Actors select (*) masks at the beginning of a Francophone interpretation of this play, in which a slave demands to be addressed by the name X. Adaptations of this play include a postcolonial version set in Haiti by Aimé Césaire and a poetic adaptation by W. H. Auden titled The Sea and the Mirror.
In a humorous adaptation of this play, a trickster is condemned as "a Torch of Darkness, and a Snuff of the Candle of the Socket" by a resident of Bridewell Prison named Quakero. A repentant character in an adaptation of this play declares, "embrace me, belly, like a bride" in a verse which repeats the line "a lost thing looks for a lost name." After an epigraph by Emily Bronte which addresses the "God of Visions," the Stage Manager mentions a conflict "between Shall-I and I-Will" in a preface "to the Critics" of a verse commentary on this play. Actors select (*) masks at the beginning of a Francophone interpretation of this play, in which a slave demands to be addressed by the name X. Adaptations of this play include a postcolonial version set in Haiti by Aimé Césaire and a poetic adaptation by W. H. Auden titled The Sea and the Mirror. For 10 points, name this Shakespeare play about an island ruled by the exiled Duke of Milan, Prospero.
In a humorous adaptation of this play, a trickster is condemned as "a Torch of Darkness, and a Snuff of the Candle of the Socket" by a resident of Bridewell Prison named Quakero.
The Tempest