StudyGuide
Written by William Shakespeare
Directed by Rick Davis
Introduction
Welcome to George Mason University! You will be attending a special student matinee performance of the School of Theater's production of The Tempest. This won’t be a traditional full-length production; what you’ll see is a 60-minute adaptation of Shakespeare’s play. To put that into perspective, the original script we worked from was about 140 pages long, and we had to carefully cut it down to around 60!
But don’t worry, this study guide is here to help support your experience. Adapting the script was a long and collaborative process, with every edit sparking discussion about how to preserve the heart of the story.
Another unique aspect of this performance is that it’s our understudy show. Understudies are actors who step in when a main cast member is unable to perform. For this special performance, you’ll get to see our full cast of understudies in action, a rare and exciting opportunity!
We hope the activities and information in this guide enhance your experience and help you make the most of your visit to George Mason University. Enjoy the show!
Sincerely,
Isabel Nemati
Dramaturg
BA Theater Education, Business Minor 2026
Dramaturgs support informed creative choices while maintaining the integrity of the piece. They also act as conceptual collaborators, offering constructive feedback to the director throughout rehearsals. Think of them as an internal audience member, ensuring the story is clear, engaging, and true to its vision.
Did you know? Adramaturgislikethe production’slibrarianand residentWikipediapage!They provideresearch,context,and sourcestohelpthecastand crewfullyunderstandandbring theworldoftheplaytolife.
Abouttheshow
What do you think the show is about based on these images?
zdzislawbeksinski
Did you know?
There are countless editions of Shakespeare’s plays! The Folger Library alone owns at least 40 stand-alone translations of The Tempest in various languages.
JeanGiraud
YujiFuji RaoulHausmann
RobertVenosa
Abouttheshow
WewillbeexploringTheTempestthroughatechnologylens Alensisaspecificperspective usedtoanalyzeatext Thismeansyou’llseeelementsofAIandtechatplaythroughoutthe production,connectingShakespeare’sstorytomodernideas.
Act 1, Scene 1
Aviolentstormragesatsea.AshipcarryingAlonsotheKingofNaples,Ferdinand(hisson), Sebastian(hisbrother),AntoniotheDukeofMilan,Gonzalo(anadvisor),andtwolordscalled FranciscoandAdrianiscaughtinthisstorm TheyarereturningtoItalyafterattendingthe weddingofAlonso’sdaughter(Claribel)inTunis.Theshipstartstosinkasthestorm overpowersthem.
Act 1, Scene 2
Onanisland,Mirandaisupsetabouttheshipwreck,butherfather,Prospero,reassuresher thatnoonewasharmed HerevealsthathewasoncetheDukeofMilan,buthisbrother Antonio,withthehelpofKingAlonso,stolehistitleandexiledhimandMirandawhenshewas justababy.ThekindGonzalohelpedthemreachtheislandtheynowinhabitforsafety.We learnthatProsperousedhismagictosummonthestormthatbroughthisoldenemiestothe island HecausesMirandatosleepandcallsforhisspiritservant,Ariel Arielexplainsthat everyoneontheshipisnowscatteredaroundtheisland.ArielisgivennewordersbyProspero, inordertoachievefreedom.ProsperothensummonsCaliban,hisreluctantservantandthe sonofadeadwitch(Sycorax) ArielleadsFerdinandtoMirandawheretheyinstantlyfallin love,whichdelightsProspero,buthepretendstobesuspiciousofFerdinandandtakeshim prisonertotesthisloyalty.
Did you know?
Our performance text was created by comparing five different English-language editions
Abouttheshow
Act 2, Scene 1
KingAlonsoisheartbroken,believingthatFerdinanddrownedinthestorm.Gonzalotriesto comforthim,butAntonioandSebastianmockhim.WhileAlonsoandGonzalosleep,Antonio convincesSebastiantokillthemsoSebastiancanbecomeking Justastheydrawtheirswords, ArielmagicallywakesAlonsoandGonzalo,savingtheirlives
Act 2, Scene 2
CalibanmeetsTrinculo,ajester,andStephano,adrunkbutler,whoalsosurvivedthewreck.At first,theyarescaredofeachother,butafterbecomingdrunk,theybecomefriends.Caliban, excitedtohavenewallies,pledgestoserveStephanoashisking,hopingtooverthrow
Prospero
Act 3, Scene 1
Ferdinand,nowaprisoner,isforcedtodohardlabor,buthedoesn’tmindbecausehe’sinlove withMiranda.Sheconfessesherfeelings,andtheydecidetomarry.Prosperowatchessecretly andispleasedwithhowthingsaregoing
Act 3, Scene 2
CalibanconvincesStephanotokillProsperosohecantakecontroloftheisland Stephano lovestheideaofbeingking Arielsecretlylistensandplaystricksonthem,leadingthemaway withenchantingmusic.
Did you know?
Twonamedcharactersarementionedin TheTempestbutneverappearonstage: SycoraxandClaribel SycoraxisCaliban’s mother,whileClaribelisAlonso’sdaughter Claribel’smarriagetotheKingofTunissets theeventsoftheplayinmotion.
Abouttheshow
Act 3, Scene 3
ProsperocreatesamagicalfeastforAlonso,Antonio,andSebastian Astheyreachforthe food,Arielappearsdisguisedasaterrifyingharpyandaccusesthemoftheirpastcrimes againstProspero.Hewarnsthattheywillneverescapeunlesstheyseekforgiveness.Alonso, feelingguilty,leavestofindhisson,whileAntonioandSebastianangrilypreparetofightthe island’sspirits
Act 4, Scene 1
ProsperofinallygivesFerdinandandMirandahisblessingandcelebrateswithamagical performance(amasque)featuringspiritsdressedasthegoddessesIris,Ceres,andJuno. Suddenly,heremembersCaliban’splot,abruptlystopstheshow,andsendsArieltosetatrap. Caliban,Stephano,andTrinculosneakintoProspero’shometokillhim,buttheyaredistracted byfancyclothesleftoutasbait Astheytrythemon,spiritsdisguisedashuntingdogschase themaway.
Act 5, Scene 1
ArieltellsProsperothatAlonso,Antonio,andSebastianhavebeendrivenmadbyguilt.Forthe firsttime,Arielexpressespityforthem,andsuggeststhatProsperoshouldshowmercy He vowstogiveupmagicafterthisfinalact Prosperorevealshimselftohisenemiesandforgives them,reclaiminghistitleasDukeofMilan.AlonsoisstillmourningFerdinand,butProspero surpriseshimbyreunitingfatherandson.Arielbringsintheship’screw,whoreportthattheir vesselismysteriouslyrestored HethenroundsupCaliban,Stephano,andTrinculo,whoare stilldrunkandhumiliated Beforeleavingtheisland,ProsperofreesArielandpromisesCaliban hisfreedom,nowthathehaslearnedhislesson.Inthefinalmoments,Prosperostepsforward andaskstheaudiencefortheirpardon,bringingtheplaytoaclose
Characters
Costume renderings created by Eli Nguyen
(Co-Costume Designer, Concept & Visualization. BA Design & Technical Theater)
Co-conspirators
Stephano
Prospero Antonio
Brothers
Employedby
Gonzalo Jester
Trinculo
Lovers
Caliban
Characters
Character Description
Prospero
Former Duke of Milan
��Miranda Prospero’s daughter
Quote
“We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vexed.
Bear with my weakness. My old brain is troubled.”
“O wonder!
How many goodly creatures are there here!
How beauteous mankind is! O, brave new world
That has such people in ’t!”
Antonio
Duke of Milan, Prospero’s brother
“Hang, cur, hang, you whoreson, insolent noisemaker!”
��Alonso King of Naples “Prithee, no more. Thou dost talk nothing to me”
��Ariel
Servant of Prospero
“All hail, great master! Grave sir, hail! I come 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 his quality.”
��Caliban
Servant of Prospero
“You taught me language, and my profit on ’t Is I know how to curse.”
Characters
Character Description Quote
Little brother of Alonso
Sebastian
“Thou dost snore distinctly. There’s meaning in thy snores.”
Stephano Alonso’s butler and a drunk “Though thou canst swim like a duck, thou art made like a goose.”
Trinculo
��Gonzalo
Alonso’s jester “Swum ashore, man, like a duck. I can swim like a duck, I’ll be sworn.” (Trinculo drinks.)
A kind old lord and friend to Prospero “Beseech you, sir, be merry. You have cause— So have we all—of joy”
��Ferdinand Son of Alonso
“The very instant that I saw you did My heart fly to your service, there resides To make me slave to it, and for your sake Am I this patient log-man.”
AlonsoiskingofNaples
Why are these locations important? Did you know?
Alonso’sdaughterClaribelwasmarriedinTunis,rightbeforethestartof theplay
Prosperoisthe(rightful)dukeofMilan
Sycorax,themotherofCaliban,wasoriginallyfromAlgiers(andlater exiled)
Meettheplaywright
WilliamShakespearewasbornin1564in Stratford-upon-AvoninEngland.By1592,he waslivinginLondonandworkingasanactor andplaywright Hewaspartownerofthe actingcompany,theLordChamberlain’sMen (latercalledtheKing’sMen),whichbuiltand performedintheGlobeTheatre Overthe courseofhiscareerShakespearewrote37 plays,154sonnetsandmanyotherpoems He diedin1616.
Did you know?
TheTempestisthoughttobeoneofthe lastplaysShakespearewrotealone
What inspired The Tempest?
ManybelievethatTheTempestwas inspiredbyahistoricalshipwreck whichoccurredin1609,whenavessel calledthe‘SeaVenture’thatwasonits waytoVirginia,withsuppliesto supporttheEnglishsettlersthere,was caughtinahurricane.Thestorm causedthecrewtobestrandedon Bermuda ItissaidthatShakespeare gotholdofacopyofanarrativereport writtenbyasurvivor,whichinspired TheTempest.TheTempestwas probablywrittenin1610.Itwasfirst performedatCourtbytheKing’sMen inthefallof1611
Did you know?
Starting in 1609, Shakespeare and his company also began performing in an indoor theater, the Blackfriars. The indoor theater utilized candlelight as a light source, providing new opportunities to creatively stage flying spirits and disappearing acts in productions
Meetthedirector
Dean,CollegeofVisualandPerformingArts,CVPA
ExecutiveDirector,HyltonPerformingArtsCenter,CVPA Professor,SchoolofTheater,Theater Dean,CollegeofVisualandPerformingArts&AdjunctFaculty,ArtsManagement, ArtsManagement ExecutiveDirector,HyltonPerformingArtsCenter,HyltonCenter RickDavishasbeenaleaderintheaterandeducationforover30 years HejoinedGeorgeMasonUniversityin1991asArtistic DirectorofTheateroftheFirstAmendment(TFA)andatheater facultymember Underhisleadership,TFAwon12HelenHayes Awardsandlaunchednumerousworksthatfoundsuccessin regionaltheaters,television,andpublishing Rickhasdirectedover50professionaltheaterandopera productionsatvenuessuchastheKennedyCenter,CenterStage, andOperaIdaho Hehasalsoworkedasadramaturgonmore than30productionsanddirectednumerousuniversity performances
Beyonddirecting,Rickhasplayedkeyrolesinacademic leadership HeservedasMason’sAssociateProvostfor UndergraduateEducation(2007–2011)andbecameExecutive DirectoroftheHyltonPerformingArtsCenterin2011 In2015,he wasappointedDeanoftheCollegeofVisualandPerformingArts, wherehecontinuestooverseeacademicprograms,performances, andexhibitionswhileteachingandworkingoncreativeprojects
Rickisalsoanauthorandtranslator,withworksincluding CalderóndelaBarca:FourGreatPlaysoftheGoldenAgeandcotranslationsofIbsen’splays
Why direct The Tempest? Why now?
“Thisplayoffersastoryofthetriumphofforgiveness overvengeance Prospero,thewrongedDukeofMilan, decidestopardonhisenemieswhohave,variously, overthrownhisrule,nearlykilledtheirownmonarchin theirrelentlesspursuitofpower,and,inasubplotthat managestobebothmenacingandcomic,plannedto murderhim.Prospero’sdiscoveryofthepowerof forgiveness–immortalizedinoneofShakespeare’smost beautifullines,“therareractionisinvirtuethanin vengeance ”–comestohimundertheguidanceofAriel,a spiritofprodigious,shape-shiftingpowers,but affirmativelynotahumanbeing
Thatthisnon-humanfigurecanteachsuchadeeply human(andhumane)lessonisoneofthewondersof thecanon,andformeitfullysatisfiesthequestions above Theworldcanalwaysusealittlemore forgiveness,andShakespeareseemstobeaskingusto lookbeyondourusualsourcesofmoralguidance,as theymaybefailingusabit Ifouraudiencetakes nothingelseawayfromthisencounter,Ihope considerationofthe“rareraction”stayswithusallfora while.
Butthereissomuchmoretothe“hereandnow”ofa 21stcenturyTempest WhatifProspero’smagicpowers comefromhismasteryofthedigitalworld?Whatifhis islandofexileishometoamegadatacenterthathe turnstohisownuses?Whatifthatwisespirit,Ariel,is anAImanifestation?WhatifCaliban,sonofthe“foul witchSycorax”andrightfulinheritoroftheisland,isa cyborgwhosealteredhumanityistestedandgrowsin unexpecteddirections?
Weareexploringallofthisandmore,andfindingthat Shakespeare’s“largelanguagemodel”easilycontainsthis visionofMiranda’s“bravenewworld”Welookforward toyourthoughts”
Keyvocabulary
Masque- A Performance involving costumes, music, dance, and often masked performers
Boatswain (Bo-sun)- An officer on a ship responsible for equipment and crew
Court performance- Theatrical production staged specifically for a royal court with a focus on entertainment value Includes elements like masques, dances, and lavish sets
Topsail- The sail next above the lowermost sail on a mast in a square-rigged ship
Tempest-A violent windstorm, frequently accompanied by rain, snow, or hail.
Prose – Ordinary written or spoken language without a structured meter or rhyme, unlike poetry or verse. In Shakespeare’s plays, prose is often used for commoners or comedic moments.
Verse – A form of writing that follows a specific rhythmic structure, often used in poetry and drama. In Shakespeare’s plays, noble or important characters often speak in verse.
Iambic Pentameter – A rhythmic pattern consisting of five (penta) iambs per line, where an iamb is a metrical foot with one unstressed syllable followed by a stressed syllable (e.g., Shall I compare thee to a summer’s day?). Shakespeare frequently used this meter in his plays and sonnets.
Indulgence – Allowing oneself or others to enjoy something pleasurable
Nonpareil – A person or thing that has no equal; unparalleled or unmatched in excellence
Scurvy – Used as an insult in Shakespeare’s time, meaning despicable or lowly
Vassal – A person who owes loyalty and service to a feudal lord in exchange for land or protection In Shakespeare’s time, calling someone a vassal could imply subservience or inferiority.
Allay – To reduce or calm fears, worries, or pain.
Nymphs – In mythology, nature spirits often associated with water, forests, or mountains. In The Tempest, they appear in magical scenes.
Iris – The Greek goddess of the rainbow and a messenger of the gods.
Ceres – The Roman goddess of agriculture, grain, and fertility.
Juno – The Roman queen of the gods, associated with marriage and protection.
Harpy – A mythical creature with a woman's head and a bird's body, often associated with punishment and vengeance.
Mooncalf – A deformed creature in folklore, sometimes used to describe someone foolish or monstrous
Forsooth
Forsooth is a Shakespearean twist on the classic warm-up game Whoosh. It’s a favorite among our cast during rehearsals, and we hope you have just as much fun playing it as we do!
1. Everybody stands in a circle.
2. Start with one person, who waves both hands to their neighbor, saying `Whoosh`.
3. The next person passes the Whoosh to his neighbor, and that way the Whoosh is passed around the circle.
4. Now for the Shakespeare sounds/movements that can be added:
“Thou Villain” - Point at someone across the circle (No gasp)
“You cankerblossom” - Point at someone across the circle and gasp!
“You egg” - Point at someone across the circle. Both will walk across the circle in a squat, switching places.
“Methinks you are my glass” Point at someone across the circle. Run too each other and meet in the middle saying “mimimimi” with your hands up and switch places like you are up against a mirror.
Romeo gets on one knee and says "she speaks." Juliet responds with "Ay, me" and puts a hand against her face sheepishly
Take the person standing next to you to the middle of the circle saying “Speak hands to me.” Everyone joins at the middle of the cirlce and mimes stabbing the person in the middle. The person brought in must die dramatically and crawl to someone else in the circle. Their last words are “Et tu brute” and then they die. Everyone claps.
HerearesomemoodboardsalsocreatedbyEliNguyen Amoodboardisavisualtoolusedin theearlystagesofdesigntocapturetheoverallvibeandessenceofaconcept Ithelpsconvey theconcept,setthetone,andensurethateveryoneontheteamsharesaunifiedvision.
Trinculo Miranda
Caliban Ariel
What are some words that come to mind when looking at these mood boards? What can you infer about the characters? What makes you think that? What emotions or themes do you think the designer is trying to convey?
GroupActivity
1. Put the class into groups of three to five
2. Assign each group one character of the four characters
3. Give the group five minutes to come up with five personality traits for this character
4. Once each group has their five characteristics, give the group five minutes to work together to create a physical gesture for each characteristic
5. Ask each group to show the physical gestures they have come up with for each word
6. Ask everyone to work individually and give them one minute to come up with one physical gesture that they feel encapsulates the character
7. Once everyone has found their final physicality, take it for a walk around the room. Ask the students to think about: how does this person move through space? Think about speed, eye contact, posture
8. Now indicate the moment this character steps foot on the island. Ask guiding questions like how new is this environment to them? Do they enjoy this or not? Are they alone or with people? How does this change their physicality?
GroupActivity
Staging Act 1 Scene 1
1.
Provide students with copies of the script for Act 1 Scene 1
Invite them to form a circle in the space 2.
3.
Ask students to take turns reading the original lines round the circle, swapping readers at the end of each part.
4.
Assign each student a line and ask students to translate their line into their own words
5.
Ask students to take turns reading the scene again, but now in their own words round the circle
6.
Now read the scene again but in the original writting. Students can now start to think about staging the scene. Each time they think they might step out onto the deck or come up to see what’s happening invite them to stand and move into the middle of the circle. Think about why they might come up on deck or leave again. What does your character hear or see that makes them move? How does their body language change?
7.
Reflect and discuss the group’s choices, thinking about how different entrances and exits make the scene. Do their choices impact on relationships and dynamics? Do they help to create character and drama?
8.
Open up the circle and try performing the scene full out! Send us a video of your final product if you’d like. You can implement elements like sound and light, assign groups to take charge of these elements.
ACT 1
Scene 1
A tempestuous noise of thunder and lightning heard. Enter a Shipmaster and a Boatswain.
Discussion
The show may be over, but we hope your thoughts aren’t! Here are some questions to spark conversation and keep you thinking about The Tempest:
Now that they’ve been freed, what do you think Caliban and Ariel will do next?
If you were staging your own version of a tempest, what would your storm look, sound, and feel like?
If you were Prospero, how would you treat Caliban and Ariel?
Do you consider The Tempest a comedy or tragedy? Why?
In Act 4, Scene 1, Prospero becomes so immersed in the masque that he completely forgets about Caliban’s plan to kill him. Have you ever been so caught up in something that you lost track of everything else? What was it?
Many female characters in Shakespeare’s later plays grow up never knowing their mothers. How would this play be different if a mother was present? What Shakespeare play would you like to read/watch next
Ariel&Caliban
CompareandcontrastArielandCaliban
Airy
Revenge
FromAlgiers
Rebellious
Obedient
Earthy
Poetic
Seekingfreedom Invisible
Physical
RespectsProspero
Deepconnectiontotheisland
Intelligent
How else might you describe these two characters?
1. 2. 1.
Howtowriteareview
1. Playwright & Story
Whatisthenameoftheplay,andwhatkindofstoryisbeingtold?
Withoutsummarizingeverything,whatworkedwellinthestory?
Didanythingabouttheplotorthemesstandouttoyoupositivelyornegatively?
2. Acting & Performance
Insteadofjudgingacharacter’schoices,evaluatehowwelltheactorportrayed them
Weretheirvoice,movement,andemotionsbelievableandengaging?
Didanyactor’sperformancestandouttoyou?Why?
3. Direction & Overall Interpretation
Thedirectorisresponsiblefortheoverallvisionoftheplay.Didthetonefeel right?
Weretheremomentsthatsurprisedyouormadeyouthink?
Howwelldidalltheelements(acting,design,andstory)cometogether?
4. Technical Elements
Thinkabouttheset,costumes,lighting,andsound.
Didtheseelementssuccessfullytransportyoutoanotherworld?
Howdidthedesignchoiceshelptellthestory?
5. Your Final Thoughts
Sumupyouroverallimpression.
Wouldyourecommendthisplaytoothers?Whyorwhynot?
Can you write a one page review?