https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=141 Index des publications de auteurs Gwylim Jones fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=140 Shakespeare’s first use of extended storm effects on the stage occurred in Julius Caesar. Although often dismissed in editorial footnotes as a slight, anticlimactic noise (usually with a citation of Jonson’s dismissive recollection of the “roul’d bullet heard”) the special effects of the storm in the playhouses would have been nothing short of spectacular. Julius Caesar was almost certainly the first play produced at the Globe theatre. This paper will argue that the storm in the play is a grand gesture to show off the capabilities of the new playhouse. With a close reading of the text in its chronological context, it will be seen that this tragedy marks a change of emphasis in Shakespeare’s work. An exploration of the drums, cannon and fireworks used to recreate the storm will inform a reading of the text which highlights its propensity towards the spectacular. It will also be seen through an examination of the trumpet calls that the play is a promotional tool to advertise the amphitheatre itself and not simply the playwright or acting company. Only after this exhausting and exhaustive showcase, and the audience it attracts, can the subtle poetry of the storm reach the nuanced symbolism it finds in the later, xmature plays King Lear, The Winter’s Tale and The Tempest. Weather interpretation of the Elizabethan era will also be considered, showing that the effects in the play are neatly contemporary as well as spectacular. jeu., 28 janv. 2010 15:34:02 +0100 lun., 03 avril 2023 01:59:52 +0200 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=140