Play Analysis: The Postcolonial Interpretation of The Tempest

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Table of Contents

Introduction
Language Analysis
Play Analysis
Conclusion
Works Cited

Introduction

The postcolonial interpretation of The Tempest is an interpretation that gained popularity in the second half of the twentieth century. This particular reading of the play implies that Shakespeare was deliberately expressing a view of colonialism in the New World in the guise of Prospero the magician, usurping Caliban, the slave. It could be argued that Caliban represents a native American, while Prospero could be seen as a European imperialist. This interpretation questions the values and opinions of the past. It casts Caliban in a sympathetic light, and it shows a greater understanding of his plight as well as raising questions about Prosperos rule of the island.

The language of the piece and the characters demonstrate the desire to have power over others, to dominate. This is expressed in the words:

You taught me language, and my profit on

Is, I know how to curse (Shakespeare 14).

The protagonist expresses his passion, inner tension, and despair by talking about curses. The mood is also conveyed through an emotional description of nature, the way it is perceived by someone with a vivid mental experience.

Language Analysis

Many people see Caliban as much more than just unpleasant: there is reason to consider him inherently evil. His instincts are to satisfy his appetite and avoid discomfort, and to do all these things he will lie, betray kindness, deceive, and base himself to any degree. This idea belongs to Prospero, and, indeed, Shakespeare does not seem to intend to form a high opinion of this character. According to Prospero, Calibans evil nature cannot be changed by good deeds-he has already tried it, but to no avail. Instead, he takes the view that Caliban is a slave, by whom stripes can move, not goodness (Shakespeare 14). It seems that the only thing Caliban will fully respond to is physical punishment since he does not appreciate the acts of kindness done to him by Prospero and Miranda.

Calibans abuse of language also significantly underscores his abuse of Prosperos kindness. The attitude toward Caliban is expressed in the following lines:

Thou poisonous slave, got by the devil himself

Upon thy wicked dam, come forth! (Shakespeare 14)

The hero uses emotionally colored, evaluative vocabulary, showing his disregard and disrespect. Indeed, he is a savage who would like to play like the rudest thing before Prospero makes the effort to make him speak and endows his aims with words that make them known. The same attitude to Caliban can be viewed through Mirandas and Ariels vocabulary. They see in the protagonist the implicit desire to be evil and show their hatred. However, Caliban took the tongue with its infinite possibilities and advantages and said that its only benefit was that it could swear. The fact that Caliban disparages such a useful tool, which we assume was painstakingly taught to him, further emphasizes that Caliban does not appreciate the efforts of others.

Play Analysis

Balinese Tempest production uses many artistic devices to convey the peculiarities of the characters relationships and the overall atmosphere of the work. Passion, hatred, and contempt are expressed in vivid pictorial ways. Particular attention should be paid to the gestures and movements of the actors, and in general to the non-verbal components of acting (University of Hawaii Center for Southeast Asian Studies). The general atmosphere is revealed through the shades and lighting mode. Ariel is positioned as a follower of Prospero, supporting his views and always ready to follow him. The character is also filled with hatred and contempt for Caliban, but the actors convey his essence as subtler and capable of understanding and compassion; this is evidenced by the ease of gesticulation and movement.

Conclusion

Since the spectators mainly see the shapes of actors, and the colors are practically invisible, the poses, the intonation, and the way people interact with each other on stage have become vital for understanding the message. They fully express the peculiarities of the characters relationships with each other, as well as the authors relationship with the protagonist.

Works Cited

University of Hawaii Center for Southeast Asian Studies. Balinese Tempest (Indonesia). Internet Archive, 2008. Web.

Shakespeare, William. The Tempest. 1806.

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Play Analysis: The Postcolonial Interpretation of The Tempest

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