The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where the sorcerer Prospero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skilful 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.
visit at the beach of Ramsgate. This place will be our main specific area for performing.
- research of BAZ at Hightide
2. research of peter grimes on aldeburgh beach
BENJAMIN BRITTEN: INTRODUCTION TO “PETER GRIMES” Introduction to Peter Grimes written prior to the opera’s first performance at Sadler’s Wells (London, 1945) …… Despite the criticisms, I wanted to write some more works for the stage. The Borough — and particularly the story of Peter Grimes — provided a subject and a background from which Peter Pears and I began trying to construct the scenario of an opera……. I explained that the construction of a scenario, discussions with a librettist, planning the musical architecture, composing preliminary sketches, and writing nearly a thousand pages of orchestra score, demanded a freedom from other work which was an economic impossibility for most young composers. …… In January 1944 1 began composing the music, and the score was completed in February 1945. For most of my life I have lived closely in touch with the sea. My parent’s Isicl house in Lowestoft directly faced the sea, and my life as a child was coloured by the fierce storms that sometimes drove ships on to our coast and ate away whole stretches of the neighbouring cliffs. In writing Peter Grimes, I wanted to express my awareness of the perpetual struggle of men and women whose livelihood depends on the sea — difficult though it is to treat such a universal subject in theatrical form…….The scarcity of modern British operas is due to the limited opportunities that are offered for their performance. Theatre managers will not present original works without a reasonable hope of recovering their costs of production: composers and writers cannot thrive without the experience of seeing their operas adequately staged and sung: the conservatism of audiences hinders experimental departures from the accepted repertory. In my own case, the existence of Sadler’s Wells has been an incentive to complete Peter Grimes: the qualities of the Opera Company have considerably influenced both the shape and the characterization of the opera. Whatever its reception may be, it is to be hoped that the willingness of the Company to undertake the presentation of new operas will encourage other composers to write works in what is, in my opinion, the most exciting of musical forms. ……At a meeting with stage director Tim Albery and designer Leslie Travers, Tim talked me through the opera with Leslie’s beautiful set model. The 40 metre long set was a ‘storm destroyed’ promenade, designed as a metaphor for the turmoil in Peter Grimes’s mind. The inspired Lucy Carter was the lighting designer. The set stood right on the pebbles, on top of the slope of beach that led directly down to the sea; the audience sat watching from the beach. The staging was set in 1945, the year the opera was first performed at Sadler’s Wells to great acclaim, in the aftermath of the Second World-War. Rehearsals began in London 29th April 2013; then from 27th May, rehearsals were on Aldeburgh beach. ……It was important to me, and for the film, to see the sea behind the set as much as possible, so three cameras were high on scaffolding rigs, while Senior Cameraman, James Day stood behind the audience on the beach With his camera on a tripod, the fifth camera was in a pit, dug out next to the conducting hut.
” That most elementary criticism of the operatic form, that people don’t go around singing in ‘real life’, so opera is impossibly artificial, gains some force when you see the ocean (and hear it), the moon, and so on. The set in this production by Tim Albery is a skilful blend of nature and artifice: when you see the whole acting space, it is composed of fishing boats on their side, ladders, wonky lampposts, the kind of thing you might expect in a traditional production. But when, at the end, you see Grimes following Balstrode’s advice and putting out to sea, you inevitably get interested in the wrong things, instead of concentrating on Grimes’s tragedy and the continuing life of the community. There should be this basic instruction to opera set designers: don’t present visually what the composer has represented musically (and to Richard Strauss, unfortunately too late: don’t try to represent musically what the set designer can present effortlessly). The temptation to let rip with the cameras when the orchestra is playing the Sea Interludes must have been almost irresistible, though it was resisted to a praiseworthy degree.” — by Michael Tanner
obviously that my sketches is too much and also, not that much matched to the real produce of the scene. This explicit drama can not afford or achieve it either. So, I did more research of some drama/ art works which relevant to Beach, I can ref them in my art works.They also brings some inspirations.\Because it is a particular theatre side the sea, and I have quiet limit acknowledge of performance about water and beach, so I would like to do some research of some same type of repertoire.
1. BAZ at Hightide
2. peter grimes on aldeburgh beach
The coincidence is, when I am doing research of both of this two play, I found that they were all present at a specific beach “ALDEBURGH BEACH.” With is clue，I found an event/ festival ” lookout” which very focuses on the art and culture of the seaside. With my research on all the ideas and art forms illustrated on that beach, I was quite be inspired.