Orgel, Stephen (1984). "Prospero's Wife". Representations. 8 (October): 1–13. doi: 10.1525/rep.1984.8.1.99p00753. Morse, Ruth (2000). "Monsters, Magicians, Movies: The Tempest and the Final Frontier". Shakespeare Survey. Cambridge University Press. 53, Shakespeare and Narrative: 164–174. doi: 10.1017/CCOL0521781140.014. ISBN 978-1-139-05274-0. ISSN 0080-9152– via Cambridge Core. Leininger also argues that Miranda's sexualisation is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to marginalise her, simplifying her into a personification of chastity. In Leininger's analysis, Caliban is treated in a similar fashion, forced into the role of an uncivilised savage without heed for his individual needs and desires—much in the same way that Miranda is expected to marry Ferdinand and reject Caliban's advances simply because her father wishes it. [11] Billington, Michael (1 January 1989). "In Britain, a Proliferation of Prosperos". The New York Times . Retrieved 20 December 2008.

Theobald. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print. Ernest Chausson: in 1888 he wrote incidental music for La tempête, a French translation by Maurice Bouchor. This is believed to be the first orchestral work that made use of the celesta. [132] [133] The 1998 TV movie The Tempest, set in a Mississippi bayou during the American Civil War, based on Shakespeare's play and starring Peter Fonda as "Gideon Prosper", a Prospero-esque plantation owner who has learned voodoo from his slaves.Psychoanalytic interpretations have proved more difficult to depict on stage. [111] Gerald Freedman's production at the American Shakespeare Theatre in 1979 and Ron Daniels' Royal Shakespeare Company production in 1982 both attempted to depict Ariel and Caliban as opposing aspects of Prospero's psyche. However neither was regarded as wholly successful: Shakespeare Quarterly, reviewing Freedman's production, commented, "Mr. Freedman did nothing on stage to make such a notion clear to any audience that had not heard of it before." [113] [114] Ashby, Sylvia (1976). Shining Princess of the Slender Bamboo. I. E. Clark Publications. ISBN 978-0-88680-266-0. As it was Shakespeare's last solo play, The Tempest has often been seen as a valedictory for his career, specifically in Prospero's final speech in which he tells the audience "Let your indulgence set me free", [42] asking to be released from the stage one last time before retiring. Later on, she and her new husband enjoy a masque put on by her father in celebration of their nuptials. The celebration is interrupted by Prospero's sudden remembrance of Caliban's plot against him, after which Miranda displays a strong concern for her father's well-being.

Dymkowski, Christine (2000). The Tempest. Cambridge: Cambridge University Press. ISBN 978-0-521-78375-0. Twelve years earlier, when Miranda was three years old, Prospero was the Duke of Milan. However, he was betrayed by his brother, Antonio, and the King of Naples, Alonso, who sent Prospero and his daughter away on a rotten boat. The king’s advisor, Gonzalo, helped Prospero and Miranda by putting water, food and other supplies on the boat. The masque in The Tempest is not an actual masque; rather, it is an analogous scene intended to mimic and evoke a masque, while serving the narrative of the drama that contains it. The masque is a culmination of the primary action in The Tempest: Prospero's intention to not only seek revenge on his usurpers, but to regain his rightful position as Duke of Milan. Most important to his plot to regain his power and position is to marry Miranda to Ferdinand, heir to the King of Naples. This marriage will secure Prospero's position by securing his legacy. The chastity of the bride is considered essential and greatly valued in royal lineages. This is true not only in Prospero's plot, but also notably in the court of the virgin queen, Elizabeth. Sir Walter Raleigh had in fact named one of the new world colonies "Virginia" after his monarch's chastity. It was also understood by James, king when The Tempest was first produced, as he arranged political marriages for his grandchildren. What could possibly go wrong with Prospero's plans for his daughter is nature: the fact that Miranda is a young woman who has just arrived at a time in her life when natural attractions among young people become powerful. One threat is the 24-year-old Caliban, who has spoken of his desire to rape Miranda, and "people this isle with Calibans", [6] and who has also offered Miranda's body to a drunken Stephano. [7] Another threat is represented by the young couple themselves, who might succumb to each other prematurely. Prospero says: Chambers, Edmund Kerchever (1930). William Shakespeare: A Study of Facts and Problems. Vol.2. Oxford: Clarendon Press. Meanwhile Miranda proposes marriage to Ferdinand! Prospero’s all “Aw, cute”. But not for long. It’s wizard revenge time! He lures Antonio and Alonso to a magical banquet and Ariel changes herself into a big nasty bird lady.

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Ballet sequences have been used in many performances of the play since Restoration times. [144] A one-act ballet of The Tempest by choreographer Alexei Ratmansky was premiered by American Ballet Theatre set to the incidental music of Jean Sibelius on 30 October 2013 in New York City. Jean Sibelius: his 1926 incidental music was written for a lavish production at the Royal Theatre in Copenhagen. An epilogue was added for a 1927 performance in Helsinki. [134] He represented individual characters through instrumentation choices: particularly admired was his use of harps and percussion to represent Prospero, said to capture the "resonant ambiguity of the character". [135] Critic Lorie Leininger argues that Miranda fits into the colonialist interpretation of The Tempest in that Prospero's use of Miranda as an unwitting player in his political revenge is expressive of the play's sexist attitude towards women. [10] Leininger equates that the sexist attitudes displayed towards Miranda are equitable to the undercurrents of racism shown in the treatment of Caliban. She states that Prospero's treatment of Miranda is in essence the same as his treatment of Caliban, describing his attitude towards both as indicative of their subjugation within the social hierarchy of the Island.