Theatricality and Race in William Shakespeare’s The Tempest and Raquel Carrió and Flora Lauten’s Otra tempestad

Abstract

Otra tempestad was performed at La Habana’s Teatro Buendía in 1997, with dramaturgy by Raquel Carrió and Flora Lauten.2 This play marked a new direction in Latin American rewritings of William Shakespeare’s The Tempest. This tradition began with Ruben Darío, Paul Groussac and José Enrique Rodó, who discussed the image of Caliban in relation to the United States and its intervention in Latin America. The climax of these rewritings came with authors such as George Lamming, Frantz Fanon, Aimé Césaire, Kamau Brathwaite and Roberto Fernández Retamar. Their readings and understanding of the play vindicate the image of Caliban and emphasize the processes of colonization in the context of the Cuban Revolution, the Négritude Movement, and the decolonization of the Caribbean. Continuing with this tradition, Carrió and Lauten composed their play focusing on the processes of globalization and the new millennium (Flaherty 102), transferring their focus to the experimentation with new ways of understanding theatricality and Cuban identity through dialogue, establishing a counterpoint with The Tempest. Carrió herself has stated that rewriting the plot of the Shakespearean play became more complex by the end of the century (“Otra” 159). This results in a temporal and thematical distance with Césaire’s rewriting and the Caribbean tradition of the 50s and 60s because, for Carrió, it is not enough to negate the language of the colonizer but researching the process of cultural formation through cultural contact is also needed (“Otra” 159). The main gesture that the dramaturges offer comes from the title itself. By entitling it Otra tempestad (Another Tempest), Carrió/Lauten include the play in relation to Césaire’s play Une Tempête (A Tempest). […] By María José Cornejo