Theatre Studies – Caliban / The Tempest

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With close reference to the text and action of “The Tempest”, show how the role of Caliban could be interpreted in performance in order to bring out the character’s functions in the play.

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The character of Caliban plays an important part in representing many different elements of Shakespeare’s The Tempest. Not only does he embody an evil element as he attempted to rape Miranda and wants Prospero dead, but he is also involved in the slapstick sequence in the play. As the character of Caliban has many different functions in the play, there are a variety of ways in which to interpret the role.

The first function that Caliban has in the play is as a contrast to Ariel. His earthliness contrasts with the spirit-like Ariel. While Ariel calls Prospero his “lord”, Caliban has a less friendly relationship with his master. To show his direct contrast with Ariel, Caliban should move about the stage hunched over and with heavy movements. Ariel should be played with light footsteps and swift movement. Caliban’s voice should be low and gruff. His curses that he casts upon Prospero should be delivered with spite in his voice and he should spit out his lines such as “A south-west blow on ye/ And blister you all o’er!” As he curses Prospero, he should move around him threateningly, but never go too near him as he is ultimately afraid of Prospero’s magic. As Caliban is a contrast to the quick and light Ariel, his movements and tempo should be slow and steady, rather than quick and flighty.

Caliban’s second function in the play is to portray part of the slapstick scene that is performed. As Caliban firstly describes how Prospero can punish him with his magic, sympathy is encouraged as they “hiss [Caliban] into madness”. The following comedy is tainted with the idea that Caliban is not especially clever and is easily and unfairly under the control of others. As he thinks that Trinculo is a spirit of Prospero’s he should show some fear of him. His movements should be less bold and he should widen his eyes to show his fear. His costume should also show vulnerability at the hands of the strangers. While the newcomers are fully clothed, Caliban should be wearing only a loincloth. Caliban’s reaction to the alcohol should mix a sense of comedy with tragedy. As he becomes inebriated, he should lose control of his movements. He should lurch about the stage in a less controlled manner. His speech should become slurred and the pitch of his voice should go from a low gruff expression to an uncontrolled mix of low and high pitches. Caliban cannot judge people and kneels to Trinculo and Stephano. “Hast thou not dropped from heaven?” he asks. His allegiance should be evident in the way that he follows them around stage and looks with wide eyes at the bottle of drink. Caliban’s tempo should increase although Trinculo refers to him as an “abominable monster”. He should deliver his lines in an excited way, speaking quickly and as if he is out of breath.

Another function that Caliban plays in The Tempest is to represent a threat of evil. Although his control by Prospero, Trinculo and Stephano is pitiable, it must be shown and remembered that Caliban wishes to murder Prospero. He also once attempted to rape Miranda. This element of evil should be interpreted by the excitement Caliban shows when talking about murdering Prospero. As he says, “Where thou mayst knock a nail into his head”, he should have a triumphant tone of voice as he has thought of an escape from his daily hardships.

Caliban’s final words of repentance in the play are important as they show his last function as a changing character. He should emphasise “this” as he says “Was I to take this drunkard for a god/ And worship this dull fool!” His body language should become more positive. He should stand straighter and his voice should become more self-assured.

Caliban’s role as a changing character incorporates many of the elements involved in the change. His move from a half-frightened/ half-revengeful animal through a comic character to a repenting character involves both an interpretation through the voice and through the body. As he gains confidence, he should straighten and become more forceful with his ideas. His eyes and facial expressions should also help to express fear and anger.

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