Word: tempestã
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...charms are all o’erthrown, / And what strenth I have’s mine own, / Which is most faint…” Prospero opens his epilogue to “The Tempest?? with strange and wistful words: his spells are breaking even as he speaks; his return to the mortal world—and to a death that, though outside the comedy’s arc, feels eerily close—is imminent. But Shakespeare’s final play is too full, quakes with too much wonder and life to fall beneath...
...tucked them into the text. The Archive also offers proof that Updike was just another Harvard student, scrawling a less well-known moniker for the greatest English playwright—“Willie the Shake”—onto a copy of “The Tempest?? for Professor Henry Levin’s Shakespeare course...
...Shakespeare’s plays can be divided into tragedies, histories, and comedies, then which category should “The Tempest?? be placed in? According to the Actors’ Shakespeare Project’s production at the Cambridge Multicultural Arts Center (CMAC) that runs through April 13, the latter is very much the answer. But in its efforts to constantly amuse its audience, the production bypasses many of the more serious and deep elements of the play, creating an entertaining but somewhat hollow experience. The story of Prospero (Alvin Epstein), the deposed Duke of Milan...
...hoop, hanging by her feet, and spinning wildly with her legs extended. Although it must have taken a significant amount of strength, Rollins made the entire performance seem effortless. A spoken-word piece by Gearóid Mac Lachlainn provided the audio for Kit Tempest??s choreography of “Teanga Eile/Second Tongue.” MengYuan “Amily” He ’11 and Joffe wore black leotards and tights with a white rope snaked around their bodies. Their modern performance was well-controlled and precisely executed, alternating choppy motions with free...
...Much of the play’s mood comes from incidental music composed for “The Tempest?? by Jean Sibelius in 1925. Under the direction of Julia S. Carey ’09, the chamber orchestra near the back of the stage produces a warm, friendly sound. Early in the play, the island ruler (and rightful Duke of Milan) Prospero (Jason M. Lazarcheck ’08) recounts the tale of his exile to his daughter Miranda (Lauren L. Creedon ’11). As he speaks, six dancers take the stage to illustrate his story...