William Shakespeare. Prepared for the Blackfriars of Agnes Scott College and Department of Theatre and Dance production of The Tempest

By William Shakespeare Prepared for the Blackfriars of Agnes Scott College and Department of Theatre and Dance production of The Tempest Performance dates October and November 3 5, 2000 Production
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By William Shakespeare Prepared for the Blackfriars of Agnes Scott College and Department of Theatre and Dance production of The Tempest Performance dates October and November 3 5, 2000 Production Concept by Dudley Sanders and David S. Thompson Directed by David S. Thompson Scenic, Lighting, and Costume Design by Dudley Sanders Adapted by David S. Thompson and Dudley Sanders ASC The Tempest 2 THE TEMPEST: CONTENTS EDITOR S NOTE 3 DRAMATIS PERSONAE On a ship at sea: a tempestuous noise of thunder and lightning heard The island. Before S cell Another part of the island Another part of the island Before S Cell Another part of the island Another part of the island Before S cell Before S cell. EPILOGUE 77 ASC The Tempest 3 THE TEMPEST: EDITOR S NOTE This script represents the combined efforts of the faculty of the Agnes Scott College Theatre Program. It is for that reason that the title page alternates top billing and production credits. Each of our productions to date has represented collaboration in the truest sense of the word, so the notion of shared interest and responsibility finds graphic depiction here. As theatre professionals and educators we do not undertake this project lightly. Despite various contemporary theories concerning the death of the author or the impossibility of ownership, we usually tread very carefully into the area of altering a written text. Part of our discomfort stems from our own writing experiences. Part comes from our work in the production arena where interpreting a script affords theatre artists ample room to insert their own ideas. Still another reason for not routinely rewriting a script is grounded in a respect for the vision of fellow artists. Even if we dislike a work or disagree with its technique who is to say that our approaches are inherently superior? In this instance, however, we feel that other concerns take precedence. Rather than rewriting for personal gain or egotistical satisfaction, we hope to serve the campus community. Therefore, ours is a specific adaptation aimed at achieving a specific educational goal for our students and a specific production possibility for our organization and audience. Although other reasons for rewriting Shakespeare may exist, for us they do not immediately leap to mind. In order to offer a legitimate opportunity for the Blackfriars of Agnes Scott College to work with a play by William Shakespeare, we felt that an adaptation was necessary. As one of Shakespeare s shortest and most joyous works The Tempest seemed a perfect candidate. Additionally, realizing that a traditional production could quite likely include a cast of men with the sole exception of a woman playing Miranda, we felt that a gender reversal could serve the needs of women s college. Thus, Miranda will be the only man in the cast of our production. Allowing more of our students access to the material proved the deciding justification in our decision to adapt the script. Any adaptation is the product of the work of all editors who preceded it as well as any new thoughts for the present version. This means that some versions seek to recreate the original text and others seek to update it. We have tried to find a middle ground, which means that this text matches some published editions in punctuation and construction, but not all. In some instances modernized language and spelling appears as an aid to the actor; in other instances condensed or British spellings remain in order to emphasize style, tone or theme. Trying to merge a variety of ideas also produced some curiosities such as the fact that line numbers are not always accurate. Our work begins with the premise that most of the characters in the play are women, meaning that actors are playing their own gender rather than performing in drag. To clarify references, particularly to off stage personnel, we have reversed the gender of the original pronouns and gender-specific terms. However, we have not changed the character names since we consider them essential to the Shakespearean legacy. As often as possible, we have sought to maintain the original scansion when making changes. More obvious changes he/she, father/mother, lad/lass are not otherwise noted in the text. More difficult changes are noted with a strikethrough font over the original text and the new phrase appearing immediately afterwards. For the convenience of actor research, the whole of Shakespeare s text (sans the obvious changes just noted) appears here. Even lines cut from production appear as text with strikethrough so that the cast may know the origin of the script. September 2000 ASC The Tempest 4 DRAMATIS PERSONAE Queen of Naples. her sister. the right Duchess of Milan. her sister, the usurping Duchess of Milan. FERDINAND daughter to the Queen of Naples. an honest old Counselor. ADRIAN,FRANCISCO, Lords (Nobles). a savage and deformed Slave. a Jester. a drunken Butler. Captain of a Ship. (CAPTAIN) Boatswain. (BOATSWAIN) Mariners. (Mariners) son to Prospero. an airy Spirit. IRIS, CERES, JUNO, presented by Spirits, Nymphs, Reapers, Other Spirits attending on Prospero. SCENE A ship at Sea; an island. ASC The Tempest 5 THE TEMPEST 1.1 On a ship at sea: a tempestuous noise of thunder and lightning heard. CAPTAIN Boatswain! [Enter a MASTER and a BOATSWAIN] BOATSWAIN Here, Captain what cheer? CAPTAIN Good, speak to the mariners. Fall to't, yarely, or we run ourselves aground. Bestir, bestir! [Exit] [Enter Mariners] BOATSWAIN Heigh, my hearts! Cheerly, cheerly, my hearts! 5 Yare, yare! Take in the topsail. Tend to the Captain s whistle. [to the storm] Blow, till thou burst thy wind, if room enough! [Enter,,, FERDINAND,, and others] Good boatswain, have care. Where's the Captain? Play the crew. 10 BOATSWAIN I pray now, keep below. Where is the Captain, boatswain? BOATSWAIN Do you not hear her? You mar our labour. Keep your cabins: you do assist the storm. Nay, good, be patient. 15 BOATSWAIN When the sea is. Hence! What cares these roarers for the name of queen? To cabin! Silence! Trouble us not. Good, yet remember whom thou hast aboard. ASC The Tempest 6 BOATSWAIN None that I more love than myself. You are a 20 councilor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. 25 Cheerly, good hearts! Out of our way, I say. [Exit] I have great comfort from this fellow sailor. Methinks she hath no drowning mark upon her; her complexion is perfect gallows. Stand fast, good Fate, to her hanging: make the rope of her destiny our cable, 30 for our own doth little advantage. If she be not born to be hanged, our case is miserable. [Exeunt] [Re-enter Boatswain] BOATSWAIN Down with the topmast! Yare! Lower, lower! Bring her to try with main-course. [A cry within] A plague upon this howling! They are louder than 35 the weather or our office. [Re-enter,, and ] Yet again! What do you here? Shall we give o'er and drown? Have you a mind to sink? A pox o' your throat, you bawling, blasphemous, incharitable dog! 40 BOATSWAIN Work you then. Hang, cur! Hang, you whoreson baggage, insolent noisemaker! We are less afraid to be drowned than thou art. I'll warrant her for drowning; though the ship were no stronger than a nutshell and as leaky as an 45 unstanched wench. BOATSWAIN Lay her a-hold, a-hold! set her two courses off to sea again; lay her off. ASC The Tempest 7 [Enter Mariners wet] MARINERS All lost! to prayers, to prayers! All lost! BOATSWAIN What, must our mouths be cold? 50 The queen and prince at prayers princess pray! Let's assist them, for our case is as theirs. I'm out of patience. We are merely cheated of our lives by drunkards: This wide-chapped rascal would thou mightst lie drowning 55 The washing of ten tides! She'll be hanged yet, Though every drop of water swear against it And gape at widest to glut her. [A confused noise within: 'Mercy on us!' 'We split, we split!' 60 'Farewell, my wife and children family!' 'Farewell, brother sister!' 'We split, we split, we split!'] Let's all sink with the queen. Let's take leave of her. [Exeunt and ] Now would I give a thousand furlongs of sea for an 65 acre of barren ground, long heath, brown furze, any thing. The wills above be done! But I would fain die a dry death. [Exeunt] ASC The Tempest 8 THE TEMPEST 1.2 The island. Before 'S cell. [Enter and ] If by your art, my dearest mother, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, Dashes the fire out. O, I have suffered 5 With those that I saw suffer a brave vessel, Who had, no doubt, some noble creature in her, Dash'd all to pieces. O, the cry did knock Against my very heart. Poor souls, they perished. Had I been any god of power, I would 10 Have sunk the sea within the earth or ere It should the good ship so have swallow'd and The fraughting souls within her. Be collected. No more amazement. Tell your piteous heart 15 There's no harm done. O, woe the day! No harm. I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter dear son, who 20 Art ignorant of what thou art, naught knowing Of whence I am, nor that I am more better Than Prospero, mistress of a full poor cell, And thy no greater mother. More to know 25 Did never meddle with my thoughts. 'Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. So: [Lays down her mantle] Lie there, my art. Wipe thou thine eyes; Worry not, but have comfort. 30 The direful spectacle of the wreck, which touched The very virtue of compassion in thee, I have with such provision in mine art So safely ordered that there is no soul No, not so much perdition as an hair 35 Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down; For thou must now know farther. ASC The Tempest 9 You have often Begun to tell me what I am, but stopped 40 And left me to a bootless inquisition, Concluding 'Stay: not yet.' The hour's now come; The very minute bids thee ope thine ear; Obey and be attentive. Canst thou remember 45 A time before we came unto this cell? I do not think thou canst, for then thou wast not Out three years old. Certainly, ma am, I can. By what? By any other house or person? 50 Of any thing the image tell me that Hath kept with thy remembrance. 'Tis far off And rather like a dream than an assurance That my remembrance warrants. Had I not 55 Four or five women servants once that tended me? Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else In the dark backward and abysm of time? If thou remember'st aught ere thou camest here, 60 How thou camest here thou mayst. But that I do not. Twelve year since, Miranda, twelve year since, Thy mother was the Duke Duchess of Milan, and a A prince princess of power. 65 Ma am, are not you my mother? Thy mother was a piece of virtue, and She said thou wast my daughter; and Thy mother Was Duke of Duchess Milan; and thou her only heir And princess a prince no worse issued. O the heavens! 70 What foul play had we that we came from thence? Or blessed was't we did? ASC The Tempest 10 Both, both, my boy: By foul play, as thou say'st, were we heaved thence, But blessedly holp hither. 75 O, my heart bleeds To think o' the teen that I have turn'd you to, Which is from my remembrance! Please you, farther. My sister and thy uncle thine own aunt, call'd Antonio-- I pray thee, mark me that a sister should 80 Be so perfidious! she whom next thyself Of all the world I loved and to her put The manage of my state; as at that time Through all the signories it was the first And Prospero the prime duke duchess, being so reputed 85 In dignity, and for the liberal arts Without a parallel; those being all my study, The government I cast upon my sister And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle disloyal aunt 90 Dost thou attend me? Ma am, most heedfully. Being once perfected how to grant suits, How to deny them, who to advance and who To trash for over-topping, new created 95 The creatures that were mine, I say, or changed 'em, Or else new formed 'em; having both the key Of officer and office, set all hearts i' the state To what tune pleased her ear; that now she was The ivy which had hid my princely trunk, 100 And sucked my verdure out on't. Thou attend'st not. O, good ma am, I do. I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that which, but by being so retired, 105 O'er-prized all popular rate, in my false sister Awaked an evil nature; and my trust, Like a good parent, did beget of her A falsehood in its contrary as great As my trust was; which had indeed no limit, 110 A confidence sans bound. She being thus lorded, Not only with what my revenue yielded, But what my power might else exact, like one ASC The Tempest 11 Who having into truth, by telling of it, Made such a sinner of her memory, 115 To credit her own lie, she did believe She was indeed the duke the true duchess; out o' the substitution And executing the outward face of royalty, With all prerogative: hence her ambition growing Dost thou hear? 120 Your tale, ma am, would cure deafness. To have no screen between this part she play'd And her she played it for, she needs will be Absolute Milan. Me, poor man soul, my library Was duchy large enough: of temporal royalties She thinks me now incapable; confederates 125 So dry she was for sway wi' the Queen of Naples To give her annual tribute, do her homage, Subject her coronet to her crown and bend The duchy yet unbow'd alas, poor Milan! To most ignoble stooping. 130 O the heavens! Mark her condition and the event; then tell me If this might be a sister. I should sin To think but nobly of my grandmother. 135 Good wombs have borne bad sons kin. Now the condition. The Queen of Naples, being an enemy To me inveterate, hearkens my sister's suit; Which was, that she, in lieu o' the premises 140 Of homage and I know not how much tribute, Should presently extirpate me and mine Out of the duchy and confer fair Milan With all the honours on my sister. Whereon, A treacherous army levied, one midnight 145 Fated to the purpose did Antonio open The gates of Milan, and, i' the dead of darkness, The ministers for the purpose hurried thence Me and thy crying self. Alack, for pity! 150 I, not remembering how I cried out then, Will cry it o'er again. It is a hint That wrings mine eyes to't. ASC The Tempest 12 Hear a little further And then I'll bring thee to the present business 155 Which now's upon's; without the which this story Were most impertinent. Wherefore did they not That hour destroy us? Well demanded, wench whelp. 160 My tale provokes that question. Son, they durst not, So dear the love my people bore me, nor set A mark so bloody on the business, but With colours fairer painted their foul ends. In few, they hurried us aboard a bark, 165 Bore us some leagues to sea; where they prepared A rotten carcass of a boat, not rigged, Nor tackle, sail, nor mast; the very rats Instinctively had quit it. There they hoist us, To cry to the sea that roared to us, to sigh 170 To the winds whose pity, sighing back again, Did us but loving wrong. Was I then to you! Alack, what trouble O, a cherubim Thou wast that did preserve me. Thou didst smile. 175 Infused with a fortitude from heaven, When I have deck'd the sea with drops full salt, Under my burden groan'd; which raised in me An undergoing stomach, to bear up Against what should ensue. 180 How came we ashore? By Providence divine. Some food we had and some fresh water that A noble Neapolitan, Gonzalo, Out of her charity, being then appointed 185 Mistress of this design, did give us, with Rich garments, linens, stuffs and necessaries, Which since have steaded much; so, of her gentleness, Knowing I loved my books, she furnish'd me From mine own library with volumes that 190 I prize above my duchy. ASC The Tempest 13 But ever see that woman! Would I might Now I arise: [Resumes her mantle] Sit still, and hear the last of our sea-sorrow. 195 Here in this island we arrived; and here Have I, thy schoolmistress, made thee more profit Than other princesses other princes can that have more time For vainer hours and tutors not so careful. Heavens thank you for't! And now, I pray you, ma am, 200 For still 'tis beating in my mind, your reason For raising this sea-storm? Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies 205 Brought to this shore; and by my prescience I find my zenith doth depend upon A most auspicious star, whose influence If now I court not but omit, my fortunes Will ever after droop. Here cease more questions: 210 Thou art inclined to sleep; 'tis a good dullness, And give it way: I know thou canst not choose. [ sleeps] Come away, servant, come. I am ready now. Approach, my Ariel, come. [Enter ] All hail, great mistress! Grave ma am, hail! I come 215 To answer thy best pleasure; be't to fly, To swim, to dive into the fire, to ride On the curled clouds, to thy strong bidding task Ariel and all her quality. Hast thou, spirit, 220 Performed to point the tempest that I bade thee? ASC The Tempest 14 To every article. I boarded the queen's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I d divide, 225 And burn in many places; on the topmast, The yards and bowsprit, would I flame distinctly, Then meet and join. Jove's lightnings, the precursors O' the dreadful thunder-claps, more momentary And sight-outrunning were not; the fire and cracks 230 Of sulphurous roaring the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake. My brave spirit! Who was so firm, so constant, that this coil 235 Would not infect her reason? Not a soul But felt a fever of the mad and played Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel, 240 Then all afire with me. The queen's girl, Ferdinand, With hair up-staring then like reeds, not hair Was the first man soul that leap'd; cried, 'Hell is empty And all the devils are here.' Why that's my spirit! 245 But was not this nigh shore? Close by, my mistress. But are they, Ariel, safe? Not a hair perish'd; On their sustaining garments not a blemish, 250 But fresher than before; and, as thou badest me, In troops I have dispersed them 'bout the isle. The queen's son have daughter I landed by herself; Whom I left cooling of the air with sighs In an odd angle of the isle and sitting, 255 Her arms in this sad knot. Of the queen's ship The mariners say how thou hast disposed And all the rest o' the fleet. ASC The Tempest 15 Safely in harbour 260 Is the queen's ship; in the deep nook, where once Thou call'dst me up at midnight to fetch dew From the still-vexed Bermoothes Bermudas, there she's hid: The mariners all under hatches stowed; Who, with a charm join'd to their suffered labour, 265 I have left asleep; and for the rest o' the fleet Which I dispersed, they all have met again And are upon the Mediterranean flote, Bound sadly home for Naples, Supposing that they saw the queen's ship wrecked 270 And her great person perish. Ariel, thy charge Exactly is performed, but there's more work. What is the time o' the day? Past the mid season. 275 At least two glasses. The time 'twixt six and now Must by us both be spent most preciously. Is there more toil? Since thou dost give me pains, Let me remember thee what thou hast promised, Which is not yet performed me. 280 What is't thou canst demand? How now? moody? My liberty. Before the time be out? No more! I prithee, 285 Remember I have done thee worthy service; Told thee no lies, made thee no m
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