... was shouting, "if I even on the courtly stage at Blackfriars. visible" Prospero, back to the audience, manage to show half of The Tempest it will There are two theaters in The Tempest, watching the magic table covered by the be a miracle." But which half? Prospero's the old theater of emblems and of scenery...

..., Macbeth, and La temp&te/The Tempest. SALTER Prospero: tragically self-sufficient, puissant, casually dressed in black trousers and a sweater, stands immobile, together with Ferdinand, upstage of a distorted one-way mirror; and as they gaze out...

... I tell you Ensor promised me a mask for Prospero until I would get an offer If I play Prospero to play Lear I said to him in a real theater...

... Reproduction: learning about being gay meant an articulated Sexual and Electronic Magic in Prospero’s focus on my relationships with the gay men in Books,” by Peter S. Donaldson). my life, many of whom were ill. Reading a bit of The contributors, from Robert Hapgood in our history together has...

... pessimistic or hopeless. While the ending of The Tempest is bitter in 28 my reading of it, Giorgio did everything he could to change the en- brought me coffee twice a day. I was astonished that after two or ding to preserve some hope for Prospero, for spectators; for three weeks there no one...

... bench. The apartment floor is live with wife and daughter constitutes a checkered, a second, larger image of the form of exile quite different from chess board on the table. The house itself is Prospero’s, and it may also be a reason to more imaginary than real, more suggested describe Thc...

..., previous and yet to come. These paths or tunnels are not causal necessities. They are the evidence of instantaneity. (Exerptedfiom MCmoire sur mes travaux, published in France in Les Cahiers de Prospero, no. 8, Jub 1996. Translated by Christopher de Haan.) ...

... (What embarrassing tacky affairs those Elizabethan storms must have been! these objectives, and the concentration No stereo, you know.) does more to establish Prospero's magic than any amount of liberates tremendous energy and skill stage business. But that was his last play, for Godsakes, and he...

... a On a personal note, as a lesbian who came of Hodgdon) or Prosper02 Books (“Shakespeare in age in ACT UP meetings, coming out and the Age of Post-Mechanical Reproduction: learning about being gay meant an articulated Sexual and Electronic Magic in Prospero’s focus on my relationships with the gay men...

... of the theatre work for them. The storm at the front of The Tempest by its Thev act out a scene concentrating on unreality (What embarrasSing tacky affairs those Elizabethan storms must have been! these objectives, and the concenrrarion No stereo, you know.) does more to establish Prospero's magic than any...

... character is one of Gombrowicz’s ultimate jazz-­like riffs on diverse classical and Polish sources, as well as a self-­portrait. Fryderyk/Gombrowicz is the mature Ronconi’s muse, his proxy, his Prospero, his Pol- ish Orlando Furioso. In the language of the novel’s curtain line, Ronconi...

... himself against accusa- “Finie la rigolade” as “Our revels now as was hitherto said, the author.” tions of being “sometimes too free are ended” gives a new, rich, and ironic (Barthes, “The Death of the Author”) demands that the original text com- texture (Hamm as Prospero) to End...

..., I would have been able to keep Coral (Prospero) a little sharper, and I would have preferred...

... Cockatoo/cave. Not more than a honky-tonk prestidigitator advertising “glasnost” on their sides, and an exact replica of himself, Prospero, Langhoff implied, cannot control the the ste- engine from Renoir’s film La BGte Humaine. At first tempest brought on by the shock of his actors’ illusions collid...

... displays the opposite Macbeth, Falstaff, Prospero, Prince Hal, Shy- problem: too much eagerness to make probing lock, Brutus, and Malvolio. and specific critical statements, without secur- If only this author had followed more ing a solid critical footing from which these resolutely...

... displays the opposite Macbeth, Falstaff, Prospero, Prince Hal, Shy- problem: too much eagerness to make probing lock, Brutus, and Malvolio. and specific critical statements, without secur- If only this author had followed more ing a solid critical footing from which these resolutely...

... clearly draws a number of different axes of masculinity Rutter’s Enter the Body: Women and Representa- within which he locates characters as diverse as tion on Shakespeare’s Stage displays the opposite Macbeth, Falstaff, Prospero, Prince Hal, Shy- problem: too much eagerness to make probing lock...

... clearly draws a number of different axes of masculinity Rutter’s Enter the Body: Women and Representa- within which he locates characters as diverse as tion on Shakespeare’s Stage displays the opposite Macbeth, Falstaff, Prospero, Prince Hal, Shy- problem: too much eagerness to make probing lock...

... clearly draws a number of different axes of masculinity Rutter’s Enter the Body: Women and Representa- within which he locates characters as diverse as tion on Shakespeare’s Stage displays the opposite Macbeth, Falstaff, Prospero, Prince Hal, Shy- problem: too much eagerness to make probing lock...

... of anything. Compared to other eras, the time of the Greeks or of Shakespeare, we are very scared. This fear is what characterizes us. We know already that we are nothing in the universe, and mean nothing to it. We Poles live in what Prospero calls “the solemn temples . . . which shall dissolve / And, like...