The Tempest Adaptations and Transformations

Julie Tommy’s film adaptation of William Shakespearean ‘The Tempest’ contains many alterations from the play. These differences include how Tommy’s decision to change Prospered gender affects the actions and reactions of other characters. Film advantages are used successfully to enhance how the audience perceives the gender change of the protagonist, as well as how the behavior of the minor characters are altered because if it. The relationship between the characters is heightened by makeup, camera angles, casting, costuming and the performances of the actors themselves.

Tumor uses these visual techniques of film to her advantage, even adding in an extra scene at the end of the film. The transformation of Prosper into Prospers affects the way the reader views the Judgment, treatment and release of Clinical. The parent-child relationship is also altered by the gender change, as is the protagonist’s interaction of Ariel. Tumor uses the sex transformation, the difference in gender stereotypes and the relationships which ensue, to make the film version of ‘The Tempest,’ vastly different from the play.

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William Shakespearean ‘The Tempest’ explores the relationships and the effect of one person having power over another. From the beginning of the play, the reader is shown an unstable and complicated relationship existing between Prosper and Clinical. The reader gets a glimpse of their bond. ‘l must eat my dinner. This island’s mine by Accords my mother, with thou tasks from me… Thou stroke me… Then I loved thee, and showed thee all the qualities 20th’ isle… Cursed be that I did so! The interaction shows the reader that the relationship between Prosper and Clinical was initially amiable, but turned malicious with the intended rape of Miranda. Julie Tommy’s film adaptation shows Helen Miner’s performance as the character of Prospers to be no less of a nominating figure than her male counterpart, Prosper, in the play. Because of this character strength, the film progresses similarly to the play via its dialogue. Nevertheless, the audience does discover changes in the dynamics of the Prospers- Clinical relationship.

Prospers is less physically intimidating, which enables the audience to view Clinical as an almost dominant figure. The gender change also makes Prospers a weaker protagonist due to the power and volume of her voice. ‘I’ll rack thee with old cramps, fill all thy bones with aches, make thee roar, that beats shall tremble at thy din. Helen Miner’s threats are less intimidating than Prosperous and comes across debilitated; therefore the viewer is less likely to take her blackmail seriously.

Even though Prospers is a lesser figure physically, the audience is shown how she uses other techniques to maintain dominance in her confrontation with Clinical. In the first encounter with Clinical in both the play and the film, the audience is presented with a malcontent slave, unwilling to come forward and speak to Prosper/Prospers and Miranda. ‘There’s wood enough within. ‘ When, however, Clinical does come forward, he tries to gain a physical advantage by standing on a rage rock. The camera angle shows the backdrop of the sky, clearly demonstrating his attempted superiority.

The appearance of Clinical poses a threat to Prospers, yet The Tempest Adaptations and Transformations By realigning psychologically en is easy to conquer even without the advantage to magic. ‘l must obey. [his/her] art is of such power, it would control [me]’. Prospers and Scallion’s actions show the audience how Prospers uses her words and magic rather that physical dominance to subdue Scallion’s attempted overthrow of power. It is clear to the audience that the protagonist has subdued Clinical previously using such means, s he can be overpowered easily.

Tommy’s ‘The Tempest’ clearly demonstrates the capability of Prospers to stand up for herself despite her physical disadvantage. The character transformation from Prosper to Prospers changes the dynamics of the relationship between the protagonist and Clinical. Prosper uses physical dominance and voice to subdue Clinical but Prospers, however, needs to threaten Clinical with her powers to subdue him for she has no physical presence. The different performances of the protagonists in relation to Clinical, makes the two mediums of ‘The Tempest’ vastly different.

The relationship between Prospers and Miranda is also changed through the gender adjustment of the protagonist. At the beginning of the play, the audience glimpses a tender scene between Prosper and Miranda: ‘O, cherubic… Thou did smile, infused with a fortitude from heaven. ‘ The audience views the relationship between parent and daughter, as one of superiority, thou art inclined to sleep. ‘Its a good dullness… Give it way,’ and sub ordinance, your tale sir… Would cure deafness. ‘ The dialogue in both mediums emphasizes the parent-child connection and influence between the protagonist and Miranda.

In the film, Julie Tumor places Prospers atop a cliff, using a long shot to confirm the appearance of power. The audience immediately sees Prospers as powerful due to her dark, masculine clothes and short hair. When Prosperous face is revealed, the audience gets a glimpse of her in extreme determination, conjuring up the huge storm whilst her daughter begs at her feet. Tumor demonstrates the power differential through camera angles and positioning Prospers and Miranda at different heights; Prospers is looking down at Miranda who kneels below her.

Tommy’s costuming also plays a ajar role in the audience’s realization of the difference in status between the two women. Prospers is dressed in heavy, dark clothing whilst Miranda stands beneath, dressed in a white sheet. The symbolism that occurs in this scene tells the audience that not only is Miranda psychologically weaker than her mother; she is also considered naive and pure due to her light, sheer clothing. Tumor must use this extra scene to establish Prosperous superiority.

The audience’s instruction in the hierarchy of the island is not necessary in the play because the audience views Prosper with reverence due to his masculinity. Tumor constantly creates preferences between the protagonists of film and play. Prospers makes an effort to demonstrate her love for Miranda, by constantly attempting to make physical connections between them. The readers do not receive this visual intimacy in the play. Prosperous face comes close to Marinara’s and she is always directing her daughter with an arm around her shoulders.

The gender change from Prosper to Prospers creates a unique bond that cannot be achieved with Prosper as the protagonist. The difference between Prosper and Prosperous parenting is that in the play, Shakespeare encourages the reader to view Miranda as a weak character, ‘Oh y heart bleeds… Please… Father’ who will grow up to be subordinate compared to her dominant father. In the film, however, the audience see Miranda as following her mother’s powerful existence, therefore being a stronger person in the tall rather than in the play.

Julie Tommy’s ‘The Tempest’ explores the way in which the diversification from Prosper to Prospers influences the audience’s viewpoint of characters close to them. In the film of ‘The Tempest’, Prospers achieves a deep and peculiar connection to her daughter that is contrasting the reader’s interpretation of the father-daughter connection that exists in the play. Furthermore, the gender transformation that Tumor explores, affects the treatment and Judgment of not only Miranda and Clinical, but the spirit Ariel, too.

The audience’s first encounter with Ariel in the film and the play begins with complete submission and admiration on Riel’s behalf, with Prosper/Prospers being completely dominant. ‘All hail, great master, grave sir, hail! I come to answer thy best pleasure… To every article. ‘ The relationship between the protagonist and spirit is initially amiable, that’s my… Brave spirit… Ariel, thy charge exactly as performed. ‘ The audience, however, soon discovers underlying bitterness and vexation existing in their unusual relationship.

Ariel wants to be freed from his enslavement to the protagonist, ‘is there more toil? But is easily overpowered in the play, as Clinical was, with Prospered booming voice and physical dominance sending him into submission once more. ‘Does thou forget from what torment I did free thee… Malignant thing! ‘ The domination shown by Prosper in the play is not quite parallel with the weaker performance of Prospers. Helen Miner’s voice in the film is less intimidating, as is her appearance. This makes Ariel gain a hysterical advantage and able to stand up for himself.

Prosperous interaction with Ariel also differs from her male counterpart because when Ariel is discharged, ‘l shall miss thee, but yet thou shall have freedom,’ he becomes extremely close to Prospers and affectionately strokes her shoulder. The audience sees that, because she is a woman, he does not respect Prospers as much as he did Prosper, for he feels comfortable enough to touch her. The physical contact present between them shows the audience that Prospers is a weaker protagonist than Prosper, allowing herself to be controlled in this way.

The reason for Prosperous weakness is due to Tommy’s direction; she creates a character that is weak and is able to be overpowered, which clashes with Prosperous previous affirmation of dominance and confuses the audience. The difference between Prosper and Prospers in relation to Ariel shows the weaker stereotype of women against men, which, in this scene, eventuates to be correct. Juxtaposing the film and the play, Tumor does not succeed with her choice to change Prosperous gender. Tommy’s version of ‘The Tempest,’ introduces the audience to an additional scene in the film, in which Prospers frees Clinical.

In the play, Prosper dismisses the group of Trillion, Stephan and Clinical by saying, ‘Go to, away. ‘ His female counterpart’s concluding statement is one of deep ambiguity; this thing of darkness, I must acknowledge mine,’ only Clinical is present to hear this apology. After Prosperous concluding statement, she and Clinical share a stare that lasts for fifteen seconds, where she inaudibly apologizes and allows him to leave. He then walks up the stairs and opens the door at the top, whilst not looking back. The symbolism of this allows the audience to Judge for the last time whether Scallion’s enslavement was Justified.

Prospers stares remorsefully while Clinical exits swiftly into the open air of his island. The camera angle, shown through Prosperous person; promotes the understanding that Clinical is now dominant, as Prospers is looking up As e ex TTS, the audience is only shown himself walking through the doorway into the clear blue sky, signifying his reclaimed freedom. Tumor encourages the observer’s final Judgment of the relationship between Prospers and Clinical to be one of sympathy to the lesser. The audience considers Prosperous apology and recognizes that she is, deep down, apologetic for her actions and willing to make mends.

The audience finally realizes her sincerity as she tosses her staff into the water. The audience watches as the staff shatters and notices the beautiful music that is played when it has broken, symbolizing peace due to its destruction. The audience respects Prospers for her sacrifice but recognizes the power that still remains with her. Once again she stands atop a cliff in a longest. This camera angle with the addition her severe clothing emphasizes her remaining power and how it has transformed from magic back into her dukedom. Tumor adds this additional scene to give a conclusion to the film, compared to the obscure ending of the play.

The ending to the film is successful because it creates closure to ‘The Tempest’ and makes the audience understand the reality of human nature. William Shakespearean ‘The Tempest’ varies significantly from the film version due to the success of using film advantages such as expressions, clothing and camera angles. The gender change of the protagonist causes the audience to view other characters differently as a result. Prospers is viewed throughout the film as a powerful character who establishes her dominance through magic unlike Prosper, ho is physically dominant.

The other difference between the film and the play is that Prospers, being a woman, is more forgiving and able to be controlled. She also interacts with her daughter and is a role model to her in a different way than Prosper. Tumor uses film techniques successfully to portray her characters in different ways and to summaries the open ending of the play. The audience is intrigued by the most noticeable change between the two; the gender swap of the protagonists and this cast alteration is primarily what makes Julie Tommy’s 2010 film adaptation of the play so interesting.