The First Folio of Shakespeare reflects a much more ambiguous vision of the author than is generally accepted in academia. This is first noticed in its lack of stage directions; modern scholars and editors take tremendous liberties in this area, adding all kinds of blocking and related actions, as well as asides, which are completely absent from the Folio.
‘Aside‘ refers to when a character addresses the audience directly, even in the midst of a scene. This ability to turn to the spectator and tell them a secret which no one else on stage hears–an effect heightened by the accompanying presence of the soliloquy–is the principle source of dramatic irony and metatheatricality in Shakespeare: the audience is the only truly informed ‘character’ in the play, able to see the bigger picture long before any characters do. In our postmodern era, a connection can be made with the Overview Effect–more on this in a future post….
In the 1st Folio ambiguity is more the rule than the exception: the author leaves room for a variety of choices and interpretations when it comes to the playing of a text. Indeed, to truly bring the Shakespearean moment to life, perhaps there’s a danger in trying to fix anything in place for too long, lest it become frozen or crystalized, or worse yet, atrophied.
THE TEMPEST is full of ambiguity, from the very first scene of Act I:
- Entrances – multiple characters entering are all lumped together in the same stage direction, but this does not mean they all enter together at the same time, or in that particular order
- Exits – only a few are actually marked in the text–the ones that are there seem to imply the author’s intention to leave certain characters alone on stage, or in particular groups
A TEMPESTUOUS NOISE OF THUNDER AND LIGHTNING HEARD: – sets the tone right away, as if the storm is in fact the first character on stage, and who’s ‘voice’ interrupts the actions and threatens to drown out the dialogue.
ENTER A SHIP-MASTER, AND A BOTESWAINE – it appears the Master comes on first–no mention of the whistle he’s blowing, though the Boteswain definitely mentions it–even curses the Master for blowing it–a little later, when the Master is conveniently off stage. There’s an opportunity for a bit of comedy in the blocking, if the Master comes on blowing the whistle like mad, not taking notice of his mate’s entrance.
[Exit] – Master exits–and never returns in the scene.
ENTER MARINERS – interesting that the Master only passes instructions on through the Boteswaine–perhaps this is the way the Boteswain prefers it, as well–he orders them off in different directions–note, their exits are not marked.
ENTER ALONSO, SEBASTIAN, ANTHONIO, FERDINAND(O), GONZALO, AND OTHERS – entrances are all marked, though not in what order or at what time, and yet no exits are. My impressions: Alonso takes Ferdinand (silent in the scene–perhaps from terror?) below when ordered by the Boteswaine. Anthonio asks the same question as Alonso–perhaps he hasn’t heard the first exchange–Sebastian (who says nothing his first time out on deck) and Anthonio leave together, though their exits are not marked. Whoever the Others are, they say nothing, do nothing, and leave unnoticed.
[Exit] – the Boteswaine exits, leaving Gonzalo on stage alone for a very short soliloquy–his first contact with the audience, in which he tries to reassure us that this is not really the end of the play, even though it may feel like it. We also get a glimpse of his very singular view of the world–something that will serve a greater purpose as the play unfolds.
[Exit] ENTER BOTESWAINE – this time Gonzalo leaves the stage free for the Boteswaine to come on, calling out instructions to off-stage Mariners even as conditions worsen. He is about to curse something when he’s interrupted by:
A CRY WITHIN, ENTER SEBASTIAN, ANTHONIO & GONZALO - no indication of who has cried out (though I believe it’s likely Ferdinand, due to a reference made by Ariel in Scene ii), but the Boteswaine seems to change gears in mid-curse, and slips in an aside about his attitude to the noise (A plague–[stage direction]–upon this howling: they are lowder then the weather, or our office: ), before he’s interrupted by the entrance of Sebastian, Anthonio and Gonzalo (for the second time). Gonzalo has numerous chances for asides during the following exchange–whether he’s speaking to Anthonio/Sebastian or us is not exactly clear.
ENTER MARINERS WET – I love this one! Shakespeare’s way of telling us how bad things have gotten–a great picture of the drenched little group coming on, lamenting their fates, and disappearing below (exits not marked). At some point in this exchange the Boteswaine also exits, leaving Anthonio/Sebastian (dynamic duo) and Gonzalo (fifth business) alone on deck.
[A confused noyse within] – various voices below deck crying out so that those on stage can hear them–no indication of who’s speaking.
[Exit] – Anthonio and Sebastian leave Gonzalo alone on stage for a final brief soliloquy–and plea to the Fates that this is not the end of the play
[Exit] – Gonzalo also leaves the stage–now the TEMPEST is the only ‘character’ left, as we make the transition to Scene ii.
