ABSTRACT
June Schlueter in “Acting the Storm: Twenty Years of Tempests” focuses on the ways various directors have staged the opening storm scene, concluding that each “consistently treated the storm as an event that takes place on a stage,” thereby inviting the audience to be “willing participants in the make-believe.” For her, Peter Brook’s 1999 Paris production of The Tempest was a further step “toward such artifice and metaphor,” so that the text is always already waiting to dramatize its own theatricality.
