The Body, Gender, and Dance within Shakespeare’s The Tempest A PowerPoint Presentation Created By: Rebecca Corley.

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The Body, Gender, and Dance within Shakespeare’s The Tempest A PowerPoint Presentation Created By: Rebecca Corley

Aims : To provide contextual information on Shakespeare’s The Tempest To introduce Peter Greenaway’s cinematic adaptation of the text To stimulate class discussion regarding the inclusion of The Body, Gender, and Dance within these two works

Tentative Outline Introduction of topic (2 min.) Background Information on William Shakespeare’s The Tempest (3 min.) Biographical Information on Peter Greenaway (6 min.) Useful information on/ context of Prospero’s Books (3 min.) Video clip from Prospero’s Books (6 min.) Questions/Stimulation of Discussion on The Body and Dance within the the two works (8 min.) Concluding remarks (2 min.)

Some Info About the Play: Written in 1610 or 1611 Last play completed by Shakespeare, with the exception of Two Noble Kinsmen, which he co- authored The Tempest is the fourth, final, and the finest of Shakespeare's great and/or late romances belongs to the genre of Elizabethan romance plays, along with Pericles, Cymbeline, and The Winter's Tale One widely held view is that the play was Shakespeare’s farewell to the stage-- that in it he indicates to his audience that he will no longer write for them and that the character of Prospero is biographical. “The richness of The Tempest as theater is matched by the extraordinary thematic complexity of its text...”

Hmmm... Key Term: Tragi-comedy: a play with elements of both tragedy and comedy (i.e. a happy ending, yet suggestions of an other-than-happy ending)

Peter Greenaway A LITTLE BIT about the Director…

born in Newport, Wales, in 1942 studied painting at Walthamstow College of Art worked at the Central Office of Information for 11 years made first short film, Train, in 1966 by filming the last of the steam trains coming into Waterloo Station, then recasting it as a mechanical ballet with a musique concrete score. received enormous critical acclaim and international recognition for his first feature film The Draughtman's Contract (1982) has produced a wealth of short and feature- length films, but also paintings, novels and other books, and has held several one-man shows and curated exhibitions at museums world-wide

A (Short?) Filmography: 1966Train 1967Revolution 1969Intervals 1971Erosion 1975Windows 1977Dear Phone The Falls 1982Act of God 1982 The Draughtman’s Contract “Everything is permissible in art.” Cont’d…

and more films… 1984Making a Splach 1985Inside Rooms-26 Bathrooms 1986A Zed and Two Noughts 1987The Belly of an Architect 1988Drowning by Numbers 1989A TV Dante- Cantos Prospero’s Books 1992Rosa 1993The Baby of Macon 1994The Stairs, Geneva 1995The Pillow Book

These are the twenty- four books that Gonzalo hastily threw into Prospero's boat as he was pushed out into the sea to begin his exile. These books enabled Prospero to find his way across the oceans, to combat the malignancies of Sycorax, to colonise the island, to free Ariel, to educate and entertain Miranda, to summon tempests and bring his enemies to heel.

Prospero’s Books 1.The Book of Water The Book of WaterThe Book of Water 2.A Book of Mirrors A Book of MirrorsA Book of Mirrors 3.A Book of Mythologies A Book of MythologiesA Book of Mythologies 4.A Primer of the Small Stars A Primer of the Small StarsA Primer of the Small Stars 5.An Atlas Belonging to Orpheus An Atlas Belonging to OrpheusAn Atlas Belonging to Orpheus 6.A Harsh Book of Geometry A Harsh Book of GeometryA Harsh Book of Geometry 7.The Book of Colours The Book of ColoursThe Book of Colours 8.The Vesalius Anatomy of Birth The Vesalius Anatomy of BirthThe Vesalius Anatomy of Birth 9.An Alphabetical Inventory of the Dead An Alphabetical Inventory of the DeadAn Alphabetical Inventory of the Dead 10.A Book of Travelers' Tales A Book of Travelers' TalesA Book of Travelers' Tales 11.The Book of the Earth The Book of the EarthThe Book of the Earth 12.A Book of Architecture and Other Music A Book of Architecture and Other MusicA Book of Architecture and Other Music

Prospero’s Books (cont’d) 13. The Ninety-Two Conceits of the MinotaurThe Ninety-Two Conceits of the Minotaur 14. The Book of LanguagesThe Book of Languages 15. End-plantsEnd-plants 16. A Book of LoveA Book of Love 17. A Bestiary of Past, Present, and Future AnimalsA Bestiary of Past, Present, and Future Animals 18. The Book of UtopiasThe Book of Utopias 19. The Book of Universal CosmographyThe Book of Universal Cosmography 20. Lore of RuinsLore of Ruins 21. The Autobiographies of Pasiphae and SemiramisThe Autobiographies of Pasiphae and Semiramis 22. A Book of MotionA Book of Motion 23. The Book of GamesThe Book of Games 24. Thirty-Six PlaysThirty-Six Plays

What do you think? Is Miranda’s position equal in stature to the other (all male) characters in the play? Consider: (Prospero, to Miranda) “Silence! one word more shall make me chide thee, if not hate thee. What! An advocate for an imposter! hush! Thou think'st there is no more such shapes as he, Having seen but him and Caliban: foolish wench!” Act I, Scene II

For Discussion : Do you think the portrayal of Caliban within the film Prospero’s Books serves to represent his character accurately? Why or why not? (Hint: Think about the choreography!)

Other important ideas….? How are gender roles played out within The Tempest? Does Greenaway create a more distinct gender boundary in his work? How does his use of nudity in the film affect the gender roles?

References: