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The Tempest is set on a remote island, where Prospero, the rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand.
Adaptations
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y
Beach Blanket Tempest
Chris Harriott
(composer),
1984
(Manuscript version)x400603
Z853373
1984
single work
musical theatre
In 'Beach Blanket Tempest', however, the central character is Vince Prospero, the duke of rock 'n' roll in Elvis-like proportions. He too is marooned on an island with his daughter, but their spirit is from a bottle and not a tree and her name is Gidget. She wants to be free and to ride the wild surf. Bleach Blanket is filled with catchy ballads, love duets, '60s rock 'n' roll and even a visit from the Supreme Beings as the spirits of earth, wind and fire. (Scott Howlett, 'Tempest Gets Funky', Hills Shire Times (12 February 2002): 40).
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The Tempest
Thomas Adès
(composer),
2004
single work
musical theatre
opera
'The Tempest is an opera by English composer Thomas Adès with a libretto in English by Meredith Oakes based on the play The Tempest by William Shakespeare.'
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y
Tempest in a Teacup
2015
10490020
2015
single work
drama
fantasy
A ten-minute 'steampunked' version of The Tempest.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Intention
i
"And on the rocky shore the news is not all good",
2014
single work
poetry
— Appears in: Thing & Unthing 2014; (p. 26) Writing to the Wire 2016; (p. 108) -
“A Sort of Buzzing” : Queer Sound in David Malouf’s Blood Relations
2014
single work
criticism
— Appears in: Colloquy : Text Theory Critique , December no. 28 2014; 'David Malouf’s only stage play, Blood Relations, is an Australian re-telling of Shakespeare’s comedy, The Tempest. Following its premiere at the Sydney Theatre Company in 1987, the play received a mixed critical reception and has generated relatively little scholarly interest since. While much of the critical discourse concerned with Malouf’s work centres on his novels and poetry, Blood Relations is important for providing a dramatic lens on issues that are recognisable in much of his work, such as his exploration of postcolonial Australia. In fact, Blood Relations operates as a postcolonial palimpsest that problematises the relationship between the European settlers (represented through the Greek-born character Willy) and Australia’s Indigenous population (represented through the Aboriginal character Kit).' (Author's introduction) -
Hamlet Hits the Road to Help Celebrate a Birthday
2014
single work
column
— Appears in: The Sydney Morning Herald , 11 September 2014; (p. 2) -
Untitled
i
"the players rehearse",
2009
single work
poetry
— Appears in: Cordite Poetry Review , no. 29.1 2009; -
Prospero
i
"This man has magical powers; the slender",
2006
single work
poetry
— Appears in: After the Fire : New and Selected Poems 2006; (p. 191)
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Happily Ever After: William Shakespeare's The Tempest and Murray Bail's Eucalyptus
2002
single work
criticism
— Appears in: Antipodes , December vol. 16 no. 2 2002; (p. 171-176)McNeer compares elements of similarity in Murray Bail's Eucalyptus and William Shakespeare's The Tempest. McNeer particularly examines fables, fairy tales and mythic stories that may have been available to Shakespeare and, derivatively, influenced Bail. The characters of Miranda in The Tempest and Ellen in Eucalyptus are compared as are their respective fathers, Prospero and Holland.
McNeer concludes with a quotation from G. Wilson Knight's The Crown of Life: Essays in Interpretation of Shakespeare's Final Plays (1965): 'It is, perhaps, inevitable that Shakespeare, so saturated with the spirit of his land, should, in such a summation of that work in The Tempest, have outlined, among much else, a myth of the national soul' (p.255). This parting comment, says McNeer, 'may provide the most profound connection of all between William Shakespeare and Murray Bail'.
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Tangibles
2003
single work
essay
— Appears in: A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003; (p. 147-157) -
Untitled
i
"the players rehearse",
2009
single work
poetry
— Appears in: Cordite Poetry Review , no. 29.1 2009; -
Transformations of Caliban and Ariel : Imagination and Language in David Malouf, Margaret Atwood and Seamus Heaney
1986
single work
criticism
— Appears in: World Literature Written in English , Autumn vol. 26 no. 2 1986; (p. 295-330) -
Prospero
i
"This man has magical powers; the slender",
2006
single work
poetry
— Appears in: After the Fire : New and Selected Poems 2006; (p. 191)
