Posts Tagged ‘The Tempest’

Do Dogs See Colors?

Monday, July 20th, 2009

 

On our walk through the neighborhood this morning my dog Jesse began to strain on the lead when he got within 20 feet of a certain object of his desire.  It was a blue Toyota Prius. Not my blue Prius, mind you, but someone else’s, parked blocks away from where mine sits in front of the house.  When Jesse reached the car he put his muzzle right up against car’s hatchback door, as if to say “Open Sesame!”  Then he turned and gave me a look that said, “Let’s go to the beach!”

By that point in our walk we had already passed dozens of parked cars, and Jesse had shown no sign of interest in any of them, let alone any move to commandeer one for a day trip.  He’s always ignored other Priuses parked around the neighborhood, cars that were the exact same model as mine, although come to think of it, those others were of a different color (red, black, silver, etc.)  This blue car today was so close in appearance to mine that even I did a double-take.

So why did Jesse select it to be the “stuff [his] dreams are made on”? 

I think the answer is the color blue.

For a long time it was assumed dogs could not see colors.  A post on the website “WikiAnswer”, found here, echos that view.  But recent scientific studies have come to a different conclusion.  In an article entitled “How Dogs See Color” by Dana K. Vaughan, Ph.D., Dept. of Biology, University of Wisconsin, Oshkosh (available here), Dr. Vaughan reports that, yes, dogs can see colors, but somewhat differently than humans: 

“These experiments showed that dogs do see color, but in a more limited range than that seen by normal humans, who see the rainbow of colors described by “VIBGYOR”: Violet, Indigo, Blue, Green, Yellow, Orange, and Red (plus hundreds of variations on these shades).  Instead, dogs see “VIBYYYR”  (Violet, Indigo, Blue, Yellow, Yellow, Yellow, and Red).  The colors Green, Yellow, and Orange all look alike to dogs; but look different from Red and different from the various Blues and Purples.  Dogs are very good at telling different shades of VIB apart. Finally, Blue-Green looks White to dogs.”

Dr. Mark Plonsky, a Professor of Psychology, also at the University of Wisconsin, presents slightly difference results here.  His article includes an admittedly speculative color spectrum chart showing what your pooch likely sees:

dog-vision-color-spectrum-compared-to-man2

 

One finding common to both studies is that dogs can readily discern the color blue.  So blue is the color to select next time you buy a car, if you want your dog to have a chance of spotting your vehicle in a crowd.

It’s reasonable, I believe, to assume Jesse can recognize a Prius by its size and shape, and through his sense of smell (as the car’s factory installed tires and its brake system probably emit distinctive odors).  But Jesse is able to find my Prius and his personal means of long-distance transport — or  get to the point where he believes he’s found his Prius — only when he comes across those elements plus the color blue.

Meanwhile, I haven’t settled on what to say to Jesse if today’s episode recurs.  This morning I simply said “No!”, yanked the lead, and walked on.  But I feel Jesse deserves a fuller explanation, something to indicate he is mistaken to think he has found my (his) car, yet he shouldn’t feel bad since it’s an understandable mistake.  So what voice command can contain than amount of  nuance? 

I’m thinking, maybe, “Close, but no cigar!”?

“The Tempest” at Steppenwolf

Friday, April 3rd, 2009

Wednesday night I attended a performance of “The Tempest” at Chicago’s Steppenwolf Theatre.  The show opens officially on April 5.

Scholars generally accept “The Tempest” as the final play Shakespeare wrote alone — a valedictory capping a career of two decades and nearly 40 plays.  There is in the work a nostalgic tone, mixed with autobiographic references, therapeutic disgorgement, final statements. 

I am no Shakespeare scholar (nor was meant to be).  I am not a credentialed critic.  With but poor power to add to or detract from accumulated commentary, I present these few notes on things that struck me specially:

My ears perked up at Trinculo’s remark (in Act II, Scene 2) about the eagerness of Englishmen to pay good money to see strange and awesome creatures brought back from distant travels.  The Jester notes how eagerly English purses open for foreign entertainment  (“they [the English] will lay out ten [coins] to see a dead Indian”) and he contrasts this with their disregard for a grotesque situation on their very own doorstep, namely, legions of destitute fellow countryment (“they will not give a doit [small coin] to relieve a lame beggar”).  With this cutting observation, I sensed Shakespeare was chastising many of us in the audience — people who happily paid to watch the playright’s show of “strange beasts,” while outside the theater, needs go unobserved, un-almsed.

Striking to me also was Prospero’s passionate warning (in Act IV, Scene 1) to the young lovers Miranda and Ferdinand against premarital sex, lest it poison their marriage.    Listening to this extended outburst (“[Do not] break her virgin-knot before all sanctimonious ceremonies may with full and holy rite be minister’d”) I wondered if Shakespeare was recollecting his own quick forced nuptials with a pregnant Anne Hathaway.  (Historians note that “the couple may have arranged the ceremony in some haste, since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times”).  Is Shakespeare blaming his own unhappy marriage on its flawed beginning? 

At the play’s end Prospero’s relationship with his brother Antonio is not repaired, an exception to the otherwise universal reconciliation.

Isn’t it unfair to reward the faithful Ariel merely with release from servitude?  That’s no reward at all.  Ariel deserves to be granted some grander thing, such as — would it be possible? — the gift of being made human.

The totally satisfying trajectory of the plot.

Actors must find it wonderful to inhabit the role of Prospero.  You are allowed to be not only a fully-dimensioned fictional creation, but also a stand-in for Shakespeare himself, the sum of his life experiences and thoughts.  In other words, you get to be Everyman.

I wonder if Gonzalo’s vision (in Act II, Scene 1) of an alternative, and better, world (with his key imaginings of “no sovereignty;” “nature [bringing forth] all abundance to feed my innocent people;” “all things in common”) was the inspiration for John Lennon’s “Imagine”  (with its similar vision of  “no countries;” “no need for greed or hunger;” “sharing all the world”).

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Quick comments on the Steppenwolf’s bold and satisfying production of “The Tempest” (bear in mind that what I saw was a preview performance four days before the official opening):

The music composed for the pageantry of the play deserves high praise.  It is much more than “incidental” music.

The production design for this quintessentially timeless play was generally superb, save for the insertion of certain era-specific props into what is otherwise a stripped-down, “universal” stage design.  I mean the Apple laptop Ariel uses to compose and direct his high jinks.  (I hope Steppenwolf’s attorneys negotiated a hefty endorsement fee from Apple; a winning ad campaign could be developed upon the theme, “Capture Your Inner Ariel with an Apple”).  I also mean the retractable dog leash.  And the “timeless” aura would have been served better if Gonzalo had sat in a generic wheelchair device, not the one of contemporary design and engineering that the prop folks got from a 21st century medical supplies firm. 

The actors were superb across the boards (as well as  through the air).  One caveat: the wobbly Italian accent issuing from Stephano could use  realignment. [But see a reader’s comment below (added 04/06/2009)]

I was surprised at the stinginess of the audience’s reaction: only polite unsustained clapping.  No one stood to applaud.  No calling back the actors for further well-deserved appreciation.  Is this a Chicago tradition?  Is it typical of a Steppenwolf audience? 

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In the play’s lyrical, smiling Epilogue, Shakespeare directs Prospero to inform all of us who have absorbed his tale:  

“My project  . . . was to please.” 

This production very much pleases.  I for one was overwhelmed.

*

UPDATE (04-05-2009) – A first  review, generally positive, from Chicago Tribune critic, Chris Jones, in “The Theater Loop”: http://leisureblogs.chicagotribune.com/the_theater_loop/2009/04/steppenwolfs-mystery-island-is-up-for-grabs-in-this-tempest.html also available at http://www.chicagotribune.com/features/lifestyle/chi-0406-tempest-steppenwolf-ovnapr06,0,7681846.story

UPDATE (04-06-2009) – A blogger who was enchanted is Venus Zarris:  http://www.steadstylechicago.com/tempest.htm

One who was not is Nina Metz: http://newcitystage.com/2009/04/06/review-the-tempeststeppenwolf-theatre/

J. Scott Hill offers an ecstatic review: http://www.chicagostagereview.com/?p=3550,

As does Hedy Weiss of the Sun-Times: http://www.suntimes.com/entertainment/weiss/1512481,CST-FTR-Weiss06.article

Rob Kozlowski liked the show except for some stage elements and the rap song: http://chicago.decider.com/articles/stage-review-the-tempest,26212/