by William Shakespeare
Adapted & Directed
by Christopher T. Parks
A Teacher Resource Guide
by Laurie Sales
Designed by Francine Schiffman
Web Design by Andrew Parks
Offered in conjunction with the McCarter Theatre Touring Production
|
The Visual and Performing Arts are considered Core Curriculum areas for the New Jersey State Department of Education. This production of The Tempest, a Puppet Play is designed to give your students exposure to the specific Core Curriculum Standards listed below.
Curriculum Standards
|
This production of The Tempest and related study materials will provide students with specific knowledge and skills to address the following Core Curriculum Content Standards in the Arts:
|
|
The Tempest is also designed to address the following Core Curriculum Standards in Language Arts Literacy and Social Studies:
| 3.2 | All students will listen actively in a variety of situations to information from a variety of sources. |
| 3.5 | All students will view, understand, and use nontextual visual information. |
| 6.2 | All students will learn democratic citizenship through the humanities, by studying literature, art, history and philosophy, and related fields. |
|
Did you know? The word "bard" means poet. Shakespeare is called "The Bard" because he is widely recognized as the greatest poet the world has ever known. In 1769 the actor David Garrick wrote: "For the bard of all bards was a Warwickshire Bard." This may well be the quote that started the nickname. |
BEFORE THE STORY STARTS:
Twelve years prior to the storm that starts the play, the Duke of Milan, Prospero, and his baby daughter, Miranda, were usurped by Prospero's brother, Antonio. In the middle of the night Antonio removed Prospero from his library and sent him and Miranda off to sea in a small boat. Prospero and Miranda survived, however, and eventually ended up on a small magical island in the Mediterranean Sea. Using his own knowledge of magic and the resources of the magical books that he had with him, Prospero tamed the spirits that inhabited the island and used them to do his bidding. For twelve years Prospero and Miranda have lived alone on the island with only the spirits and the savage island native, Caliban, as company.THE PLAY:
![]()
As the play starts Propsero uses the spirits of the island to create a violent storm. The storm washes King Ferdinand, Trinculo, Stephano and Antonio onto the shores of Prospero's island. Miranda tells her father that she saw the ship crack in the storm, but Prospero calms her, explaining it was all a magical illusion he created to shipwreck the enemies that exiled him and Miranda so long ago. Prospero causes her to sleep and calls for his spirit Ariel. Ariel verifies that the nobles are safe on the island, and asks, this task being well performed, for his freedom. Prospero promises he will free Ariel himself when his plans for his brother are complete. He then sends Ariel to bring King Ferdinand to him. When Ferdinand finally arrives at Prospero's feet, Prospero wakes Miranda. Miranda and Ferdinand immediately fall in love, but Prospero pretends to be gruff and critical toward Ferdinand in order to test his worthiness.On another part of the island Antonio wanders, lost and frightened. Elsewhere, Caliban is gathering wood when Stephano and Trinculo come upon him. Caliban pretends to be in awe of Stephano and flatters him. By doing this he hopes he can convince Stephano and Trinculo to help him dispose of Prospero. Trinculo and Stephano find Caliban's behavior to be a good omen that they will soon be kings of this island.
The island is a busy place. While working for Prospero, Ferdinand encounters Miranda and the two exchange their love for one another and vow to be married. Prospero, watching in secret, approves. In another area, Caliban convinces Stephano that the only way to rule over this island is to kill Prospero. Luckily for Prospero, Ariel overhears this plan. On yet another part of the island Antonio is visited by Ariel who appears in the form of an enraged harpy and informs Antonio that it is his evil toward Prospero that has brought him to this place.
Meanwhile, Caliban brings Trinculo and Stephano to the mouth of Prospero's cave. Just as they are about to enter, Prospero uses his magic to frighten Trinculo and Stephano away. It works and Caliban is left alone to be confronted by Prospero.
Before long, Prospero brings Antonio to his cell and reveals his true identity. He forgives Antonio before revealing that Ferdinand is safe with Miranda. Antonio restores Prospero's dukedom and Prospero promises to return all home safely to Italy. As for Caliban, he promises to mend his ways while Stephano and Trinculo repent for plotting to kill Prospero. At long last, Prospero forgives and is forgiven. He sets Ariel free and leaves Caliban alone to remain on the magical island.
![]() |
Prospero The right Duke of Milan For the last twelve years, since his brother usurped his Dukedom in Milan, Prospero has been living on an island inhabited by magical spirits. Prospero has the ability to create magical spells and can use these spells for good or evil. "For twelve years, Miranda, twelve years, I have inhabited this island, |
|
![]() |
Antonio Prospero's brother, the usurping Duke of Milan Antonio is Prospero's brother and is guilty of robbing him of his title, position, and home. When he is shipwrecked on the island he has no idea where he is and fears for the life of his king. "Why should I govern this kingdom while my brother Prospero gets all of the credit?" |
|
|
Ferdinand King of Naples Ferdinand is the young King of Naples. When he first meets Miranda he instantly falls in love with her. He does everything that Prospero asks of him in order to earn her hand in marriage. "You can do with me what you will, for if I can but behold this
|
|
![]() |
Caliban a savage and deformed slave Caliban is the half-breed son of a witch named Sycorax who once ruled the island. Once loved and nurtured by Prospero, Caliban is now caged and tortured by him as punishment for attacking Miranda. "I serve a tyrant who has stolen this island from me; by sorcery, he took it." |
|
![]() |
Trinculo The King's jester With a quirky, wild sense of humor, Trinculo is at his wise-cracking best when in the company of his partner in crime, Stephano. He is easily frightened by the unknown spirits of the island. "O, ho, monster! We know what belongs to royalty. O King Stephano!" |
|
![]() |
Stephano The King's butler Stephano is mystified by his new surroundings yet recognizes this as an opportunity to have all the power he ever dreamed of. He is quick to convince Trinculo and Caliban to share in his plans. "With the king and duke and all of their company dead... ha, ha, ha, ha, ha...
|
|
![]() |
Miranda daughter to Prospero Miranda is Prospero's innocent daughter who has never before in her life, at least as she remembers it, encountered a human being other than her father and Caliban. She is instantly smitten when she first lays eyes on Ferdinand. "I might call him a thing divine,
|
|
![]() |
Ariel an airy spirit Ariel is Prospero's chief spirit. He is beholden to Prospero for rescuing him from imprisonment twelve years ago. As a result, Prospero uses every opportunity he can to remind Ariel of this and force him to do different tasks on the island. Ariel's one desire is to be free. "All hail great master, grave sir Hail. I come to answer thy best pleasure.
|
|
|
Did you know?
|
|
TEMPEST 1 : A violent windstorm, frequently accompanied by rain, snow, or hail. 2 : Furious agitation, commotion, or tumult; an uproar: "The tempest in my mind / Doth from my senses take all feeling" (Shakespeare). |
|
Abhorr'd - detested. Art inclined - forced to be disposed to a certain course of action. To influence one to have a certain tendency. Behold - to see or gaze upon. Beseech - to request earnestly; beg for. Billows - a great swell, surge, or undulating mass, as of smoke or sound. Bogs, fens and flats - areas having a wet, spongy, acidic substrate composed chiefly of moss and peat in which characteristic shrubs and herbs and sometimes trees usually grow. Charms - the power or quality of pleasing or delighting; attractiveness. Credulous - disposed to believe too readily; gullible. Contempt - the act of despising. Dejected - cast down in spirits. Dost - does. Dukedom - the office, rank, or title of a duke. Ebbing Neptune - the god of the ocean and sea, flowing back to the sea. E'er - ever. Fiend - a person of great wickedness or maliciousness. Fortuitous - occurring by chance, lucky. Inch-meal - every inch, entirely. Hail - used to express greeting or welcome. Hagseed - offspring of an ugly, wicked woman. |
Heaviness - emotional weight. Indulgence - absolution from censure and punishment. Malignant - criminal; wrong; evil. Nymph - any of the minor divinities of nature in classical mythology represented as beautiful maidens dwelling in the mountains, forests, trees, and waters. O'er - over. Perchance - perhaps. Perfidious - of or marked by violating good faith. Plight - an unfortunate or difficult situation. Pox - a curse. Prithee - used to express a polite request, please. Shrugg'st - expressive sign of content. Solemnize - to celebrate, usually a marriage. Supplant - to overthrow, undermine, or force away, in order to get a substitute in place of. Tedious - tiresome because of length or dullness. Temper'd - to harden or strengthen by application of heat or by heating and cooling. Thy - 'your' or 'belonging to thee'. Twain - two. Usurp- to seize by force or without right. Vengeance - punishment inflicted in retaliation for an injury or offense. Wilt - "will." |
As Director of Education, Christopher T. Parks has the opportunity to direct a variety of productions for young audiences. With McCarter he has brought both the Wind and The Willows and The Adventures of Perseus to elementary student stages all over the tri-state region. For older students he directed a sampling of Shakespeare's great works, entitled, Shakespeare Unplugged! This year Parks has both adapted and directed Shakespeare's The Tempest, a Puppet Play in an elegant production that is aimed for students and adults of all ages. Here Parks talks a bit about the development of McCarter Theatre's most recent education production.
What about The Tempest attracted you and made you want to adapt it for student audiences?
CP: The majesty, magic and spirit of The Tempest, one of Shakespeare's most beloved plays, seemed like the best choice for a Shakespeare for young audiences. The exploration of forgiveness and the struggle for power, particularly those in relationships, are themes that adults and children can easily understand. It is not only intriguing, but the telling of it is beautiful and not forced. It has comedic elements, spectacle, romance, and extremely dynamic situations. It has it all and seems like a great way to introduce kids to the Bard.
When creating an adaptation of the original script, what elements of the text were most important to keep intact and why? How do you, as an adapter and a director, make choices about how to adapt a play for young audiences?
CP: It is a delicate balance between being faithful to all of those teachers and students who have studied the original text and those who have never even heard of the play at all. Coupled with that dichotomy is the struggle to cram everything important in a forty-minute adaptation. Those places I really wanted to keep intact were any speeches which were either immediately recognizable or captured the true essence of Shakespeare's voice.
Your production includes the use of puppets. Why did you choose to use puppetry to tell this story?
CP: Prospero struggles from the very beginning of this play with controlling the lives of everyone else in his world, his island. As the puppet master of these creatures and people, he shapes not only their physical world, but also the way they think. I thought it would be interesting to escape from their world with a different level of reality, animated art brought to life on the live stage. We, as an audience, must both suspend disbelief enough to forget that there are puppeteers on the stage, and at the same time be constantly reminded that this is all an "insubstantial pageant."
There are also so few boundaries in the medium of puppetry. And that's really what this play wants, what this story wants. These people are immersed in this fantastic world which helps to illuminate who they truly are; and sometimes that's not so pretty. It is also a medium that kids understand and can really give themselves over to. They very quickly forget they are watching little pieces of cloth and plastic talking and get right into the story... if it's done right.
How are you incorporating music and sound into your production?
CP: I think that the audible quality of this world is just as important as the visual. Shakespeare's Tempest has a lot of songs and also a good deal of references to sounds of the island. I think in order to create this world we wanted to make sure there was magic even when we closed our eyes.
What do you hope that students will walk away from this production with? Is there a message or central theme that you hope they take with them?
CP: Forgiveness. Think about someone else's perspective and not just your own. Try to understand why people do the things they do and hopefully when you do, you'll find them to be not as sinister as you thought.
One aspect of this production of The Tempest, a Puppet Play that makes it both unique and surprising is the use of different forms of puppetry. Though various forms of puppetry are employed, the majority of the puppets used in this production are life size sculptures of characters that are brought to life by the graceful manipulation of two trained puppeteers. Why did the director choose to use puppets in the telling of this story? To begin, the puppets themselves allow the director the opportunity to create characters that look exactly as he imagines them, much in the way a mannequin is used to show customers exactly the way the designer intended a clothing design to look. The heads of the puppets are sculpted specifically to create certain impressions of the characters, and then bodies are added to allow the puppets a full range of movement.
![]()
ProsperoOnce the heads and the bodies of the puppets are created, the next step is to go about training the puppeteers to bring them to life. The first lesson is in mouth and eye manipulation. The heads of the puppets contain mechanisms that allow them to blink and appear to speak, much in the way that a ventriloquist's dummy is designed. The primary puppeteer on each puppet is responsible for moving the puppet's mouth, eyes and left arm. This puppeteer also provides the voice for the character, moving the puppet's mouth to match the lines that the character speaks. In this way the head puppeteer creates a believable human form that can communicate in a life-like way.
The second step in bringing the puppet to life is to learn how to make the puppet move about the stage in a stylized manner. The second puppeteer has the feet of the puppet strapped to his or her own feet and when he or she moves, the puppet's legs move as well. This puppeteer also controls the right arm of the puppet with a rod connected to the puppet's wrist, and holds the body of the puppet with his or her own left hand. Both puppeteers are fully visible to the audience, though they are dressed in all black with masks over their faces, causing their existence to almost completely fade away. This style of puppet manipulation is modeled on the style of Japanese Bunraku puppet theatre. Bunraku was once, and continues to be, a sophisticated puppet theater written and performed for adult audiences with cultivated sensibilities. Bunraku puppets are about half life-size (we have adapted this element and have created puppets that are larger). Their eyes move, their eyebrows rise in surprise, their mouths open and shut and their hands and arms gesture gracefully and realistically. In traditional Bunraku, the puppets are operated by three manipulators who work in perfect unison. The manipulators carry the puppets on to the stage and are visible throughout the play. The chief manipulator holds the puppet from the back with his left hand by a special grip in the figure's chest and directs the puppet's right arm with his right hand. The second operator moves the left hand and the third, the legs. With our production, the goal is to create puppets that seem both realistic and magical, and this magical nature is emphasized by an almost dance-like choreography of movement.
![]()
Ariel
The Tempest, a puppet play
based on the play by William Shakespeare
| with | |
| Kate Turnbull | Prospero/Narrator |
| Puppeteers | |
| Jim Murtha | Antonio |
| Sharon Eisman | Miranda |
| Mary Robinette Kowal | Ariel |
| Nelson Lugo | Caliban |
| Russ Salmon | Ferdinand |
| Peter Cooper | Trinculo |
| Jim Murtha | Stephano |
Ariel
Adapter/Director: Christopher T. ParksPuppetry Designers: Emily Decola, Mary Robinette Kowal, and Christopher T. Parks
Scenic Designers: Mary Robinette Kowal and Mikiko Suzuki
Costume Designer: Mikiko Suzuki
Sound Designer: Gabe Shackney
Dramaturg: Liz Engelman
Line Producer: Francine Schiffman
Casting Director/Supervising Producer: Lisa McNulty
Stage Manager: Rachel Miller
Movement Choreographer: Steven Michaels
Puppetry Movement Coach: Jim Murtha
Puppet Construction: Timothy Brownell, Peter Cooper, Emily DeCola, Lewis Kaneshiro, Mary Robinette Kowal, Vito Leanza, Rachael Miller, John Murdolo, Jim Murtha, Christopher T. Parks and Aaron Mostkoff Unger
Scenic Carpenter: Robert W. Kimbro
Scenic Artist: Mikiko Suzuki
Costumers: Christina Guild and Christopher Guild
Road Manager: Jim Murtha
Company Manager: Peter Cooper
|
Special thanks: Steve Howe, Mara Isaacs, Paul Kilsdonk, Cheryl Mintz, Chris Nelson, Laurie Sales, Delia Vayansky, David York |
According to the church records, Shakespeare was baptised at Holy Trinity Church, Stratford-upon-Avon, on April 26, 1564. When he died, on April 23, 1616, Shakespeare was said to have been in his fifty-third year (i.e. he was fifty-two), which would have been impossible if he was born on or after April 24th. Given that three days would be a reasonable interval between birth and baptism, April 23rd has therefore come to be celebrated as his birthday. What was Shakespeare's schooling?
How many children did Shakespeare have, and what were their names?
What did Shakespeare do between leaving Stratford and working in London?
Did Shakespeare take his family to London?
Was Shakespeare famous in his own lifetime?
What was Shakespeare's relationship with Queen Elizabeth?
When did Shakespeare die, from what did he die, and where was he buried?
|
|
One of the brilliant things about Shakespeare is that each of his plays is rich with themes that are central to the human experience. Though the plays are almost four hundred years old, they are consistently produced with regularity all over the world. This is due, in part, to the fact that Shakespeare addresses issues that people everywhere can still relate to. When a director approaches a Shakespearean text, he or she must choose which themes to emphasize. The following themes are important to this interpretation of The Tempest, A Puppet Play.
Loyalty and Betrayal
One force that motivates Prospero's need for revenge is the bitterness that accompanies the feeling of betrayal. He has been betrayed by his brother, an act which Prospero can never forget. The antithesis of betrayal is loyalty, or that feeling of being true to a friend, family member, or country. How loyal is Ariel to Prospero and why? What are the reasons for one person to be loyal to another? These questions of loyalty and betrayal are explored in a variety of ways in The Tempest.Civilized vs. Savage Behavior or Nature vs. Nurture
When the audience first meets Caliban in The Tempest they must decide whether or not it feels that Caliban's behavior is worthy of the punishment that Prospero afflicts upon him. Is Caliban's savage behavior a threat to the well-being of Prospero or Miranda, or does ignorance cause them to interpret as dangerous actions that are merely natural? The way in which a director presents Caliban to the audience has a great impact on the way that the play is received, especially in regard to the character of Prospero.Servitude and Slavery
Without question, the theme of slavery and servitude pervades the world of The Tempest. The play takes place on an island full of spirits who are in servitude (or slavery) to the magical powers of Prospero and his books. Because of Prospero's ability to control his surroundings and the forces that move the people around him, each and every character is in one way or another in slavery to this power. What makes The Tempest most fascinating is the examination of what happens when someone in slavery or servitude makes an attempt to alter his or her situation. On the other hand, it is also important to note that there are levels of slavery and levels of servitude (Stephano, for example, is in servitude by the simple power of his title as butler) and that the "master" in each case has strong reasons for keeping others subservient.
Forgiveness
What makes Prospero decide to forgive his enemies at the end of the play? One of the themes that Shakespeare explores in The Tempest is the nature of vengence and forgiveness. Throughout the course of the play the audience is led to believe that Prospero is working toward some great act of revenge upon those who have wronged him. Somewhere along the way, however, Prospero loses his lust for revenge and finally decides to break the staff that gave him power to manipulate those around him. In a play that is in many ways about the power of magic, it is Prospero's change of heart that is perhaps the most mysterious act of all.
Websites for Students and Teachers
The Stratford-on-Avon Guide to William Shakespeare - Provides information on Shakespeare's childhood, his years as an actor, his writing, and his family.
The Folger Shakespeare Library - An extensive site designed to assist teachers in their preparation for teaching plays by Shakespeare. The site includes lesson plans and a "teacher's lounge."
"Shake Sphere" by freelance writer Michael Cumming - Provides useful definitions of terms connected to Shakespeare studies, plot summaries, and an explanation of common figures of speech.
The Tempest - The Penguin and Signet Classics Teacher's Guide, by James E. McGlinn and Jeanne M. McGlinn.
Related Reading for Elementary School Students
Aliki. William Shakespeare and the Globe. NY. Scholastic Inc. 1999.
Burdett, Lois. A Child's Portrait of Shakespeare. NY. Firefly Books LTD. 1995.
Burdett, Lois. The Tempest: For Kids. NY. Firefly Books LTD. 1999.
Chrisp, Peter. Eyewitness: Shakespeare. NY. Dorling Kindersley Publishing Company, Inc. 2002.
Coville, Bruce. William Shakespeare's The Tempest. NY. Doubleday and Company, Inc. 1994.
Garfield, Leon, Shakespeare Stories. NY. Houghton Mifflin Co. 1985.
Garfield, Leon, Shakespeare Stories II. NY. Houghton Co. 2000.
Lamb, Charles and Mary. Tales From Shakespeare (1807). NY. Puffin Classics. 1995.
Scott, David, Kastan, Marina. Poetry for Young People: William Shakespeare. NY. Scholastic Inc. 2000.Resources for Elementary Teachers
Blumberg, Margie. Shakespeare For Kids: His Life and Times 21 Activities. IL. Chicago Review Press. 1999.
Cullum, Dr. Albert. Shakespeare in the Classroom: Plays for the Intermediate Grades. CA. Fearon Teacher Aids.
Egan, Lorraine Hopping. Teaching Shakespeare -Yes You Can!. NY. Scholastic Professional Books. 1998.
Robbins, Mary Lu. Interdisciplinary Unit: Shakespeare (Challenging). CA. Teacher Created Materials, Inc.Related Reading for Middle and High School
Barton, John, and Trevor Nunn. Playing Shakespeare. London, UK: Methuen, 1990.
Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998.
Boyce, Charles, and David Allen White. Shakespeare A to Z: The Essential Reference to His Plays, His Poems, His Life and Times, and More. New York: Laurel, 1990.
Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth-Century Performance. Cambridge, UK: Cambridge University Press, 1994.
Kott, Jan. Shakespeare Our Contemporary. New York: Norton, 1974.
Papp, Joseph, and Elizabeth Kirkland. Shakespeare Alive! New York: Bantam, 1988.
Schoenbaum, Samuel. Shakespeare: His Life, His Language, His Theater. New York: Signet, 1990.
Scott, Mark W. Shakespeare for Students: Critical Interpretations of As You Like It, Hamlet, Julius Caesar, Macbeth, The Merchant of Venice, A Midsummer Night's Dream, Othello and Romeo and Juliet. Detroit, MI: Gale, 1992.Films for Middle and High School Students
Gedlof, Alan, and Michael Moore. The Tempest. Films for the Humanities, 1996. [video]
Royal Shakespeare Company. Playing Shakespeare. Films for the Humanities, 1990. [video]
Before the Performance
1. Familiarize your students with the story of The Tempest. Discuss with your class their expectations of The Tempest, A Puppet Play on stage.
2. Examine the major themes of the play as they are discussed in this guide. For each theme, have the students list examples from their own lives and from the world around them. Prepare the students to look for these themes in the production.
3. Choose a line of dialogue from each character in the play (some are provided in the Character Profiles section) and read them aloud to your class. Have the students interpret the quotes, put them into their own words, and draw conclusions about the characters based on these quotes.
4. Select scenes from the play and allow your students time to rehearse and act them out for the class. Discuss the choices that your students made so that you can later compare them to the actors in the performance.
Post-Performance Activities
1. Discuss the elements of set, light, sound and costume design with your class. How did these elements contribute to the storytelling in this production? Did your students agree with the choices that the designers made? Have your students represent their own ideas for design of The Tempest, A Puppet Play through visual creations such as collage.
2. Discuss the use of puppets in this production. Ask your students if they can think of other ways the characters could have been designed. Have the students split up into groups and create pictures of their own Caliban, Ariel, Island Spirits, etc.
3. Much has been said about the symbolism of The Tempest as Shakespeare's last play. Have your students draw conclusions about how Shakespeare symbolized himself and the end of his career in this play.
4. Ask your students to choose conflicts from the play that they found interesting. Discuss both sides of these conflicts and the characters involved. Divide your class into groups and assign each group a side of a conflict to represent. Create a mock trial in which your students present arguments to defend and prosecute characters in the play for their actions.
5. Have your students create advertising presentations for the performance of The Tempest, a Puppet Play. What materials, visual and written would they employ? Your students can present by way of a magazine ad, a television commercial, a billboard, a movie trailer or a talk show promotional interview.