The Tempest Study Guide

THE TEMPEST

By William Shakespeare
Directed by Antoni Cimolino

GRADE RECOMMENDATION

Grade 7+

CONTENT ADVISORY

Please see the show page for a detailed advisory.

SYNOPSIS

Exiled from Milan by his treacherous brother, Antonio, the former Duke Prospero has lived on a remote island for 12 years with his daughter, Miranda. There, through his study of magic, he commands the spirit Ariel and rules over the island's otherworldly inhabitants, including the creature Caliban. When the ship carrying Antonio, Alonso King of Naples, and Alonso's son Ferdinand passes nearby, Prospero conjures a powerful storm to bring them ashore. As the castaways are separated and led through strange trials, Prospero sets in motion a plan for justice, reconciliation and renewal – while Miranda and Ferdinand's unexpected encounter opens the possibility of a brighter future.

CURRICULUM CONNECTIONS

Global Competencies or Transferable Skills: Critical Thinking and Problem Solving; Innovation, Creativity and Entrepreneurship; Self-Directed Learning; Collaboration; Communication; Global Citizenship and Sustainability; Digital Literacy

Grades 7-8

The Arts
Health and Physical Education
History
Language
Science and Technology

Grades 9-12

The Arts
Canadian and World Studies
English
Health and Physical Education
Social Sciences and Humanities
Technological Education

Post-Secondary

Suitable for courses in disciplines such as Arts, Cultural Studies, Creative Writing, Dramatic Arts and Theatre, English, Fine Arts, Gender Studies, History, Human Rights, Social Development Studies, Teacher Education

THEMES

Appearance and Reality
Colonization and Enslavement
Conflict and Resolution
Control, Power and Freedom
Hope for the Future
The Influence of Nature
Loss and Restoration
Magic and Illusion
Revenge and Reconciliation
Self-Determination
The Transformative Power of Theatre

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

This play begins with a storm at sea, leaving many shipwrecked. If you were to experience something similar, what object would you try to hold onto and why?
Are parents always truthful with their children? If not, do you believe they hide the truth for benevolent or selfish reasons? Explain your thinking.
How do our parents shape our worldview? Do you think children inevitably rebel or depart from their parents' ways of thinking? Why or why not?
Have you ever heard a story from one person and then changed your opinion about what unfolded after hearing a different "version" from another person involved? What does this tell you about bias and perspective?
What does it mean to be human? What are the most important qualities in a human being?
Do you believe in "love at first sight"? Why or why not?
What does freedom mean to you? Is freedom a value that you prioritize in your life?
How would you define power? How do people obtain it? How does it affect people who become powerful? Is it inherently corrupting? Explain your thinking using examples.
How would you describe our society's relationship to nature? What is your relationship to nature? What changes would you like to see in how human beings view nature in the future? Explain your thinking.
What does anger feel like? Does it differ for each of us? What are different techniques people can use to manage and process their anger?
Can revenge ever be justified? How far should someone go to seek revenge?
What does it mean to forgive? What does forgiveness look like?
How does our society today respond to claims of magic and sorcery? How do you think the Elizabethans responded to sorcery in Shakespeare's time?

POST-SHOW QUESTIONS

Marjorie Garber describes The Tempest as "one of Shakespeare's most compelling 'revenge tragedies,' turned, at the last moment, toward forgiveness." What aspects of this production emphasized the play's "revenge tragedy" underpinnings? What is the turning point in the play? Who and/or what prevents a tragic ending?
Compared to Shakespeare's other plays, The Tempest is rare in its unity of time, taking place in one day. How does this choice enhance the action of the play? What challenges does it present?
Act 1, scene 2 contains a great deal of backstory around Prospero's dukedom being usurped and their arrival on the island, as well as his history with Ariel and Caliban. What is the purpose of this scene? In what ways does this past continue to affect the play's present action?
Early in the play Prospero tells Miranda, "I have done nothing but in care of thee." Do you believe that's true or is there something else motivating him to create the storm?
How would you describe Prospero and Miranda's relationship? How does Ferdinand's arrival on the island change their relationship?
In Shakespeare's original play, Miranda was the only female character. In the 2026 Stratford Festival production, some characters who were written as men are now being played by female actors and portrayed as women. Why do you think the director made this choice? What impact did this have on you as an audience member?
Compare Ariel and Caliban. How are they similar? In what ways are they different? How is each treated by Prospero?What was your reaction to their treatment by Prospero?
The Tempest was written more than 400 years ago, and it explores issues of colonialism and control still pervasive in our world today. What do you think this play might tell us about how to navigate these issues in our current context such as Canada's colonialism and the ongoing work of Truth and Reconciliation?
Why do you think Shakespeare included the subplot of Caliban, Trinculo and Stephano? In what ways does it mirror the main plot of The Tempest?
How does Prospero use his magic? Who benefits from it? What harm does it inflict on others and Prospero himself? What does he learn about his magic and himself by the end of the play? Why is it necessary for Prospero to renounce his "art"?
Discuss whether you believe Miranda is wise or naïve when she states the following: "How many goodly creatures are there here! How beauteous mankind is! O brave new world, that has such people in't!"
What do you think will happen to the courtiers and their entourage when they go back to Italy? What do you think will happen to Ariel and Caliban?
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

MINDS ON

Objective: Through textual analysis and performance, students will explore and analyze power dynamics between characters in The Tempest.

Materials:

William Shakespeare's The Tempest
Writing utensils and/or highlighters
Laptops/tablets
Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary (iOS app or physical copies)
Dictionaries

Directions:

Divide the class into small groups and assign each one of the following excerpts from The Tempest:
- Act 1, scene 2 (lines 222-311) - Prospero, Ariel, Miranda (asleep)
- Act 1, scene 2 (lines 383-451) - Prospero, Caliban, Miranda
- Act 3, scene 2 (lines 46-127) - Caliban, Stephano, Trinculo, Ariel
You may already have access to physical copies of the text. One suggested resource is to view or download it through the Folger Shakespeare Library where you can easily search by act, scene and line.
Invite students to read the scene aloud together using a lexicon and/or dictionary to look up any unfamiliar words.
Once students have read through the scene together, invite them to read it line by line and highlight or underline any moments where they see a character asserting their power. Encourage them to pay particular attention to moments where the power shifts from one character to another.
Using the information they gathered from their analysis of the excerpt, have students respond to the following questions:
- Which character begins the scene with the most power? What power do they have and why do they have it? How do they use their power? Do they attempt to maintain it and, if so, how?
- Are there moments where the power balance shifts in the scene? For each shift you notice, what tactics are used by the other character to claim (or attempt to claim) power?
Next, invite students to block and practice performing the scene. Encourage them to keep in mind what they've learned about power and how it shifts at certain moments of the scene and to experiment with how different staging choices might help emphasize the power dynamics in the scene. Invite them to explore physical proximity, levels, movement and gesture and vocal elements such as volume, pitch, emphasis/stress, pace and silence.
After time for rehearsal, invite each group to perform their scene for their classmates.

DEBRIEFING QUESTIONS:

What did the scene analysis reveal to you about each character's power in the play?
Did performing the scene and experimenting with different physical and vocal techniques reveal any unexpected or more nuanced moments or shifts of power?
Is power always loud and assertive? Is it always damaging or corrupting? What is an example of an effective and ethical use of power? What characteristics distinguish it from a damaging use of power?

POSSIBLE EXTENSIONS:

Comparing Directorial and Performance Choices

Have students watch versions of the same scenes in a couple of different filmed productions of The Tempest including the 2010 and 2018 Stratford Festival productions starring Christopher Plummer and Martha Henry, respectively.
Ask them to compare the staging choices they made to ones the directors and actors have made in the filmed productions. What new insights did the filmed productions offer? How do other production elements like costumes, props and music underscoring stress power and power imbalances in the recorded versions?

Listening to Nature

Invite students to select one natural element in the text such as the storm, the air or the island.
Ask them to write a short monologue about their chosen element's experience of the play from its perspective.
Encourage students to explore the view their chosen element would take of the characters in the play. What new insights did this provide you in terms of the characters and conflict in the play? How might the play have unfolded differently had the characters listened to the natural elements?

About the Play

THE TEMPEST

By William Shakespeare
Directed by Antoni Cimolino

Download House Program

GRADE RECOMMENDATION

Grade 7+

CONTENT ADVISORY

Please see the show page for a detailed advisory.

SYNOPSIS

Exiled from Milan by his treacherous brother, Antonio, the former Duke Prospero has lived on a remote island for 12 years with his daughter, Miranda. There, through his study of magic, he commands the spirit Ariel and rules over the island's otherworldly inhabitants, including the creature Caliban. When the ship carrying Antonio, Alonso King of Naples, and Alonso's son Ferdinand passes nearby, Prospero conjures a powerful storm to bring them ashore. As the castaways are separated and led through strange trials, Prospero sets in motion a plan for justice, reconciliation and renewal – while Miranda and Ferdinand's unexpected encounter opens the possibility of a brighter future.

CURRICULUM CONNECTIONS

Global Competencies or Transferable Skills: Critical Thinking and Problem Solving; Innovation, Creativity and Entrepreneurship; Self-Directed Learning; Collaboration; Communication; Global Citizenship and Sustainability; Digital Literacy

Grades 7-8

The Arts
Health and Physical Education
History
Language
Science and Technology

Grades 9-12

The Arts
Canadian and World Studies
English
Health and Physical Education
Social Sciences and Humanities
Technological Education

Post-Secondary

Suitable for courses in disciplines such as Arts, Cultural Studies, Creative Writing, Dramatic Arts and Theatre, English, Fine Arts, Gender Studies, History, Human Rights, Social Development Studies, Teacher Education

THEMES

Appearance and Reality
Colonization and Enslavement
Conflict and Resolution
Control, Power and Freedom
Hope for the Future
The Influence of Nature
Loss and Restoration
Magic and Illusion
Revenge and Reconciliation
Self-Determination
The Transformative Power of Theatre

Discussion Questions

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

This play begins with a storm at sea, leaving many shipwrecked. If you were to experience something similar, what object would you try to hold onto and why?
Are parents always truthful with their children? If not, do you believe they hide the truth for benevolent or selfish reasons? Explain your thinking.
How do our parents shape our worldview? Do you think children inevitably rebel or depart from their parents' ways of thinking? Why or why not?
Have you ever heard a story from one person and then changed your opinion about what unfolded after hearing a different "version" from another person involved? What does this tell you about bias and perspective?
What does it mean to be human? What are the most important qualities in a human being?
Do you believe in "love at first sight"? Why or why not?
What does freedom mean to you? Is freedom a value that you prioritize in your life?
How would you define power? How do people obtain it? How does it affect people who become powerful? Is it inherently corrupting? Explain your thinking using examples.
How would you describe our society's relationship to nature? What is your relationship to nature? What changes would you like to see in how human beings view nature in the future? Explain your thinking.
What does anger feel like? Does it differ for each of us? What are different techniques people can use to manage and process their anger?
Can revenge ever be justified? How far should someone go to seek revenge?
What does it mean to forgive? What does forgiveness look like?
How does our society today respond to claims of magic and sorcery? How do you think the Elizabethans responded to sorcery in Shakespeare's time?

POST-SHOW QUESTIONS

Marjorie Garber describes The Tempest as "one of Shakespeare's most compelling 'revenge tragedies,' turned, at the last moment, toward forgiveness." What aspects of this production emphasized the play's "revenge tragedy" underpinnings? What is the turning point in the play? Who and/or what prevents a tragic ending?
Compared to Shakespeare's other plays, The Tempest is rare in its unity of time, taking place in one day. How does this choice enhance the action of the play? What challenges does it present?
Act 1, scene 2 contains a great deal of backstory around Prospero's dukedom being usurped and their arrival on the island, as well as his history with Ariel and Caliban. What is the purpose of this scene? In what ways does this past continue to affect the play's present action?
Early in the play Prospero tells Miranda, "I have done nothing but in care of thee." Do you believe that's true or is there something else motivating him to create the storm?
How would you describe Prospero and Miranda's relationship? How does Ferdinand's arrival on the island change their relationship?
In Shakespeare's original play, Miranda was the only female character. In the 2026 Stratford Festival production, some characters who were written as men are now being played by female actors and portrayed as women. Why do you think the director made this choice? What impact did this have on you as an audience member?
Compare Ariel and Caliban. How are they similar? In what ways are they different? How is each treated by Prospero?What was your reaction to their treatment by Prospero?
The Tempest was written more than 400 years ago, and it explores issues of colonialism and control still pervasive in our world today. What do you think this play might tell us about how to navigate these issues in our current context such as Canada's colonialism and the ongoing work of Truth and Reconciliation?
Why do you think Shakespeare included the subplot of Caliban, Trinculo and Stephano? In what ways does it mirror the main plot of The Tempest?
How does Prospero use his magic? Who benefits from it? What harm does it inflict on others and Prospero himself? What does he learn about his magic and himself by the end of the play? Why is it necessary for Prospero to renounce his "art"?
Discuss whether you believe Miranda is wise or naïve when she states the following: "How many goodly creatures are there here! How beauteous mankind is! O brave new world, that has such people in't!"
What do you think will happen to the courtiers and their entourage when they go back to Italy? What do you think will happen to Ariel and Caliban?
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

Minds On

MINDS ON

Objective: Through textual analysis and performance, students will explore and analyze power dynamics between characters in The Tempest.

Materials:

William Shakespeare's The Tempest
Writing utensils and/or highlighters
Laptops/tablets
Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary (iOS app or physical copies)
Dictionaries

Directions:

Divide the class into small groups and assign each one of the following excerpts from The Tempest:
- Act 1, scene 2 (lines 222-311) - Prospero, Ariel, Miranda (asleep)
- Act 1, scene 2 (lines 383-451) - Prospero, Caliban, Miranda
- Act 3, scene 2 (lines 46-127) - Caliban, Stephano, Trinculo, Ariel
You may already have access to physical copies of the text. One suggested resource is to view or download it through the Folger Shakespeare Library where you can easily search by act, scene and line.
Invite students to read the scene aloud together using a lexicon and/or dictionary to look up any unfamiliar words.
Once students have read through the scene together, invite them to read it line by line and highlight or underline any moments where they see a character asserting their power. Encourage them to pay particular attention to moments where the power shifts from one character to another.
Using the information they gathered from their analysis of the excerpt, have students respond to the following questions:
- Which character begins the scene with the most power? What power do they have and why do they have it? How do they use their power? Do they attempt to maintain it and, if so, how?
- Are there moments where the power balance shifts in the scene? For each shift you notice, what tactics are used by the other character to claim (or attempt to claim) power?
Next, invite students to block and practice performing the scene. Encourage them to keep in mind what they've learned about power and how it shifts at certain moments of the scene and to experiment with how different staging choices might help emphasize the power dynamics in the scene. Invite them to explore physical proximity, levels, movement and gesture and vocal elements such as volume, pitch, emphasis/stress, pace and silence.
After time for rehearsal, invite each group to perform their scene for their classmates.

DEBRIEFING QUESTIONS:

What did the scene analysis reveal to you about each character's power in the play?
Did performing the scene and experimenting with different physical and vocal techniques reveal any unexpected or more nuanced moments or shifts of power?
Is power always loud and assertive? Is it always damaging or corrupting? What is an example of an effective and ethical use of power? What characteristics distinguish it from a damaging use of power?

POSSIBLE EXTENSIONS:

Comparing Directorial and Performance Choices

Have students watch versions of the same scenes in a couple of different filmed productions of The Tempest including the 2010 and 2018 Stratford Festival productions starring Christopher Plummer and Martha Henry, respectively.
Ask them to compare the staging choices they made to ones the directors and actors have made in the filmed productions. What new insights did the filmed productions offer? How do other production elements like costumes, props and music underscoring stress power and power imbalances in the recorded versions?

Listening to Nature

Invite students to select one natural element in the text such as the storm, the air or the island.
Ask them to write a short monologue about their chosen element's experience of the play from its perspective.
Encourage students to explore the view their chosen element would take of the characters in the play. What new insights did this provide you in terms of the characters and conflict in the play? How might the play have unfolded differently had the characters listened to the natural elements?

CONNECTION TO THE ARCHIVES

The 2026 production will be the Festival's ninth production of The Tempest. Our first production in 1962 featured Martha Henry as Miranda. Martha Henry went on to play Prospero 56 years later in our 2018 production. How do you imagine an actor's relationship with a play changes over the course of their lifetime? Is there a play in which you can envision yourself playing one character now and another in 50 years' time?

Martha Henry as Miranda and Peter Donat as Ferdinand in The Tempest (Stratford Festival, 1962). By William Shakespeare. Directed by George McCowan. Designed by Desmond Heeley. Photograph by Peter Smith.
Stratford Festival Archives, GPO.1962.005.0043

Martha Henry as Prospero in The Tempest (Stratford Festival, 2018). By William Shakespeare. Directed by Antoni Cimolino. Designed by Bretta Gerecke. Lighting design by Michael Walton. Sound design by Thomas Ryder Payne. Photograph by David Hou.
Stratford Festival Archives, GPO.2018.012.7075C

The Stratford Festival Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

RESOURCES

Study Guide PDF

Stratford Public Library's 2026 Season Reading Lists

STUDY GUIDES

View all 2026 Shorts and Study Guides for selected 2026 plays, along with those from previous seasons, free of charge.

ADDITIONAL RESOURCES

Shakespeare and The Tempest

Approaching Shakespeare: The Tempest | Emma Smith | University of Oxford Podcast

A Closer Look at "Our revels now are ended..." | Bard on the Beach

In Conversation with Stephen Greenblatt on The Tempest | Stratford Festival

Karim-Cooper, Farah. The Great White Bard: How to Love Shakespeare While Talking About Race. 2023.

Learning Zone: The Tempest | Royal Shakespeare Company

A Microcosm of Behavior and Emotion | Stephanie Chidester | Utah Shakespeare Festival

A Modern Perspective: The Tempest | Barbara A. Mowat | Folger Shakespeare Library

Revenge Tragedy | Britannica

Shakespeare: The Winter's Tale and The Tempest | Liz Lewis | The London School of Journalism

The Struggle for Power in Shakespeare's The Tempest | James V. Morrison | Shipwrecked: Disaster and Transformation in Homer, Shakespeare, Defoe, and the Modern World

The Tempest | Folger Shakespeare Library

The Tempest: Live Lesson | Royal Shakespeare Company

Thompson, Ayanna. (Ed.) The Cambridge Companion to Shakespeare and Race. 2021.

Thompson, Ayanna and Laura Turchi. Teaching Shakespeare with Purpose: A Student-Centered Approach. 2016.

Colonialism

British Empire in The Tempest | Shakespeare's Globe

Calls to Action | Truth and Reconciliation Commission of Canada

The Culture of Slavery: Caliban and Ariel | Derek Cohen | The Dalhousie Review

Introduction: Defining Colonialism | Thompson Rivers University

Shakespeare's 'The Tempest' explores colonialism, resistance and liberation | Paul Yachnin and Hannah Korell | The Conversation

Western Colonialism | Britannica

What is Colonialism? | National Geographic

Sorcery and the Supernatural

Magic, Books, and the Supernatural in Shakespeare's Tempest | Shakespeare Online

Malcolm Hebron Introduces to Shakespeare's Renaissance Magus | That Shakespeare Life

Shakespeare and Magic | Shakespeare Unlimited Podcast | Folger Shakespeare Library

BOOKING INFORMATION: TICKETS, WORKSHOPS AND CHATS

STUDENT MATINEES

You may book any available date, but selected student matinee performances for this show are at 12:30 and 2 p.m. on the following dates:

12:30 p.m.

Wednesday, April 22
Monday, April 27

2 p.m.

Tuesday, April 28
Friday, May 1
Tuesday, May 5
Friday, May 8
Wednesday, May 13
Wednesday June 3
Friday, June 12
Tuesday, June 16
Thursday, June 25
Friday, June 26
Wednesday, September 9
Thursday, September 17
Friday, September 18
Tuesday, September 22
Thursday, September 24
Wednesday, October 7
Thursday, October 8
Tuesday, October 13

WORKSHOPS AND CHATS

Visit our website or contact us at educate@stratfordfestival.ca to book:

InterACTive Preshows
Collaborative Learning Workshops
Customized Workshops
Post-Show Chats
Behind-the-Scenes Tours

2026 SEASON SPONSOR

The 2026 Season is generously supported by Ophelia Lazaridis

PROUD SEASON PARTNERS

2019_BMO_White Canada-Life_White(1) RBC_White(1)

2026 Festival Theatre Sponsor: Daniel Bernstein & Claire Foerster

Production Underwriters: Laurie J. Scott, Carol Stephenson, O.C. and The Whiteside Foundation

Production Co-Sponsors: Dr. Dennis & Dorothea Hacker, Dr. M. Lee Myers, Peggy Ptasznik and Cathy Wilkes in memory of David

TOOLS FOR TEACHERS

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts sponsored by

Canada-Life_White(1)

Connection to the Archives

CONNECTION TO THE ARCHIVES

The 2026 production will be the Festival's ninth production of The Tempest. Our first production in 1962 featured Martha Henry as Miranda. Martha Henry went on to play Prospero 56 years later in our 2018 production. How do you imagine an actor's relationship with a play changes over the course of their lifetime? Is there a play in which you can envision yourself playing one character now and another in 50 years' time?

Martha Henry as Miranda and Peter Donat as Ferdinand in The Tempest (Stratford Festival, 1962). By William Shakespeare. Directed by George McCowan. Designed by Desmond Heeley. Photograph by Peter Smith.
Stratford Festival Archives, GPO.1962.005.0043

Martha Henry as Prospero in The Tempest (Stratford Festival, 2018). By William Shakespeare. Directed by Antoni Cimolino. Designed by Bretta Gerecke. Lighting design by Michael Walton. Sound design by Thomas Ryder Payne. Photograph by David Hou.
Stratford Festival Archives, GPO.2018.012.7075C

The Stratford Festival Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

Resources