Theatricalizing Hybridity: Opening up New Horizons in the Criticism of Declan Donnellan’s The Tempest

Abstract

Declan Donnellan`s production of The Tempest has been innovative in its own right in three aspects. First, rather than adopt two of the most familiar themes ? the opposition of nature and nurture and colonialism ? that almost inevitably underpins modern productions of the play, Donnellan boldly deconstructed dichotomies inherent in these two discourses and drew on the new readings of the dramatic characters. Second, by doing so Donnellan has been able to locate the play at the collision between communism and capitalism, using Shakespeare for his own purposes, not unlike Jan Kott`s adjustment of historical reality to suit contemporary and political ends. Third, though Donnellan`s appropriation is more bitter than Kott, his approach has been justified as he has continued the tradition of political interpretation along with an investment in stage innovation reflecting cleverly chosen postmodern influences and the changes on the political and economic arena. This paper aims to investigate these aspects of his innovation that have not been fully appreciated by major performance criticisms of the production.