Prospera: Taymor's Feminist Adaptation of The Tempest - Essay Sample

Introduction

The cross-gender change of Prospero by director Julie Taymor in her film The Tempest (2010) is an adaptation that creatives use to bring about a different perception of an original play (Zahra 184). In this case, Prospero is the Duke of Milan in Shakespeare's play The Tempest, while Taymor changed the character to Prospera, the Duchess of Milan in The Tempest (2010) film. The change in the sex of the protagonist developed a new feminist perspective of Shakespeare's original play, which made Taymor's film a truly inspirational adaptation (Mori 1).

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Director Julie Taymor changed the father of Miranda and master of the non-humans (Caliban and Ariel) into the mother of Miranda and female master, which deviates away from the original Prospero's character with a patriarchal approach to Prospera's maternal influence (Zahra 184). By evaluating the relationship of Prospera with Miranda and other characters on the Island, such as Ariel and Caliban, one can understand the significant impact of sexuality (feminists) in hierarchal power struggles.

Discussion

Julie Taymor's casting of Hellen Mirren to play the role of Prospero was a statement of intent that changed The Tempest concept. In the original play, Prospero's character and relationships defined the portrayal of other characters. Miranda is his daughter, who is without her mother and no female role model, Ariel is a spirit and a perfect servant. At the same time, Caliban is an evil beast dominated and abused by him, the master (Vinson 12). Taymor's gender change of Prospero to Prospera (Hellen Mirren) changed the relationships of the protagonist with other cast members, which created new roles that gave the audience a different viewpoint. Through her adaptation, Julie Taymor applies a different approach to Shakespeare's work to challenge the hierarchal system that undermined women's role in society (Vinson 15).

Shakespeare's The Tempest Play

There are very few details on Prospero's wife in Shakespeare's play The Tempest. During Act 1, scene 2, Miranda remembers her childhood. She finds out that her father was the Duke of Milan and questions Prospero "Sir, are you not my father?" (Shakespeare 1.2.55). Prospero answers Miranda, "Thy mother was a piece of virtue, and she said thou wast my daughter" (Shakespeare 1.2.56-57). It is only in this conversation that Shakespeare mentioned Prospero's wife and the mother of his daughter Miranda. Shakespeare does not only take away the character of Miranda's mother but also does not acknowledge her contribution to Prospero and Miranda's life. Shakespeare assimilated all the maternal practices to paternal character Prospero. Therefore, Miranda has no female role model, which shapes up her personality in the play. The absence of a female mentor denies Miranda empowerment to speak out her choices and beliefs, which is integral to an independent life.

The interaction between Prospero and Caliban exhibited his dominance over the non-human servants. Prospero dominates and abuses Caliban, a physically possessed beast, as he tells her daughter Miranda "We cannot miss him: he does make our fire, fetch our wood, and serves in offices, that profit us" (Shakespeare 1.2.313-315). The interaction explained how Prospero treated his servants and justified his actions by claiming he only needs them for the profitable tasks they do. Shakespeare portrayed the hierarchal order, where male masters abused their servants for their benefits. The non-human servants also had no chance to fall in love and enjoy the companionship of a lover as their sole duty is to serve their masters. Regardless of his physical ability, Caliban could not escape his fate as Prospero established control over him. In this scene, Shakespeare takes away the right of freedom and liberty of servants and gives the male masters ultimate control with no one to question their actions.

Julie Taylor's The Tempest (2010) Film

Ariel’s gender in the film The Tempest (2010) is asexual because of the spiritual nature but still manages to develop a good relationship with Prospera. During Act 1, scene 2, Shakespeare refers to Ariel as a male figure "Ariel and all his quality" (Shakespeare 1.2.193). Director Julie Taymor's, expresses asexual gender providing a notion of heterosexual love (Taymor, The Tempest). However, Shakespeare intended Ariel to show no feelings, throughout Julie Taymor's film, Ariel shows affection for Prospera, and they appear to be very close. The affectionate words from Prospera to Ariel in Act 1, scene 2, " My brave spirit," "Fine Ariel," proves the intimacy between them (Mori 7). Julie Taymor creates a better relationship between the master (Prospera), and her servants. Moreover, Ariel portrays the ability of non-humans to have feelings, which Taymor uses to express love between a master and a servant.

In Act 5, scene 1, the final scene of Prospera's reconciliation with her former enemies, she recognizes Caliban no longer as a son of a witch but as the son of a mother like herself (Taymor, The Tempest). The better relationship with her servants promotes a generous culture of forgiveness. Julie Taymor conveys an aspect of compassion in leadership as opposed to the ruthless nature of establishing control. Furthermore, Prospera sets free Ariel, who made her question herself on the possibility of loving a non-human. The Tempest (2010) film became an inspirational adaptation because Prospera influenced the personalities and created new concepts in the play. The feminine approach displayed vital aspects of ill-treatment of servants by their masters. Prospera's forgiveness of her former enemies set them free and freed herself, which served good for both the master and the servants.

Evaluation

Both Shakespeare and Julie Taymor brought out different perceptions of the play through Prospero and Prospera, respectively. The protagonists' motivation for their actions and interactions differs and influences different concepts in the play and film.

According to The Tempest (2010), Prospera and Ariel lived parallel lives, where both of them were prisoners for 12 years (Mori 3). The similarity in their history explains why they developed a strong bond between them. The two had mutual feelings for each other, and when Prospera freed Ariel, it was like freeing herself. On the other hand, Prospero had no connection with Ariel and only viewed him as a perfect servant. Prospero always used an authoritative voice to communicate with his servant to enact command. Prospera used words of affections to refer to Ariel, "Dearly, my delicate Ariel" like talking to a loved one (Taymor, The Tempest).

A background story in the film The Tempest (2010), shows Prospera acquired scholarly knowledge and political power through her husband, the Duke of Milan. Prospera devoted herself to study elements of leadership that could heal and harm society, which justifies her treatment of the servant and generous virtue of forgiveness in the final reconciliation (Mori 3). Shakespeare's Prospero sole motivation was craving for power and never considered the feelings of others.

Conclusion

Julie Taymor undoubtedly accomplished her goal of giving Shakespeare's play a new feminine approach that disputed the hierarchal order in society. The character of Prospera not only empowered her daughter Miranda but also helped the other non-human servants. The modern audience needs to get comprehensive creative acts that project an inclusive community. The Tempest (2010) is an inspiring reproduction as it has enabled women to express themselves.

Works Cited

Mori, Yukiko. “The Females and the Non-Humans in Julie Taymor’s The Tempest.” Gender Studies, vol. 14, no. 1, 1 Dec. 2015, pp. 1-11. ResearchGate, doi:10.1515/genst-2016-0001. Accessed 28 May 2020.

Shakespeare, William. The Tempest in The Oxford Shakespeare: The Complete Works. 2nd ed., edited by John Jowett, William Montgomery, Gary Taylor, and Stanley Wells. Oxford: Clarendon Press, 2005.

The Tempest. Directed by Julie Taymor, starring Helen Mirren and Russell Brand, Walt Disney Studios, 2010.

Vinson, Aaron. Challenging Identity Hierarchies in Julie Taymor’s Tempest. 2014. DePaul University, Master’s thesis. College of Liberal Arts & Social Sciences Theses and Dissertations.

Zahra, Sadeghi. “Female Prospero: Analysis of Change of Gender in Julie Taymor’s The Tempest (2010).” Quarterly Review of Film and Video, vol. 37, no. 4, 20 Apr. 2020, pp. 184-203. Taylor & Francis Online, doi: 10.1080/10509208.2020.1754095. Accessed 28 May 2020.