The Tempest

English B
Kenroy Reid
10ABGS

A. Do a detailed character log on the following:

Prospero

Prospero is the rightful duke of Milan. Twelve years earlier, he found refuge on this island after his
younger brother, Antonio, seized Prospero's title and property. Prospero functions as a god on the
island, manipulating everyone within his reach. He is helpless against his enemies until they appear on
a ship nearby; but when they are close enough, he can use his magic to create a storm and bring them
under his control.
Prospero's magic is the white magic of nature, not the black magic of evil men. This former duke of
Milan is a complex personality. Although he refuses to free Ariel and enslaves Caliban, Prospero is
really a beneficent ruler, never intending to injure even his enemies. Early in the play, Prospero
appears callous and cruel, especially in his treatment of Ariel and Caliban. He is also autocratic in his
treatment of Ferdinand, but Prospero realizes that Ferdinand and Miranda will value one another
more if there are a few impediments to their courtship.
Prospero's humanity is clearly obvious in his treatment of Antonio, whom he calls traitor but whom
he declines to treat as a traitor. Another example of Prospero's goodness is when he stops Alonso
from apologizing to Miranda, telling him that there is no need for more amends. By the play's
conclusion, it is clear that Prospero is just and fair, in addition to intelligent.

Miranda
Miranda is Prospero's daughter. She was 3 years old when she and her father were exiled. Now,
some 12 years later, she is beginning to blossom into a beautiful young woman. She is an innocent,
having never seen another woman and having no knowledge of any other human being, except for
her father. She is unaware of her beauty because she does not know what feminine beauty is suppose
to look like.
Miranda's compassion is evident in the first act, with her concern for the passengers caught up in the
storm. Miranda is also justifiably indignant at her father's story of betrayal. Her tenderness is also
evident when she begs her father not to use magic to control Ferdinand, whom she loves. Miranda is
an obedient daughter, as proved by her dismay when she forgets herself and reveals her name to
Ferdinand, but she is also a young woman in love, and when her father is occupied, she immediately
looks to release Ferdinand from his labors.
Miranda has no experience with people, and she has no experience with men, other than her father
and Caliban. Because of her isolation, she has developed no artful skills at flirting, and when
Ferdinand tells her that he loves her, Miranda weeps. In all that she does, Miranda is sweet and pure,
honest and loving.

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Ariel
Ariel is a spirit of the air who, because he refused to serve the witch, Sycorax, was imprisoned in a
tree until rescued by Prospero. Ariel willingly carries out Prospero's wishes because he is eager to be
free. Although he wants his freedom in exchange, Ariel approaches his tasks with enthusiasm, quickly
doing what is asked and promptly reporting any activities that he observes. Early in the play, Ariel
reports the plot to murder Prospero, and later, he assists in punishing Prospero's enemies. Ariel's
obedience is an important symbol of Prospero's humanity, because he ameliorates Prospero's role on
the island and humanizes the action that Prospero takes against his old adversaries. Finally, Ariel's
willing obedience of Prospero's wishes stands in stark contrast to Caliban's cursing and plotting
against the same master.

Caliban
Caliban is a product of nature, the offspring of the witch Sycorax and the devil. Prospero has made
Caliban his servant or, more accurately, his slave. Throughout most of the play, Caliban is insolent
and rebellious and is only controlled through the use of magic. Caliban claims the island as his own
and maintains that Prospero has tricked him in the past.
Caliban represents the black magic of his mother and initially appears bad, especially when judged by
conventional civilized standards. Because Prospero has conquered him, Caliban plots to murder
Prospero in revenge. It is clear, though, that Caliban is a poor judge of character: He embraces
Stefano as a god and trusts his two drunken conspirators to help him carry out a plot to murder
Prospero. In many ways, Caliban is an innocent, reacting to emotional and physical needs without
the ability to think through and fully understand the events and people who surround him. He is truly
a child of nature, uneducated and reacting to his surroundings in much the same way that an animal
does.

Alonso

Alonso is the king of Naples. When he believes that his son has died, Alonso is grief-stricken. Later,
he is overjoyed to find Ferdinand still alive. Alonso bears some responsibility for the events in
Prospero's life, because Antonio would not have acted without Alonso's agreement. However, when
confronted with his responsibility, Alonso is genuinely repentant for the pain he caused Prospero in
the past. Alonso's concern for his son's safety and his deep grief when he thinks his son is dead help
to construct an image of Alonso as a good and loving father who has made mistakes in the past. The
quickness with which he accepts Miranda as his daughter, as well as his attempts to apologize to her,
also reinforce the image of Alonso as a good and just king.

Ferdinand
Ferdinand is the son of the king of Naples. During the storm, he is separated from the rest of the
king's party. Once ashore, he meets Miranda and falls in love with her. Like Miranda, Ferdinand is
honest and kind, a loving son, who will make a loving husband to Miranda. He easily reassures
Prospero that he will respect Miranda's chastity and not violate the trust he has been given.
Ferdinand also respects and loves his father. He makes a commitment to marry Miranda while
thinking that his father is dead. When he finds that his father is alive, Ferdinand immediately
acknowledges his father's authority and informs his father of his obligation to Miranda. Ferdinand is
an honorable match for Miranda, sharing many of the same qualities that his innocent bride displays.

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Sebastian

Sebastian is Alonsos brother. Like Antonio, he is both aggressive and cowardly. He is easily
persuaded to kill his brother in Act II, scene I, and he initiates the ridiculous story about lions when
Gonzalo catches him with his sword drawn.

Gonzalo

Gonzalo is an old, honest lord. Gonzalo helped Prospero and Miranda to escape after Antonio
usurped Prosperos title. Gonzalos speeches provide an important commentary on the events of the
play, as he remarks on the beauty of the island when the stranded party first lands, then on the
desperation of Alonso after the magic banquet, and on the miracle of the reconciliation in Act V,
scene I.

Stephano & Trinculo

Trinculo, a jester, and Stephano, a drunken butler, are two minor members of the shipwrecked party.
They provide a comic foil to the other, more powerful pairs of Prospero and Alonso and Antonio and
Sebastian. Their drunken boasting and petty greed reflect and deflate the quarrels and power
struggles of Prospero and the other noblemen.

B. Do an analysis of the major events happening in Act I- Act V.

Act I

Act One opens amidst a great storm. A ship carrying King Alonso of Naples and his entourage, who
are returning home from the wedding of the King's daughter in Tunis, is tossed about by the
powerful waves. As the Boatswain tries to keep the boat afloat, the King and two of his hot-headed
men, Antonio and Sebastian, come on deck to bark orders at the crew. The Boatswain does not have
time to pander to the arrogant King and his courtiers, so he is short with them. The men become
enraged, verbally assaulting the boatswain as he tries to regain control of the steering. Only the
King's counsellor, Gonzalo, remains calm and collected as the ferocious wind splits the ship in half.

On an island close by, Prospero, the right Duke of Milan, and his fifteen year-old daughter, Miranda,
watch the wreck of the ship. The compassionate Miranda is horrified by what she sees, but Prospero
assures her that all the men on the ship will be safe. He reveals his role in the shipwreck and his
relationship to the men on board. He tells his daughter that he was once the Duke of Milan, and, as
Duke, he spent most of his time learning the art of magic. But, in Prospero's ambitious brother,
Antonio, "awak'd an evil nature," and he decided to overthrow Prospero and claim the title of Duke
for himself. Antonio received help from King Alonso, and together they removed Prospero from
power and placed him and Miranda, who was two at the time, in a boat and abandoned them at sea.
Fortunately, the kind-hearted Gonzalo had given them water, clothes, and other supplies, including
Prospero's cherished books. Thus they were able to float for some time at sea, and eventually they
landed on the island that has become their permanent home. Now Fate has brought Prospero's
enemies near him once again, and, through magic, he admits to Miranda that he was responsible for
the storm that brought his brother and the King to the island.

With matters now more pressing than Miranda's many questions, Prospero casts a spell to put her to
sleep while he summons his servant, an airy spirit named Ariel. Ariel tells his master that he has
magically put the passengers in a trance and dispersed them about the island, ensuring that the King's

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son, Ferdinand, is by himself, as instructed by Prospero. Ferdinand sits alone in mourning, believing
that he is the sole survivor of the crash. Tired from all the tasks Prospero has made him perform,
Ariel complains "Is there more toil?", but Prospero quickly reminds Ariel that his "toil" is payment
for Prospero rescuing him from imprisonment in a tree-trunk, at the hands of 'the foul witch Sycorax'
who is now dead but once ruled the island with her magic. Prospero ensures Ariel that, if his current
plans are successful, he will release him from his obligations. He next instructs Ariel to make himself
invisible to everyone but his master. Ariel flies away and Prospero awakens Miranda, telling her that
they are about to visit his other slave, Caliban, a disfigured and savage offspring of the dead witch,
Sycorax. Despite Prospero's attempts to tame him, Caliban has remained wide and barbaric, and has
even attempted to rape Miranda. Prospero calls out to Caliban and, reluctantly, he comes,
complaining about his captivity. Prospero replies that he has every right to enslave Caliban, in
payment for all the education and kindness Prospero has given him. Caliban strikes back, proclaiming
that he did not want to be educated by Prospero.

Prospero sends Caliban to gather wood, and Ferdinand wanders in with invisible Ariel behind him,
playing and singing. Miranda sees Ferdinand and immediately is captivated by his ravishing good
looks. The feeling is mutual and Ferdinand falls in love with Miranda. Prospero, who has hoped all
along that his daughter would love Ferdinand is delighted. However, to ensure that Ferdinand is the
right man for Miranda, he tests Ferdinand's resolve and pretends to distrust the young man. Much to
the dismay of Miranda, Prospero imprisons Ferdinand.

Act II

On another part of the island, Gonzalo tries to comfort King Alonso, who believes that he has lost
his only son, Ferdinand. The King's brother, Sebastian, is not as comforting and he mocks Gonzalo's
attempts to cheer up the King. Sebastian reminds the King that he had been advised not to take the
journey to Tunis in the first place, and thus he is directly responsible for all of their problems. Ariel
arrives and magically puts everyone to sleep except Antonio and Sebastian.

Antonio suggests that they should kill the King as he sleeps and make Sebastian the new King of
Naples. Sebastian agrees, but just as they are about to draw their swords, Ariel awakens King Alonso
and Gonzalo. Gonzalo sees the men with their swords drawn and asks what they are doing.
Sebastian makes up a lie that they heard "a hollow burst of bellowing," that sounded like a wild
animal, and they were merely trying to protect their sleeping king. Believing their intentions were
good, King Alonso thinks no more about it and asks them to help in the search of Ferdinand.

Caliban has just finished chopping wood when he hears loud claps of thunder. This prompts him to
soliloquize on his hatred of Prospero: "All the infections that the sun sucks up/From bogs, fens, flats
on Prospero fall, and make him by inchmeal a disease!" He feels that Prospero has filled the island
with spirits to torment him for being late with the firewood. Trinculo, the court jester who has been
travelling with the King, approaches, and Caliban naturally assumes he is one of Prospero's spying
spirits. Caliban falls to the ground, hoping that it will somehow help him go unnoticed. Trinculo is
looking for shelter, worried about the coming storm. He sees Caliban, lying flat on his face, and finds
him very interesting. He wishes he were in England so that he could put the monster he has
discovered on display as a freak of nature. The thunder grows closer and Trinculo finds it necessary,
albeit unappealing, to crawl under Caliban's cloak for protection.

In his now famous words, "Misery acquaints a man with strange bedfellows!" Another survivor of
the shipwreck, a butler to the King named Stephano, appears. He washed ashore on a barrel of wine
and has since ingested its contents and is very drunk indeed. Seeing Trinculo and Caliban lying on the
ground, he thinks that they are a two-headed monster with four legs, indigenous to the island.
Stephano gives Caliban the bit of wine he has left, hoping to appease the horrid creature. Caliban

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cries out, "Do not torment me, prithee" because he still believes the men are spirits sent by his
master. Trinculo gets up and is relieved to see his friend. The two dance to celebrate their reunion
while Caliban, now drunk from his first taste of wine, decides that Stephano will be his new master:
"I'll kiss thy foot. I'll swear myself thy subject". Stephano gladly accepts Caliban's offer and they head
off to see all the wonders of the island.

Act III

Act Three opens with Ferdinand performing tasks against his will by his captor, Prospero. He tells
himself that, although he is not use to such hard labour, he actually likes the work because he knows
that Miranda "weeps" when she sees him suffer. Miranda appears, followed by Prospero who hides
from their site. She offers to carry the logs for him but he refuses her help, insisting that he would
rather break his back than see her undergo "such dishonor." They declare their love for one another
and agree to be wed as soon as possible. Prospero is delighted by what he is hearing and, now sure
that Ferdinand is worthy of his daughter, he returns to his books and to his other pressing business
with Antonio and the King.

The attention turns once again to Caliban, Stephano, and Trinculo. Stephano is having trouble
controlling Caliban, who hates Trinculo because he continues to refer to Caliban as 'the monster'.
Caliban proposes that together they overpower and kill Prospero, and steal his books and his
daughter. Stephano agrees to the plan, imagining himself as ruler over the island and the husband of
Miranda. But Ariel has been listening to their conversation and he rushes to tell Prospero.

Meanwhile, King Alonso and his courtiers have been searching the island for Prince Ferdinand.
Suddenly, magical creatures bring forth a banquet and place the food in front of the hungry men.
Alonso, Sebastian, and Antonio run toward the feast, but just as they are about to eat, Ariel appears,
disguised as a harpy, and the table vanishes in a burst of thunder and lightning. Ariel accuses them of
being sinful men and tells them that just Fate has caused their shipwreck and taken Alonso's son
away from him. He also tells them that they will be tormented until they change their evil ways and
lead "a clear life." Ariel disappears and the mystical creatures again appear, dancing to the soft music
that now fills the air, and again carrying the table. The King decides to keep looking for his son and
die along side of him, and Antonio and Sebastian follow him, foolishly convinced that they can
destroy the spirits on the island. Gonzalo, worried that they have gone mad, follows them.

Act IV

Prospero has consented to the union of Miranda and Ferdinand and now prepares a wedding masque
for the two lovers. He cautions Ferdinand not to "break her virgin knot" until they are legitimately
married. Soft music fills the air and three sprites pretending to be the goddesses, Iris, Ceres, and
Juno, descend to participate in the celebration. Other nymphs appear and they all dance and make
merry. But the festivities are cut short when the hear a "hollow and confused" noise coming from
outside Prospero's dwelling. It is the sound of Caliban, Stephano, and Trinculo, still drunk and ready
to kill Prospero. Prospero dismisses the sprites and tells Ferdinand and Miranda: "Our revels are now
ended. These our actors,

Prospero orders Ariel to bring out all his goods because he knows that Stephano and Trinculo will be
enticed by the finery. Ariel enters once again, his arms loaded with beautiful apparel. Prospero and
Ariel watch in the shadows as Caliban, Stephano, and Trinculo enter Prospero's cell, and sure
enough, they are distracted by the fine clothes. Stephano and Trinculo try them on, despite the
pleading of Caliban who knows that Prospero will catch them. From outside a noise of wild dogs are
heard. Prospero has summoned the spirits of the island to take the shape of fierce hunting hounds to
chase the villains out of Prosper's cell. Comically the three men run screaming from the cell, and

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Prospero and Ariel remain. Prospero tells Ariel that his enemies are now all at his mercy and that he
will soon have freedom from the island.

Act V

The final act opens three days after the great tempest that destroyed the boat. Prospero, clothed in
his magic robes, hears a plea from Ariel on behalf of the stranded men. Ariel reports that King
Alonso, Sebastian, and Antonio have gone mad, while Gonzalo suffers mental anguish as he mourns
for the victims. Prospero is moved by Ariel's words and decides that he will show them the mercy
that they did not show him twelve years ago. He sends Ariel to fetch the men, and in a soliloquy he
reveals that, once he restores the sanity of his enemies, he will forever renounce magic: "But this
rough magic/I here abjure." He breaks his magical staff, declares that he will drown his books, and
exchanges his magician's robes for the clothing he wore when he was the Duke of Milan. Amidst
solemn music Ariel leads Alonso, Sebastian, Antonio, Gonzalo, Adrian, and Francisco into Prospero's
cell. They are in a trance and stand around a circle that Prospero has made. Prospero tells Ariel that
he is free from all further obligations, and that he will miss him when he returns to Milan. Prospero
breaks the spell that holds the men and Gonzalo is the first to speak:

"Some heavenly power guide us/ Out of this fearful country."

Prospero identifies himself and Alonso, who has seen the error of his ways, repents and resigns the
dukedom to Prospero. Alonso is reunited with Ferdinand and he two fathers seal their peace with the
marriage of their children. Alonso and Sebastian are not repentant, but they must comply with the
orders of the King to restore Prospero as Duke of Milan. Prospero forgives Antonio but does not
reconcile with him, saying: "For you, most wicked sir, whom to call brother/Would even infect my
mouth, I do forgive thy rankest fault." Ariel enters with the Boatswain and the Master of the ship,
and they report that, to their amazement, the boat has been fully restored and is ready to set sail.
Ariel quickly fetches Caliban, Stephano, and Trinculo, who are still drunk, and Prospero confronts
them. He tells Caliban that he can now be king of the island and Caliban regrets ever thinking that
Stephano was his master. He calls himself a "thrice-double ass" for worshipping the dull fool.
Prospero invites the King and his courtiers to hear the story of his life on the island, as Ariel (as his
final task for Prospero) prepares the proper sailing weather to guide Prospero back to Italy.

C. Identify the major themes happening in the Tempest.

Loss & Restoration

Prospero's attempt to recover his lost dukedom of Milan drives the plot of the Tempest. But
Prospero isn't the only character in the play to experience loss. Ariel lost his freedom to Sycorax and
now serves Prospero. Caliban, who considers himself the rightful ruler of the island, was overthrown
and enslaved by Prospero. By creating the tempest that shipwrecks Alonso and his courtiers on the
island, Prospero strips them of their position and power, and also causes Alonso to believe that he
has lost his son to the sea.

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Through their reactions to these losses, the play's characters reveal their true natures. Reduced to
desperation and despair, Alonso recognizes his error in helping to overthrow Prospero and gives up
his claim to Milan, returning Prospero to power and restoring order between Milan and Naples.
Though he desperately wants to be free, Ariel loyally serves his master Prospero. Prospero,
meanwhile, gives up his magic rather than seeking revenge and frees Ariel before returning to Milan.
In contrast to Alonso, Antonio and Sebastian never show remorse for overthrowing Prospero and
prove to be ambitious killers in their plot to murder and overthrow Alonso. Stephano and Trinculo,
in their buffoonish way, likewise seek power through violence. And Caliban, as opposed to Ariel,
hates Prospero, and gives himself as a slave to Stephano in an effort to betray and kill Prospero. As
Gonzalo observes in the last scene of the play, the characters "found ... ourselves, when no man was
his own."
Power

From the opening scene of The Tempest during the storm, when the ruling courtiers on the ship must
take orders from their subjects, the sailors and the boatswain, The Tempest examines power in
interesting ways. The play is full of examples of power taken by force, and in each case these actions
lead to political instability and further attempts to gain power through violence. Antonio and Alonso's
overthrow of Prospero leads to Antonio and Sebastian's plot to overthrow Alonso, just as Prospero's
overthrow and enslavement of Caliban leads Caliban to seek revenge.
Ultimately, it is only when Prospero breaks the cycle of violence by refusing to take revenge on
Alonso, Antonio, Sebastian, or Caliban that the political tensions in the play are calmed and
reconciled. After Prospero's merciful refusal to seek revenge, Alonso and Prospero quickly come to
an understanding and unite their once warring cities through the marriage of their children. The
Tempest suggests that compromise and compassion are more effective political tools than violence,
imprisonment, or even magic.

Colonization
During the time The Tempest was written and first performed, both Shakespeare and his audiences
would have been very interested in the efforts of English and other European settlers to colonize
distant lands around the globe. The Tempest explores the complex and problematic relationship
between the European colonizer and the native colonized peoples through the relationship between
Prospero and Caliban. Prospero views Caliban as a lesser being than himself. As such, Prospero
believes that Caliban should be grateful to him for educating Caliban and lifting him out of
"savagery."
It simply does not occur to Prospero that he has stolen rulership of the island from Caliban, because
Prospero can't imagine Caliban as being fit to rule anything. In contrast, Caliban soon realizes that
Prospero views him as a second-class citizen fit only to serve and that by giving up his rulership of
the island in return for his education, he has allowed himself to be robbed. As a result, Caliban turns
bitter and violent, which only reinforces Prospero's view of him as a "savage." Shakespeare uses
Prospero and Caliban's relationship to show how the misunderstandings between the colonizer and
the colonized lead to hatred and conflict, with each side thinking that the other is at fault.
In addition to the relationship between the colonizer and colonized, The Tempest also explores the
fears and opportunities that colonization creates. Exposure to new and different peoples leads to
racism and intolerance, as seen when Sebastian criticizes Alonso for allowing his daughter to marry
an African. Exploration and colonization led directly to slavery and the conquering of native peoples.
For instance, Stephano and Trinculo both consider capturing Caliban to sell as a curiosity back at
home, while Stephano eventually begins to see himself as a potential king of the island.
At the same time, the expanded territories established by colonization created new places in which to

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experiment with alternative societies. Shakespeare conveys this idea in Gonzalo's musings about the
perfect civilization he would establish if he could acquire a territory of his own.

D. Comment on Shakespeare's use of language in The Tempest.''

The role of language in Shakespeares play The Tempest is quite significant. To Miranda and
Prospero the use of language is a means to knowing oneself. Caliban does not view language in the
same light. Prospero taught Caliban to speak, but instead of creating the feeling of empowerment
from language, Caliban reacts in insurrectionary manner. Language reminds him how different he is
from Miranda and Prospero, and also how they have changed him. It also reminds him of how he
was when he wasnt a slave. He resents Prospero for Civilising him, because in doing so he took
away his freedom.

Language and knowledge is the key to power on the island. Prospero is a well educated man, and
has many books, which gives him his magical power. Prospero rules the island and has many
creatures under his command. He possesses so much power that he can even cause weather to
change and indirectly the fate of the people who were shipwrecked on the island.

Throughout the whole play there is evidence of power, someone in possession of it and another
subordinate to the person with the power. Mostly this happens in the scenes with Prospero, as he is
almost an omniscient and omnipotent character, with god-like qualities. He has the means to change
many things not possible for humans, because of his magic and his power over magical creatures
such as Ariel. Caliban also does the will of Prospero. The shipwrecked people also play into
Prosperos hand, but they dont even realize this. Even Miranda is dutiful to her father, and does
what he says with little complaint.

Language was their means to communicate and control the people who they didnt consider as
themselves and a means to discriminate against it. This is reason why Caliban resists and rebels
against Prospero and disparage the language he has been taught. To him it is the loss of freedom and
the agency through which he is being discriminated against.

Shakespeare's Language
Shakespeare's Elizabethan language can sometimes intimidate his audience. Shakespeare wrote most
of The Tempest in verse, using iambic pentameter. Iambic pentameter is a literary term that defines
the play's meter and the stresses placed on each syllable. In iambic pentameter, each complete line
contains ten syllables, with each pair of syllables containing both an accented syllable and an
unaccented syllable. Many Renaissance poets used iambic pentameter because the alternating stresses
create a rhythm that contributes to the beauty of the play's language.
Shakespeare also included prose passages in his plays, with prose lines being spoken by characters of
lower social rank. Shakespeare uses this device to reveal the complexity of Caliban. In The Tempest,
Caliban speaks prose when he is conspiring with Stefano and Trinculo, but when Caliban speaks of
the beauty of the island, he speaks in verse.

E. Discuss the role of magic in The Tempest.

Magic, Illusion & The Playwright

The Tempest is full of Prospero's magic and illusions. The play begins with Prospero's magic (the

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tempest), and ends with Prospero's magic (his command that Ariel send the ship safely back to Italy).
At nearly every point in the play, Prospero's magic gives him total controlhe always seems to
know what will happen next, or even to control what will happen next. At one point, Prospero even
goes so far as to suggest that all of life is actually an illusion that vanishes with death: "We are such
stuff as dreams are made on, and our little life is rounded with a sleep."
Prospero's magical powers can be seen as a metaphor for a playwright's literary techniques. Just as
Prospero uses magic to create illusions, control situations, and resolve conflicts, the playwright does
the same using words. Throughout the play, Prospero often lurks in the shadows behind a scene, like
a director monitoring the action as it unfolds. Prospero refers to his magic as "art." In Act 4 scene 1,
Prospero literally steps into the role of playwright when he puts on a masque for Miranda and
Ferdinand. In fact, it has been argued and suggested that Prospero should actually be seen as a stand-
in for Shakespeare himself. The Tempest was one of the last plays Shakespeare wrote before he
retired from the theatre, and many critics interpret the play's epilogue, in which Prospero asks the
audience for applause that will set him free, as Shakespeare's farewell to theatre.