{"id":29,"date":"2020-11-22T18:20:44","date_gmt":"2020-11-22T18:20:44","guid":{"rendered":"https:\/\/www.gulferyelken.com\/presentations\/?page_id=29"},"modified":"2020-11-22T19:14:38","modified_gmt":"2020-11-22T19:14:38","slug":"magic-music-and-sound-effects-in-the-tempest-and-their-contribution-in-the-success-of-the-play","status":"publish","type":"page","link":"https:\/\/www.gulferyelken.com\/presentations\/magic-music-and-sound-effects-in-the-tempest-and-their-contribution-in-the-success-of-the-play\/","title":{"rendered":"Magic, Music and Sound Effects in “The Tempest” And Their Contribution In The Success Of The Play"},"content":{"rendered":"\t\t
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Magic, Music and Sound Effects in \"The Tempest\" And Their Contribution In The Success Of The Play<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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William Shakespeare<\/strong><\/span><\/p>

Shakespeare is regarded as one of the best authors in the world. Over the years, his comedies, tragedies, histories, and sonnets enjoyed continuous popularity. In just about every genre associated with writing or performance, his pieces of work have been read, adapted, rewritten or staged. The plays by Shakespeare express a deep comprehension of the human actions, shown by depictions of a wide range of characters. His usage of romantic, historic and tragic instruments for producing an artistic influence is regarded as a remarkable accomplishment, and he derives it from a variety of verbal gestures and actions. The language he uses in his plays is among the major achievements in world literature, which is reflecting the highest degree of human emotion in people, society and towards common circumstances. Among his various plays, scholars commonly believe that “The Tempest,” is the last complete play William Shakespeare wrote on his own around 1611. \u00a0We can see some themes such as magic, betrayal, love and forgiveness, which are conveyed to the audience by the plot, characters, music and the atmosphere. As David Lindley (2002) emphasised, “The Tempest” is highlighted by some of the most creative and experimental theatrical effects of Shakespeare. It must have presented an appealing dramatic display since its first recorded public appearance on “Hallomas nyght,” 1 November 1611, at the indoor Blackfriars Theatre in London. As Lindley remarks, “In its dramatic shaping, and in its deployment of music and spectacle in particular, The Tempest breaks new Shakespearean ground” as a possible cause why it was placed at the head of the first folio of Shakespeare’s plays in 1623. In Shakespeare’s “The Tempest”, music is a crucial feature of the enchantments used by Prospero and Ariel while granting it both a mystical and a pleasing component. The audience is also invited to join the songs of the spirits (as well as dances). As Lindley (1999) mentions, “The Tempest” is an especially valuable play to investigate the contribution that music can bring to the transformation of text from page to stage. It is Shakespeare’s most musical play, and academics have spent several years exploring the importance of the contribution that music brings to the thematic preoccupations of the play, whether as a representation of unity and harmony or as a component of the deceptive magic arts of Prospero. However, in recent reviews of the play, as stage music, there is little attention to it.\u00a0 So, this paper suggests identifying the role of magic, music, songs and sound effects that are used by Prospero and Ariel as essential elements throughout the play.<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Act One, Scene One<\/strong><\/span><\/p>

A tempestuous noise of thunder and lightning heard\u2026<\/em><\/span><\/p>

In Act One, Scene One, the play opens dramatically with the sound of a storm. Alonso; The King of Naples, Sebastian; the King’s brother and Anthonio; Prospero’s brother, Ferdinand; the King’s son, Gonzalo; an honest old Councillor and the crew are on a ship in the middle of the wild sea. They struggle with the storm. There are loud sounds like the roaring sea and the sound of the storm. The effect of the sounds and the accompanying storm cause terror. However, nature doesn’t respect the nobility. The rough sea digests their ship, and this is signalled at the end of Act 1, Scene 1 at the stage directions saying “a confused noise within<\/em>“. “This noise itself, however, consists partly of human cries – ‘Mercy on us!<\/em>‘ – ‘We split, we split!<\/em>‘ – ‘Farewell, my wife and children!<\/em>‘ – ‘Farewell, brother!<\/em>‘ – ‘We split! We split! We split!<\/em>‘ – so that the hollowing of the storm is barely distinguishable from the “howling<\/em>” of the terrified passengers, which seems “louder than the weather<\/em>” itself.” (Neill, 2008, p.47) Moreover, the cause of this storm is revealed in the following parts of the play, and we learn that Ariel; a spirit, produces these terrifying sounds and the storm as Prospero orders. In today’s technology, a lot of visual and sound effects can be created easily. But according to Shakespeare’s Globe, in Shakespeare’s time, “many special effects needed special ingredients.” As those ingredients were too expensive, it was impossible to use them regularly. Beating drums offstage or tossing a cannonball around the floor above the stage was the simplest way to create the noise of thunder. Some organisations used a thunder machine, which was a balanced wooden box like a see-saw. From one end to the other, a cannonball could be rolled to create a thundering noise. The storms, too, wanted lightning. By throwing a powder made from resin into a candle flame, lightning flashes were created. It was causing a flash while it was lit up. The organisation companies could generate lightning bolts, too. The equipment for this was called a swivel. From the roof to the floor of the stage, they connected a cable. They attached the wire to a firecracker and lit it to create the desired result. From the top of the wire, the firecracker was fired to the floor, creating sparks all the way. At another source, Gwilym JONES states that since indoor fireworks were dangerous and they smelled terrible, they were not used much. However, it was critical for the sound of a moving cannonball used for thunder effect to be believable and precise. In contrast, the lightning effect was a visual luxury at that time. (p. 129)<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Act One, Scene Two<\/strong><\/span><\/p>

At the beginning of Act 1, Scene 2, we can see how Miranda; Prospero\u2019s daughter mentions the inflictions of the sounds in the first scene;<\/span><\/p>

“If by your Art (my dearest father) you have put the wild waters in roar allay them<\/em><\/span><\/p>

The sky it seems would pour down stinking pitch,<\/em><\/span><\/p>

But that the sea, mounting to th’ welkin’s cheek,<\/em><\/span><\/p>

Dashes the fire out.” <\/em>(“The Tempest”,p.25)<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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