An analysis of the conflicted relationship between reality and the fantasy of theatre in Shalespeare's plays "The Tempest" and "Macbeth".
Written in 2006; 1,325 words; 2 sources; MLA; $ 44.95
Paper Summary:
This paper seeks to examine the relationship between the meta-theatrical elements of "The Tempest" and "Macbeth", relating especially to the link between hallucination or dreams, which serve to blur the lines between the audience's relationship with the characters, and the characters' relationships with each other. The paper points out the insinuations of unstable divisions between fiction and reality which can be read in the plays. An annotated bibliography is included with the paper.
From the Paper:
"Fiction is defined by its separation from reality, a boundary which it is also conventional to cross or question. Drama, in particular, is well-disposed to make transgressions across these limits, as the audience is in both a physical and mental proximity to the workings of the characters and could easily be drawn into their story in more than a figurative sense. Shakespeare's plays Macbeth and The Tempest both prompt this sort of audience participation by leaving parts of their stories obscured to portions of the cast, so that there are shared experiences among the audience and characters, but not between characters; doing this brings the audience closer to key characters while separating those characters from their stage-fellows, and makes all parties involved, both within and without the production, realize if only for a brief moment that the story is, in fact, only a play. From Macbeth and his wife's hallucinations to Prospero's reflections on the nature of life and the stage as a dream, Shakespeare invites audiences to reconsider the meaning of drama and its relationship to life, all while making his characters all-too-aware of their status within the imaginations of another."
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