Introduction
The issue of colonialism and imperialism is shown through the character of Prospero in “The Tempest” by Shakespeare, who was once a Duke of Milan and exiled to a lonely island with his daughter Miranda (Flachmann line 278). The “Tempest” version by the Balinese accentuates certain aspects of the play that relate to the themes of colonialism and imperialism, such as the moral complexity of Prospero’s character and how cultures are entwined. While the UVU rendition appears more straightforward to understand, it may not be as nuanced regarding cultural and historical implications as the Balinese one. Thus, it does not capture the extent of cultural complexities that permeate the play. This essay compares “The Tempest,” Act 1, Scene 2 (Lines 187-375), by Balinese and Utah Valley University, and examines how they view colonialism, Shakespeare’s Purpose, and Colonialism/Imperialism.
Balinese Production
“The Tempest” is presented in Balinese fashion with a distinctive approach to the play’s topics of colonization and imperialism. It uses Balinese dances and music to make the story of a cultural problem in life obtain more layers. Take the gamelan music of Bali as an instance; it is a character. It gives our play a feeling of other-worldliness and mysticism, corresponding to its supernatural elements. The costumes using Balinese traditional dresses are also factors in the cultural authenticity of the performance (Flachmann, line 190). The Balinese staging of Prospero, compared to other versions, is the most interesting. Prospero is portrayed as a colonial of origin who enriched the native spirits of the island for his own selfish goals. On the one hand, the play depicts the intricacy of seeing because Prospero is looking for absolution and reconciliation from what has caused him to hurt himself and his loved ones. By involving traditional Bali dance and music, the creation of the Balinese story adds cultural complexity to the plot as it stresses the overlap of cultures and mutual understanding and respect for each other.
UVU Production
A UVU performance of “The Tempest” delivers a standard take on the play’s ideas of colonization and imperialism (Flachmann, line 300). The event’s decision to use contemporary costumes and backgrounds makes the audience feel like they belong right there, and it is easier to relate to the appearance of the themes. The portrayal of Prospero in UVU’s version is also presented in a less complex manner, as he is depicted as a vengeful and manipulative figure who is in league with the native spirits of the island in an attempt to enrich himself. Modern technology (like light and sound) UVU uses also infuses it with the excitement level needed for a great production. Nevertheless, this production’s dependence on modern technologies may ultimately prove unfavorable. It cannot investigate colonialism and imperialism as it is likely to lay much less stress on the intricacy and interdependence of different cultures.
Comparison
The production of “The Tempest” by the Balinese and UVU are both intricately woven around colonialist and imperialistic motifs; however, the two approach the play with different perspectives and accents. The Balinese production, incorporating Balinese traditional dance, music, and culture, adds a layer of complexity. It also brings to the fore the interconnectedness of cultures and the possibility of understanding and respect between cultures (Flachmann, line 290). The subtle representation of the play’s themes is the Balinese production’s nuanced approach to the character of Prospero and to unravel the more profound implications of colonialism and imperialism.
On the other hand, the connectivity between various cultures also needs to be addressed by the UVU production since it is much more direct in interpreting the themes presented in the play. However, unlike the Balinese production, the UVU production does not give a culturally sensitive interpretation of the play; therefore, the play could not be interpreted as significantly as the Balinese production was (Flachmann, line 37 However, UVU’s play exploration may be more understandable to audiences with regards to the core ideas of the play but they may make the cultural world surrounding the story a bit less complex as the Balinese play does.
Conclusion
Overall, the Balinese “The Tempest” presents a more insightful exposition of its core concepts of colonialism and imperialism as it considers the ambiguity of Prospero’s character and the interconnectedness of different cultures. The production of UVU will be a more simplistic interpretation of the play’s themes. However, it allows the audience to easily comprehend the play’s central themes; it will not be able to emphasize the cultural complexity and interconnectedness of different cultures. Hence, the Balinese musical piece accomplishes better the purpose of delving into colonialism and imperialism. Using traditional dance and music in the Balinese production impacts the audience, making the play’s themes more understandable and a broader interpretation of colonialism and imperialism.
Works Cited
Flachmann, Michael. “ACTING SHAKESPEARE: A Roundtable Discussion with Artists from the Utah Shakespeare Festival’s 2013 Production of The Tempest.” Journal of the Wooden O 13 (2013): 116-139.
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