...Jan Kott; Barbara Krzywicka, translated by Theater Abroad Prospera or the Director: Giorgio Strehler's The Tempest (Piccolo Teatro di Milano) Jan Kott Right in front of the foot-lights stands "in• "Impossibile," he...

... tradaptations (translation-adaptations) of Coriolan/Coriolanus, Macbeth, and La tempête/The Tempest. After its premiere in Maubeuge, France, in October 1992, The Shakespeare Cycle toured to Paris, Frankfurt, Montréal, Amsterdam, Zurich, and Bremen; in autumn, 1993, it toured to France, Japan, and England...

..., 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...

... in 1980, and then, in 1983, there was quite the opposite with the great Fringe production of The Tempest by Deborah Warner. It was the last day of the Fringe, in a church hall with hardly any set, and it was one of the most dramatic Tempests I have ever seen. Then, in 1989, the wall came tumbling...

..., there was Percy MacKaye. Before there was the Pub- lic Theater or Shakespeare in the Park, there was MacKaye’s 1916 Caliban by the Yel- low Sands, an outdoor masque version of Shakespeare’s The Tempest produced with a company of 1,500 for nightly audiences of 20,000 at City College’s 138th Street audi...

..., there was Percy MacKaye. Before there was the Pub- lic Theater or Shakespeare in the Park, there was MacKaye’s 1916 Caliban by the Yel- low Sands, an outdoor masque version of Shakespeare’s The Tempest produced with a company of 1,500 for nightly audiences of 20,000 at City College’s 138th Street audi...

... the problems. So this lies behind each choice of play and director. 22 I don’t think I would say that anything unifies Polish drama today. Polish the- The Tempest, directed ater now is like a baby, learning to walk—although it’s a baby with very interesting by Zbigniew Brzoza...

... themes in The Tempest: Paul Brown has written about the A page from Speed’s Theater way The Tempest intervenes in “an ambivalent and of the Empire of contradictory discourse” about...

...-­loved lit- erature such as Alice in Wonderland, to staging of classic plays, such as The Tempest, Oedipus Rex, and Hedda Gabler. I contacted one of the founding members of the Avatar Repertory Theater. Known in Second Life as Ada Radius, she invited me — or my online persona, rather...

... and virtual rehearsal. The performances range from origi- nal productions written for avatar theater companies to adaptations of much-­loved lit- erature such as Alice in Wonderland, to staging of classic plays, such as The Tempest, Oedipus Rex, and Hedda Gabler. I contacted one of the founding...

... Lee'Breuer is the author of Animations, Relude to Death in Venice, as well as a Siegfried Lauterwasser 86-90 founder and director of the Mabou Mines Ensemble. He is currently Babette Mangolte 5 directing The Tempest for the New York Shakespeare Festival. Carol Resegg 18, 19, 26, 47-50...

... Lee'Breuer is the author of Animations, Relude to Death in Venice, as well as a Siegfried Lauterwasser 86-90 founder and director of the Mabou Mines Ensemble. He is currently Babette Mangolte 5 directing The Tempest for the New York Shakespeare Festival. Carol Resegg 18, 19, 26, 47-50...

..., Brook’s Tempest, Engel’s Faust * Belgian Dance recently performed the role of Chebutikin in Brace Up, the Theatre * Theatre in Education at 25 * Prague’s Puppeteers * NEA Under Wooster Group’s version of The Three Sisters...

..., recreating the theatrical imagination of the directors, designers, actors. I understand he did the same thing in his Timon of Athens. He uses the theater’s balconies and the public doors as elements in You also discussed The Tempest...

... argument. Dryden's alterations - with Davenant - of The Tempest and of Troilus and Cressida were done in a similar spirit - he was using Shakespeare to do what today we have come to know as one's own thing. His colleague Dave- nant called it "to reform and make fitt," but a reading of any...

... interview, A quest for the universal in universal terms an attempt to create a language expressive London, 1973: “We had no sense of obliga- leaves one with Iimited material. How of universal emotions, apparently in a way tion to deliver Th Tempest. Consequently much can come out of the naked fact...

... The Schcchter, Joel, “Brecht and Other Dramaturgs” (Essay), Vol. no. Tempest (Piccolo Teatro di Milano)” (Essay) Vol. 10, no. 2, Spring 1979, 10, 1, FalI 1978, p. 57 p. 117...

... predecessor's works into an idiom ficer, as O'Neill did in Mourning Becomes more acceptable to his formal and deco• Electra, or to bring the Alcestis story in• rous age. He made a hash of Troilus and to the modern drawing room with Her• Cressida; he totally revised The Tempest...

... each other as characters: e. g. break• When I'm not discouraged I'm afraid that only the really great dramatists can make the the-engagement, get-him-to-marry-you. ironies of the theatre work for them. The storm at the front of The Tempest by its Thev act out a scene concentratinq on unreality...

... 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...