The Virtual Tempest, Digital Caliban and Robotic Ariel in the Trans-Created Toufann: A Mauritian Fantasy by Dev Virahsawmy

Mustabshira Siddiqui
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Abstract

Shakespeare has always been the source of inspiration to the generations all over the world stage. Toufann by Dev Virahsawmy is one such piece of clone. The world has taken a drastic turn in the 21st century. Digitalisation is the only normal in abnormality of the millennials with the upsurge of 'technology' as the 'spear' of Shakespeare and 'network' a 'villain' as Prospero creating 'magic' and 'illusion' in our lives. 'Virtual' has become 'real' and real has taken a backseat in the heaven called 'home'. In this techno-savvy, digital, virtual world;it is imperative for the 'Humanities' to adapt the new normal. Toufann is one such child of this techno-renaissance playwright Dev Virahsawmy, a Mauritian playwright creating a 'tempest' by virtual slides on computer.Caliban is no more looked as black, beast, filthy or low born;he is a smart, handsome, creative, technical man with a heart already lost to Cupid's bow. Miranda is a feminist;reading Simone de Beauvoir's The Second Sex pregnant with Kalibann's child. Ariel is a Robot;now emotionless, mechanical and artificial. Ferdinand is infertile, fickle minded and wants the companionship of Robot Ariel. The present paper will discuss the techno aspect of the play in detail with the tinge of focus on the turns of events in the neo-millennials.
虚拟风暴,数字卡利班和机器人阿里尔在跨创造的Toufann:毛里求斯的幻想,Dev Virahsawmy
莎士比亚一直是世界舞台上几代人的灵感源泉。Dev Virahsawmy的《Toufann》就是这样一个克隆作品。世界在21世纪发生了翻天覆地的变化。数字化是千禧一代的唯一常态,“技术”是莎士比亚的“长矛”,“网络”是普洛斯彼罗的“恶棍”,在我们的生活中创造了“魔法”和“幻觉”。“虚拟”变成了“真实”,而真实在被称为“家”的天堂里退居次要地位。在这个精通技术、数字化、虚拟的世界里,“人文学科”必须适应新常态。Toufann就是技术文艺复兴时期剧作家Dev Virahsawmy的一个孩子,Dev Virahsawmy是一位毛里求斯剧作家,他用电脑上的虚拟幻灯片创作了一个“暴风雨”。卡利班不再是黑色、野兽、肮脏或出身低微的样子;他是一个聪明、英俊、有创造力、有技术的人,他的心已经被丘比特的弓箭所征服。米兰达是一位女权主义者,她在读西蒙娜·德·波伏娃的《第二性》,她怀了卡利班的孩子。阿里尔是一个机器人,现在没有感情,机械和人工。费迪南德不孕,善变,想要机器人阿里尔的陪伴。本文将详细讨论该剧的技术方面,重点关注新千禧一代的事件转折。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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