very much my slave.

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I have used thee, filth as thou art,

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with humane care and lodged thee in my own cell

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till thou did seek to violate the honour of my child!

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I don't think of Caliban as an animal. He is

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a being that I have had enormous love and respect for in the past,

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but no longer, and I am punishing him terribly.

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'Quite where our sympathies should lie is complicated by the idea of whose island is it anyway?'

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Certainly, Caliban is enslaved against his will.

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And certainly, Prospero has come to an island where he himself

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is not native born and is taking it over and becoming its ruler.

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So the structure is a colonial structure.

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'In our century, it's seems obvious to link Caliban and colonialism,

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'but is that what Shakespeare had in mind?

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'The play is about power, freedom and slavery,

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'but that's not the same as empire.

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'It would help to get a clearer idea of where Shakespeare intended his island to be.'

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So this, for late 16th, early 17th century Englishman,

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is what world looks like.

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And what you can see is obviously... this looks quite modern.

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There you can see Britain, you can see the Mediterranean very clearly here.

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So even by this time, by the very early 17th century,

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you have quite a comprehensive world picture.

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Imagery like this would be known or would it be very specialist?

0:21:310:21:34

No, it would have been known.

0:21:340:21:37

They would have been able to situate themselves within this world.

0:21:370:21:39

It has to be said, doesn't it, that the bulk of the references

0:21:390:21:44

in the play are to this Mediterranean world?

0:21:440:21:47

I mean, Caliban was the son of Sycorax, the witch of Algiers,

0:21:470:21:52

and there isn't a suggestion in the play that we're dealing with

0:21:520:21:56

what came to be known as the New World?

0:21:560:21:59

No, because look at this, look at this map. If you look at North America and South America,

0:21:590:22:03

this is quite approximate. This is a sort of weird,

0:22:030:22:07

triangulated wedge of cheese for South America.

0:22:070:22:09

North America pushed far too far to the west.

0:22:090:22:13

Here it gets hazy, so those references to the New World

0:22:130:22:17

are about the fact that this new West world is something coming into shape.

0:22:170:22:22

Certainly for the English. OK, Columbus discovers it in 1492,

0:22:220:22:26

but the English have been nowhere in that process.

0:22:260:22:29

Only from the turn of the 17th century when they settle in Virginia,

0:22:290:22:33

what the English audience knows is this Mediterranean world which is what the play's describing.

0:22:330:22:38

'But in trying to give the play more contemporary relevance,

0:22:380:22:42

'productions often make the legacy of European colonialism the central theme of this 17th-century play.'

0:22:420:22:49

The last 20 or 30 years, there's been a post-colonialism take on the play,

0:22:490:22:54

to say, "This is all about colonisation,"

0:22:540:22:56

so everybody has therefore magnified those New World, American dimensions.

0:22:560:23:02

Indeed, the problem with the colonial take

0:23:020:23:06

is that of course Prospero becomes just another white colonialist

0:23:060:23:11

who has taken over somebody's country, and that isn't his story.

0:23:110:23:15

I mean, he's been cast adrift in a boat, and this island is his survival.

0:23:150:23:21

And he discovers Caliban, and Caliban is not native to that island.

0:23:210:23:24

Absolutely. I think that the more interesting aspect of the play is,

0:23:240:23:28

nobody is native to the island.

0:23:280:23:31

The island has never been first discovered,

0:23:310:23:33

there's always been somebody there before,

0:23:330:23:35

because before Caliban, there was Sycorax.

0:23:350:23:37

We know from the text that this island

0:23:450:23:48

has green pasture, brown firs,

0:23:480:23:52

trees, a marsh and yellow sands.

0:23:520:23:57

But is it bare? Is it bleak? Is it beautiful?

0:23:570:24:02

'I think Shakespeare leaves this to our imagination,

0:24:020:24:06

'so we can create our own magical world, and magical it must be.

0:24:060:24:12

'Prospero has a spirit servant, Ariel.

0:24:130:24:17

'Using his magic art, he released Ariel from a tree,

0:24:170:24:21

'in which he'd been imprisoned by Caliban's mother, a witch.

0:24:210:24:24

'Ariel belongs to the elements.'

0:24:240:24:27

There's Caliban, who represents something very close to the earth,

0:24:300:24:34

something visceral and physical.

0:24:340:24:36

Then there's Ariel, who represents all the opposite things of that,

0:24:360:24:41

the spirit, something sacred and something magical,

0:24:410:24:44

something other-worldly.

0:24:440:24:47

And human beings are pulled between those poles.

0:24:470:24:51

'The relationship between Prospero and his spirit is complex,

0:24:520:24:56

'as Prospero has promised him freedom, but only after Ariel has helped him fulfil his plan.'

0:24:560:25:03

My liberty!

0:25:040:25:06

Ariel, throughout the play, from the first moment we see him, really,

0:25:060:25:11

is saying to Prospero,

0:25:110:25:13

"When am I going to be free? When are you going to let me go?

0:25:130:25:16

"You promised my that if I sorted out this storm, you would free me."

0:25:160:25:21

Thou didst promise to bate me a full year.

0:25:210:25:24

Ariel is definitely another slave.

0:25:240:25:28

'Caliban's one, and Ariel's another.'

0:25:280:25:30

I thank thee, master.

0:25:300:25:33

But I suppose there is this sort of intimacy and love there

0:25:330:25:36

for the person who is his captor.

0:25:360:25:39

'There's something wonderfully mischievous and accessible about Ariel.

0:25:390:25:45

'He so wants to be praised'

0:25:450:25:49

and so overjoyed when he IS complimented.

0:25:490:25:53

'The Magus is about to call on Ariel for a very different part of his shipwreck plan.

0:25:560:26:02

'Prospero has brought his enemies ashore

0:26:040:26:07

'not only to settle an old score,

0:26:070:26:09

'but to secure a new future for his daughter.

0:26:090:26:13

'One of the survivors is Ferdinand, the son of the King of Naples.

0:26:150:26:19

'Using an enchanted song, Ariel must deliver this young man into the presence of Miranda.'

0:26:190:26:25

Where should this music be?

0:26:250:26:28

I' the air or the earth?

0:26:280:26:31

'It's the first young man she's ever seen.'

0:26:320:26:35

What is it, a spirit?

0:26:350:26:38

No, wench, this gallant that thou see'st was in the wreck.

0:26:380:26:41

Sir, it carries a brave form.

0:26:410:26:43

He can put Ferdinand and Miranda together, but he can't make them fall in love.

0:26:430:26:48

That's going to happen or it's not gonna happen.

0:26:480:26:51

I might call him a thing divine.

0:26:510:26:56

For nothing natural I ever saw so noble.

0:26:560:26:59

We call it love at first sight. But it's not that deep love,

0:26:590:27:02

it's a tickle, it's, um... it's sexual intrigue,

0:27:020:27:07

it's a sexual interest that has never existed, I believe, in her body.

0:27:070:27:10

O you wonder, if you be maid or no?

0:27:100:27:13

-No wonder, sir, but certainly a maid.

-My language! Heavens!

0:27:130:27:18

'But then suddenly Prospero interrupts.'

0:27:180:27:21

A word, good sir. I fear you've done yourself some wrong. A word.

0:27:210:27:25

Why speaks my father so ungently?

0:27:250:27:27

..Virgin and your affection not gone forth.

0:27:270:27:29

'Prospero has his reservations about Ferdinand...'

0:27:290:27:32

Soft, sir, one word more.

0:27:320:27:35

'..since, in the past, the prince has been a bit of a playboy.'

0:27:350:27:39

Young Ferdinand has been round the block with young ladies various,

0:27:390:27:43

and Prospero is anxious

0:27:430:27:49

that the relationship between him and his daughter

0:27:490:27:53

should be not just a thing of physical attraction.

0:27:530:27:56

What he wants is a meeting of minds.

0:27:560:27:59

One word more, I charge thee that thou attend me!

0:27:590:28:02

Thou didst here usurp the name thou ows't not.

0:28:020:28:04

And has put thy self upon this island as a spy.

0:28:040:28:06

-To win it, from me, the Lord on't.

-No, as I am a man.

-There's nothing ill can dwell in such a temple.

0:28:060:28:12

Follow me. Speak not you for him. Come!

0:28:120:28:14

Prospero is obviously struggling with himself, so...

0:28:140:28:17

At the same time he's trying to control the encounter,

0:28:170:28:19

he wants it to go a certain way,

0:28:190:28:21

but doesn't quite want it to happen just yet,

0:28:210:28:23

or maybe changes his mind about what he wants to happen.

0:28:230:28:25

And all of these things Shakespeare is dramatising.

0:28:250:28:28

'Prospero is worried that if the teenage girl is too easily won, Ferdinand won't value her.

0:28:300:28:36

'But he can come across as the archetypal competitive male.

0:28:360:28:40

'That dynamic changes if Prospero is played by a woman.

0:28:420:28:45

'In a new film, Helen Mirren plays the part.'

0:28:450:28:49

This gallant which thou see'st was in the wreck.

0:28:500:28:53

I might call him a thing divine.

0:28:530:28:55

For nothing natural I ever saw so noble.

0:28:550:28:58

'I felt that it was a very strong addition.'

0:28:580:29:03

The play doesn't change,

0:29:030:29:04

but the perception in the audience's mind changes,

0:29:040:29:08

watching a woman doing, saying these things.

0:29:080:29:11

We are both in either's powers.

0:29:110:29:13

But this swift business, I must uneasy make,

0:29:150:29:17

lest too light winning make the prize light.

0:29:170:29:20

It's a fantastically different reaction that this Prospero has,

0:29:200:29:26

'because there's no testosterone.'

0:29:260:29:28

When a young man comes calling for the daughter of Prospero,

0:29:280:29:31

there's a lot of competition going on.

0:29:310:29:33

Here, with Prospera, it's much more of a tigress protecting her cub.

0:29:330:29:39

She knows exactly what can happen

0:29:390:29:42

with this young man if he's not true.

0:29:420:29:45

Thou thinkst there is no more such shapes as he

0:29:450:29:47

having seen but him and Caliban.

0:29:470:29:50

Foolish child!

0:29:500:29:52

To the most of men, this is a Caliban, and they to him are angels.

0:29:520:29:55

My affections are then most humble.

0:29:550:29:57

I have no ambitions to see a goodlier man.

0:29:570:29:59

'It's still a parent-child relationship,

0:29:590:30:02

'so that is the constant, but, yes,'

0:30:020:30:05

it lost that slightly... I thought to me

0:30:050:30:08

slightly patriarchal, controlling thing that I always felt

0:30:080:30:14

when it's played by a man.

0:30:140:30:16

'Whenever you see a work by Shakespeare,

0:30:190:30:22

'it's natural to wonder how much of it comes from his life experience.

0:30:220:30:26

'But The Tempest provokes more of these speculations

0:30:260:30:30

'than any other of his plays.

0:30:300:30:32

'It's April the 23rd,

0:30:330:30:36

'and Shakespeare's birthday is being celebrated in Stratford-upon-Avon.

0:30:360:30:40

'Now he's world famous, but even during his lifetime,

0:30:400:30:44

'he was known in his home town as a successful playwright,

0:30:440:30:48

'with his own coat-of-arms, a family and a reputation to protect.

0:30:480:30:54

'It's not impossible that Prospero's fears were rather close to his own.'

0:30:540:30:58

All writers draw on their experience as they write plays.

0:30:590:31:03

And we know that, at the time Shakespeare is writing The Tempest,

0:31:030:31:08

he's a little bit worried about one of his daughters, Judith,

0:31:080:31:12

who is involved with a man who may not be quite reliable.

0:31:120:31:17

And, at some level, those paternal anxieties are part of the play.

0:31:170:31:23

'The man his daughter was intent on marrying

0:31:230:31:27

'had made another woman pregnant.'

0:31:270:31:30

Inevitably, things that happen in your life inform your work.

0:31:300:31:35

So there is that concern with actually testing a husband

0:31:350:31:42

to check that they are suitable, before a daughter marries them,

0:31:420:31:46

which, of course, is played out in The Tempest.

0:31:460:31:49

'We can't be sure of this, of course, but Shakespeare, the experimental dramatist,

0:31:530:31:58

'was certainly determined to explore bold, fundamental ideas.

0:31:580:32:02

'Shakespeare uses his magical island

0:32:040:32:07

'to investigate the truth about human nature.

0:32:070:32:11

'Are we bestial or benign?

0:32:110:32:15

'On another side of the island, his treacherous brother

0:32:150:32:19

'and the co-conspirators are struggling to orientate themselves.'

0:32:190:32:23

You have cause, so have we all...

0:32:230:32:26

'But amongst them is the ageing Gonzalo.

0:32:260:32:29

'No traitor he, but a courtier always loyal to Prospero

0:32:290:32:33

'and in this virgin world, he dreams of his perfect society.'

0:32:330:32:38

..Have just our theme of woe.

0:32:380:32:40

All things in common nature should produce without sweat or endeavour.

0:32:400:32:46

Treason, felony, sword, pike, knife, gun

0:32:460:32:50

or need of any engine would I not have!

0:32:500:32:53

Anticipating Karl Marx,

0:32:540:32:57

he says that, in future, everything should be held in common.

0:32:570:33:01

There should be no usury - making of money out of lending money.

0:33:010:33:07

No weapons, no wars.

0:33:070:33:10

But nature should bring forth of it own kind, all foison,

0:33:100:33:15

all abundance to feed my innocent people.

0:33:150:33:19

'Everything should be produced by nature. Paradise.

0:33:200:33:24

'It's a radically egalitarian vision.'

0:33:270:33:30

That moment in the play where Gonzalo comes onto the stage

0:33:330:33:36

and says, "Well, if I were running this place, this deserted island,

0:33:360:33:41

"I might organise things totally differently.

0:33:410:33:43

"I might actually have a commonwealth

0:33:430:33:45

"where everyone has equal political rights.

0:33:450:33:48

"I might get rid of kings altogether."

0:33:480:33:50

Heretical thought in this time.

0:33:500:33:52

And one of the interesting things is that,

0:33:520:33:54

within 40 years of this play being written,

0:33:540:33:57

all of these debates will erupt in the English Civil Wars.

0:33:570:34:00

They will actually become real.

0:34:000:34:01

Wondrous heavy.

0:34:030:34:04

'Yet hopes of Gonzalo's utopia are quickly dashed.

0:34:050:34:08

'No sooner has he described it

0:34:080:34:10

'than Shakespeare crushingly presents the obstacles there would be in achieving it.'

0:34:100:34:15

As sleep overtakes the other survivors,

0:34:160:34:20

Prospero's usurping brother, Antonio,

0:34:200:34:22

tries to persuade his crony to commit murder,

0:34:220:34:27

to gain for both of them more wealth and more power.

0:34:270:34:32

Remember, you did supplant your brother, Prospero.

0:34:320:34:35

True. And look how well my garments sit upon me.

0:34:350:34:39

Much feater than before.

0:34:390:34:41

'Even in a new land, if you create an ideal society,

0:34:410:34:46

'the worser human instincts will always emerge.'

0:34:460:34:49

I think it's a tabula rasa, the island. It's a clean slate.

0:34:520:34:56

There's no connection to civilisation,

0:34:560:34:58

so you have to see how, nature or nurture,

0:34:580:35:04

how embedded is it in humanity?

0:35:040:35:07

'You have this court come to the island.

0:35:070:35:09

'They have no castles, they have nothing.'

0:35:090:35:12

And yet all what is nature in them,

0:35:120:35:14

which is the deceit, starts up again.

0:35:140:35:18

Their character is embedded in them.

0:35:180:35:21

And you watch this incredible, duplicitous nature

0:35:210:35:24

come out in the conspiracy.

0:35:240:35:27

'Despite our flawed nature,

0:35:280:35:31

'we humans keep longing for a mythical paradise.

0:35:310:35:35

'This is the Eden Project, built to cherish a natural world

0:35:350:35:39

'that, given the creatures we are, we're in danger of losing.

0:35:390:35:43

'But is this what Shakespeare was saying?'

0:35:440:35:46

Shakespeare was a very, very clever writer.

0:35:480:35:51

Remember, all the plays at the time were submitted to the censor

0:35:510:35:55

to be read before they could be staged.

0:35:550:35:58

Most of Shakespeare's contemporaries at one time or another

0:35:580:36:01

ended up getting into big political trouble, often ending up in prison.

0:36:010:36:05

However, he didn't shy away from the big, difficult political questions,

0:36:050:36:10

questions about the nature of good government,

0:36:100:36:13

questions about monarchy versus republicanism,

0:36:130:36:17

questions of what might you do to establish a colony or an empire.

0:36:170:36:22

These were hot topics at the time,

0:36:220:36:24

and a play like The Tempest goes straight into them.

0:36:240:36:26

'As the play continues,

0:36:300:36:31

'Shakespeare delves even deeper into the darker side of human nature.

0:36:310:36:36

'Caliban comes across two surviving drunken shipmates,

0:36:360:36:40

'a jester and a butler,

0:36:400:36:42

'and together, they strike a deadly deal.

0:36:420:36:46

'Caliban, desperate for his freedom, wants Prospero dead.

0:36:460:36:50

'He tells them how, in detail, they must kill the Magus.'

0:36:500:36:54

There, thou mayst brain her

0:36:540:36:58

Or with a log batter her skull

0:36:580:37:00

Or paunch her with a stake

0:37:000:37:02

Or cut her weasand with thy knife.

0:37:020:37:04

'If they will kill Prospero,

0:37:040:37:06

'then the butler will be king of the island, Miranda his concubine.'

0:37:060:37:11

She will become thy bed, I warrant, and bring thee forth brave brood.

0:37:110:37:18

Monster, I will kill this witch.

0:37:200:37:22

Pleasure!

0:37:220:37:24

'The deal is done.

0:37:240:37:25

'Prospero is now a dead man walking.'

0:37:250:37:29

# ..Thought is free... #

0:37:290:37:30

'So can anyone be trusted with power?

0:37:330:37:36

'This question underpins the play.

0:37:370:37:39

'It even applies to Prospero himself.

0:37:390:37:42

'Prospero's power is rather different.

0:37:440:37:47

'His magic comes from his knowledge, his book,

0:37:470:37:51

'an idea familiar to a 17th-century audience.'

0:37:510:37:54

In the early modern period, magic is a practice.

0:37:560:38:00

Not anyone can be a wise man, a Magus.

0:38:000:38:03

You have to work at it.

0:38:030:38:04

You have to study the books and the records,

0:38:040:38:07

you have to explore scientifically, by experimentation,

0:38:070:38:11

the different permutations of chemicals, the types of dye,

0:38:110:38:15

the different movements of the stars.

0:38:150:38:17

If it's handled in the wrong way, it can become ungodly.

0:38:170:38:21

And one of the keen things I think we see in the play

0:38:210:38:24

is that delicate balance between good and bad magic.

0:38:240:38:28

'This tension recurs throughout The Tempest.

0:38:290:38:32

'How should the power of knowledge or science be used?

0:38:320:38:37

'It's a timeless and universal question, of course,

0:38:370:38:41

'and has prompted a very different version of Shakespeare's story.'

0:38:410:38:44

'These magnificent scenes, in striking Eastman Color,

0:38:470:38:50

'stagger the imagination.'

0:38:500:38:52

But it is, look! That is striking Eastman Color.

0:38:520:38:56

'Forbidden Planet

0:38:560:38:57

'is film critic Mark Kermode's favourite Shakespeare adaptation.'

0:38:570:39:02

'Imagine yourself as one of the crew of this faster-than-light

0:39:020:39:05

'spaceship of the future.'

0:39:050:39:08

'In this sci-fi take on the play, the island is a planet in outer space.'

0:39:080:39:12

'When you reach the Forbidden Planet, you will meet Dr Morbius...'

0:39:130:39:17

'The Prospero is a scientist.'

0:39:170:39:20

'The doctor is sole owner of this fabulous world.'

0:39:200:39:22

'There is a Miranda and a Ferdinand.'

0:39:220:39:25

Didn't bring my bathing suit.

0:39:250:39:27

What's a bathing suit?

0:39:270:39:29

Oh-oh!

0:39:290:39:31

'There's a mysterious power.'

0:39:310:39:32

'..conceal a strange and evil force...unknown, irresistible.'

0:39:320:39:38

'But the essential question remains the same -

0:39:390:39:42

'who can be entrusted with special power?'

0:39:420:39:45

The idea of it is that this spaceship arrives on a planet

0:39:480:39:51

which is being ruled by this vaguely sinister

0:39:510:39:56

but generally benevolent scientist,

0:39:560:39:58

and somehow Morbius has tapped into this power that he didn't create -

0:39:580:40:03

it was put there by a previous civilisation -

0:40:030:40:06

he doesn't understand it

0:40:060:40:07

and yet, in his dream states, in his unconscious rages,

0:40:070:40:12

he lets loose this monstrous force.

0:40:120:40:15

But does he ever use it for anything benign?

0:40:150:40:19

I mean, Prospero can be punitive and mean-spirited,

0:40:190:40:23

and it looks like he is going to be vengeful,

0:40:230:40:26

but he can also be generous with his magic, celebratory with his magic.

0:40:260:40:32

Yes, he is benign. Yes, he uses it to create

0:40:320:40:35

this wonderful Eden-like world for his daughter to grow up in.

0:40:350:40:39

'But, presumably, Paradise won't last.'

0:40:390:40:43

'It's very cleverly played on the cusp of sinister and avuncular.'

0:40:430:40:48

I think that's the reason the film works,

0:40:480:40:50

because he is paternal he is benevolent, he is good,

0:40:500:40:52

but he also is marshalling a power

0:40:520:40:54

that enables the dark side to run rampant.

0:40:540:40:58

I would say the climax of the story is him

0:40:580:41:01

realising that what is monstrous out there in the world is actually him.

0:41:010:41:06

And it is, in the end, a film about him facing up

0:41:060:41:10

to the responsibility he has, having played with this power.

0:41:100:41:14

'Back on Shakespeare's island,

0:41:170:41:19

'the benign side of Prospero's nature seems to be winning,

0:41:190:41:22

'at least as far as his daughter is concerned.

0:41:220:41:25

'Ignoring the plot against his life,

0:41:260:41:28

'he's concentrating intently on her courtship.

0:41:280:41:32

Pray set it down and rest you.

0:41:320:41:35

'Disobediently, she has gone to see Ferdinand -

0:41:350:41:37

'secretly, she thinks, but in fact Prospero is watching.'

0:41:370:41:40

My father's hard at study.

0:41:400:41:42

Pray now, rest yourself. He's safe these three hours.

0:41:420:41:46

Poor worm, thou art infected.

0:41:460:41:48

There is just an element of bad taste about that, isn't there,

0:41:480:41:52

'in hiding and overhearing and spying?'

0:41:520:41:55

We come to realise that it's entirely protectively.

0:41:550:42:00

Pray, give me that...

0:42:000:42:01

'Love is a tricky thing, you know?'

0:42:010:42:03

He has to be tested.

0:42:030:42:04

If he says that he loves her, does he really love her?

0:42:040:42:08

'Prospero absolutely has to know what kind of a guy he is.'

0:42:080:42:12

-What is your name?

-Miranda.

0:42:120:42:15

Oh, my father, I have broke your hest to say so.

0:42:150:42:18

'Clearly, by now, Miranda is ready to assert herself.'

0:42:180:42:22

If Miranda didn't have her moment of disobedience,

0:42:220:42:26

I would feel much less enthusiastic about her.

0:42:260:42:30

'In fact, she does want to hang out with Ferdinand,'

0:42:300:42:34

even at the cost of disobeying her father's wish.

0:42:340:42:38

Do you love me?

0:42:380:42:39

Oh, heaven!

0:42:390:42:40

'She has been brought up to be the obedient child,'

0:42:400:42:44

but in fact there is fire in her.

0:42:440:42:46

I am a fool to weep at what I am glad of.

0:42:460:42:49

Fair encounter of two most rare affections.

0:42:490:42:53

Prospero is starting to realise that Ferdinand does love his daughter.

0:42:530:42:59

'He stays and he watches them.'

0:42:590:43:01

I am your wife,

0:43:020:43:04

if you will marry me.

0:43:040:43:06

'And, actually, it's quite touching, in performance, to see him'

0:43:060:43:10

watching his only daughter fall in love with another man.

0:43:100:43:15

'Prospero is beginning to let go.

0:43:170:43:20

'He's initiated their union and tested the prince

0:43:200:43:23

'and now he's ready to approve their marriage.'

0:43:230:43:27

'The Globe actors are trying out the scene.

0:43:310:43:33

'Choosing to forget the would-be murderers,

0:43:330:43:37

'Prospero gives himself to his daughter's joyous moment.'

0:43:370:43:41

Then, as my gift

0:43:420:43:45

and thine own acquisition worthily purchased,

0:43:450:43:49

take my daughter.

0:43:490:43:50

'But he can't quite let go.

0:43:520:43:53

'He gives a stern warning to Ferdinand

0:43:530:43:55

'not to even think about pre-marital sex with Miranda.

0:43:550:44:00

'Ferdinand protests his innocence.'

0:44:000:44:02

..The strongest suggestion our worser genius can,

0:44:020:44:06

shall never melt mine honour into lust

0:44:060:44:09

to take away the edge of that day's celebration.

0:44:090:44:13

Fairly spoke.

0:44:130:44:14

Sit, then, and talk with her.

0:44:160:44:19

She is thine own.

0:44:210:44:22

'Prospero creates a magical display, a musical entertainment

0:44:300:44:34

'calling on celestial goddesses to celebrate the betrothal.

0:44:340:44:39

'It's a moment of exuberant joy, but it doesn't last.

0:44:400:44:45

'Prospero suddenly stops his own show.'

0:44:450:44:49

I find the marriage ceremony rather interesting,

0:44:510:44:54

because it's actually...it's an aborted marriage ceremony.

0:44:540:44:57

He brings them together for nuptial masque,

0:44:570:45:01

and Prospero suddenly stops it,

0:45:010:45:04

before it's finished, and says, "No, that's enough.

0:45:040:45:07

"I don't want that any more."

0:45:070:45:09

What's immediately on his mind is that he knows

0:45:100:45:13

that Caliban has hatched a plot against him

0:45:130:45:17

with Stephano and Trinculo to murder him.

0:45:170:45:21

It's possible also that he stops it because

0:45:210:45:26

it's too idealistic a view of life to present to his daughter.

0:45:260:45:30

Life's not going to be like that. Life isn't perfect.

0:45:300:45:33

'But Shakespeare has another purpose.

0:45:370:45:39

'The vanishing vision gives Prospero his most penetrating insight.

0:45:390:45:44

'In one of the most poetic and, for me, consoling speeches

0:45:460:45:49

'Shakespeare ever wrote, Prospero addresses the young couple

0:45:490:45:53

'and talks about the fragility and transience of life itself.'

0:45:530:45:58

You do look, my son, in a moved sort, as if you were dismayed.

0:46:000:46:06

Be cheerful, sir.

0:46:070:46:09

Our revels now are ended.

0:46:090:46:13

These, our actors, as I foretold you,

0:46:150:46:18

were all spirits

0:46:180:46:19

and are melted into air,

0:46:190:46:22

into thin air.

0:46:220:46:25

And like the baseless fabric of this vision,

0:46:260:46:29

the cloud-capped towers,

0:46:290:46:33

the gorgeous palaces,

0:46:330:46:36

the solemn temples,

0:46:360:46:40

the great globe itself,

0:46:400:46:42

yea, all which it inherits shall dissolve...

0:46:420:46:46

'Climactically, in that speech,'

0:46:460:46:49

he uses the phrase "the great globe itself".

0:46:490:46:54

Now, partly, of course, he means the world - the globe -

0:46:540:46:59

that's what we refer to, the globe,

0:46:590:47:03

but it's the name of his theatre, the great Globe itself.

0:47:030:47:08

All of our shows - all of these things that we've created here -

0:47:080:47:13

will disappear, they won't be around any more.

0:47:130:47:17

In that way, I think, it's 100% certain that there is that autobiographical ingredient.

0:47:170:47:24

And like this insubstantial pageant faded...

0:47:240:47:27

..leave not a rack behind.

0:47:290:47:31

We are such stuff as dreams are made on.

0:47:330:47:38

And our little life...

0:47:400:47:42

..is rounded with a sleep.

0:47:430:47:46

'Everything in this life is like a series of visions.

0:47:540:47:59

'It's like a series of scenes on stage, but in the end,

0:47:590:48:02

'all we're doing is writing on the sand,

0:48:020:48:06

'and the next tide comes in, and our beautiful message is washed away.

0:48:060:48:11

'Understand life in those terms -'

0:48:120:48:15

we are such stuff as dreams are made on.

0:48:150:48:19

And our little life is rounded with a sleep.

0:48:190:48:25

'So, something powerful is stirring in Prospero,

0:48:290:48:32

'as he tries to come to terms

0:48:320:48:34

'with those who've wronged him

0:48:340:48:35

'and to decide what he should do with them.

0:48:350:48:39

'Losing Miranda has radically changed him.'

0:48:390:48:42

Whatever he wants to do to even the score,

0:48:450:48:48

another generation will come,

0:48:480:48:49

time passes, and time passing means, of course,

0:48:490:48:54

that all the structures of imagination and fantasy -

0:48:540:48:58

the cloud-capped towers - are all going to disappear.

0:48:580:49:01

So how do you live from one moment to the next?

0:49:010:49:04

That's what he's left with at that moment.

0:49:040:49:07

There's a sort of wonderful sense of inevitability -

0:49:100:49:13

I think, that's what it is -

0:49:130:49:16

of the onward roll of life and death, life and death,

0:49:160:49:21

life and death, and that we are all a part of that onward roll,

0:49:210:49:25

and there's nothing we can do about it.

0:49:250:49:29

'While he's turning over these thoughts and feelings,

0:49:290:49:33

'Prospero's given another emotional jolt.

0:49:330:49:37

'Ariel describes how he has brought the group of conspirators

0:49:370:49:40

'across the island, where they wait, paralysed in fear and distress.

0:49:400:49:45

'Now Prospero's non-human spirit talks about human compassion.'

0:49:450:49:51

..That if you now beheld them...

0:49:510:49:54

..your affections would become tender.

0:49:550:49:58

Dost thou think so, spirit?

0:50:020:50:05

Mine would, master...were I human.

0:50:050:50:09

Prospero thinks, "My God!

0:50:110:50:15

"If my spirit, Ariel, is so moved that he's saying

0:50:150:50:22

"you have to forgive, then that's what I have to..."

0:50:220:50:25

And everything changes.

0:50:250:50:27

'Prospero decides he will now make the ultimate personal sacrifice -

0:50:280:50:33

'he will surrender his magical powers.

0:50:330:50:36

'There's a special poignancy in this surrender if you think,

0:50:360:50:39

'as I do, that Shakespeare is, in part, writing about himself.

0:50:390:50:44

'Shakespeare, like Prospero, has spent years conjuring with his imagination,

0:50:440:50:50

'but after The Tempest, he will write no more plays.'

0:50:500:50:53

Ye elves of hills,

0:50:530:50:57

brooks, standing lakes and groves.

0:50:570:51:01

'Calling up his spirits for one last time,

0:51:010:51:05

'Prospero remembers his extraordinary accomplishments.

0:51:050:51:09

'Shakespeare too has summoned countless visions

0:51:100:51:13

'and brought the dead to life.'

0:51:130:51:16

Graves at my command

0:51:160:51:19

have waked their sleepers, oped and let 'em forth

0:51:190:51:22

by my so potent art.

0:51:220:51:25

But this rough magic...

0:51:270:51:32

..I here abjure.

0:51:330:51:36

I'll drown my book.

0:51:360:51:39

'I think it's a devastating moment to let go of all of that.'

0:51:410:51:46

Also, it's a kind of growing up moment for Prospero/Prospera,

0:51:460:51:51

not just letting go of power,

0:51:510:51:53

letting go of rage, letting go of anger, letting go of revenge.

0:51:530:51:59

'It's kind of sad and melancholic, but it's full of understanding.'

0:51:590:52:03

'The connection I see between Prospero and Shakespeare

0:52:110:52:15

'makes this for me a particularly moving speech.

0:52:150:52:18

'I do think that The Tempest is a farewell work,'

0:52:190:52:24

but I didn't see that final departure as "I'm turning my back on you,

0:52:240:52:31

"I'm abandoning you." No, "I'm leaving you with everything I have

0:52:310:52:37

"to offer and I want it to stay with you, but I have to go.

0:52:370:52:43

"Farewell, goodbye, I will never see you again" moment is something

0:52:430:52:51

that we all understand and have a very strong emotional reaction to.

0:52:510:52:56

With so many very great artists, the point comes, it seems,

0:52:560:53:02

where they see their own work, their own utterance,

0:53:020:53:05

as having resolved nothing

0:53:050:53:07

and they empty their hands. The sense of the all-powerful,

0:53:070:53:11

magical figure manipulating stories suddenly saying,

0:53:110:53:16

"I can't do this any longer, I have to become human."

0:53:160:53:19

I think that is something that is bound into the really great artists' work.

0:53:190:53:24

'But before Prospero drowns his book, he must finally come

0:53:290:53:33

'face to face with his enemies,

0:53:330:53:35

'the moment he has dreamed of for years.'

0:53:350:53:37

With a great final spell,

0:53:370:53:39

Prospero brings all his enemies around him in a circle.

0:53:390:53:46

What's he going to do?

0:53:460:53:48

'He confronts each one of them with what they've done.'

0:53:500:53:54

But for you, my brace of lords, were I so minded,

0:53:540:53:58

I here could pluck His Highness' frown upon you

0:53:580:54:01

and justify you traitors.

0:54:010:54:02

At this time, I will tell no tales.

0:54:020:54:06

The devil speaks in him!

0:54:060:54:08

Oh, no!

0:54:080:54:10

For you, most wicked sir,

0:54:110:54:14

whom to call brother

0:54:140:54:17

would even infect my mouth...

0:54:170:54:19

..I forgive thy rankest fault.

0:54:220:54:25

All of them...

0:54:280:54:29

LAUGHTER

0:54:290:54:31

..and require my dukedom of thee,

0:54:310:54:33

which, perforce, I know thou must restore.

0:54:330:54:37

'He has forgiven, but it's been hard.'

0:54:380:54:43

He's not gracious at the end. He's really struggling,

0:54:430:54:46

he is an ageing, angry, injured man

0:54:460:54:49

who has lived with himself for a long time,

0:54:490:54:52

and he knows what he has to do and grits his teeth and he does it.

0:54:520:54:56

And that is, I think, one of most extraordinary things about the play,

0:54:560:55:01

that the bitter, savage, isolated Magus figure at the beginning

0:55:010:55:06

has become a recognisable human being - he has broken

0:55:060:55:09

his magic wand and he's joined the human race again.

0:55:090:55:13

'Finally, Prospero must be true to his spirit slave and give Ariel the freedom he yearns for.'

0:55:130:55:19

That...

0:55:190:55:21

That idea that we are all entitled to our freedom

0:55:210:55:26

is very potent in the play, and Prospero keeps his word with Ariel.

0:55:260:55:32

Then to the elements be free.

0:55:320:55:36

'I love the end, cos what he longs for is just to no longer be in a human form'

0:55:390:55:43

and be a spirit - to be with the wind, the elements,

0:55:430:55:49

to dissolve into that.

0:55:490:55:51

'Prospero seems to pardon his would-be murder, Caliban, too.'

0:55:520:55:57

It was a moment of mutual recognition, of acceptance,

0:56:030:56:09

a full recognition of the other.

0:56:090:56:13

'And so, at the end of his last play,

0:56:170:56:19

'Shakespeare tells us the struggle to achieve forgiveness can be won.

0:56:190:56:24

'Prospero has managed to forgive

0:56:240:56:27

'and, in doing so, he has also freed himself.

0:56:270:56:30

'Again, the parallels between Prospero and Shakespeare.

0:56:300:56:35

'In an epilogue, Prospero, no longer empowered, makes a plea of great simplicity.

0:56:350:56:41

'He steps forward and asks us, the audience, to set him free.'

0:56:410:56:45

"Now my charms are all o'erthrown.

0:56:460:56:50

"And what strength I have's mine own,

0:56:500:56:54

"which is most faint.

0:56:540:56:56

"As you from crimes would pardoned be,

0:56:560:57:02

"let your indulgence set me free."

0:57:020:57:07

'After writing The Tempest, Shakespeare left London for good and returned to Stratford.

0:57:120:57:18

'Just two years later, he died. He was only 52.

0:57:180:57:23

'I've worked in theatre for all of my adult life'

0:57:280:57:33

and I can't begin to understand how he could have worked

0:57:330:57:36

at such a pitch, at such a scale,

0:57:360:57:41

in such a short span of time.

0:57:410:57:44

For me, The Tempest will always be exceptional,

0:57:460:57:50

not just because of its wisdom and humanity,

0:57:500:57:53

but because, more than any of his other plays,

0:57:530:57:57

it leads us to the essence of the man who wrote them.

0:57:570:58:01

My feeling is that it's in The Tempest,

0:58:030:58:06

through the character of Prospero,

0:58:060:58:10

that we get closest to the workings

0:58:100:58:13

of the mind of that genius, William Shakespeare.

0:58:130:58:18

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