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"The Tempest" by William Shakespeare contains elements of metatheatre, which is a theatrical technique where the text or the performance itself references or reflects upon the nature of theater and its relationship with reality. Here are some ways in which metatheatre is present in "The Tempest":

1. The character of Prospero: Prospero, the former Duke of Milan and the protagonist of the play, can be seen as a metatheatrical director. He controls the events on the island and the people there, manipulating situations and characters, in a sense, as a director guides a theatrical performance.

2. Performances within the play: Within the story, Prospero stages shows and representations to influence and guide other characters. For example, he uses performances like Miranda and Ferdinand's marriage to achieve his goals.

3. The character of Ariel: Ariel, Prospero's spirit servant, is involved in metatheatrical activities, such as the representation of Ceres, Neptune, and other deities in Act IV. This scene is an example of how performances are used to manipulate other characters.

4. Prospero's speech at the end: In Prospero's famous epiphany at the end of the play, where he renounces magic and gives up his powers, it can be read as a reflection on the act of theater itself. His "drown my book" can be interpreted as a farewell to the theater itself, a metatheatrical moment that underscores the power of theatrical art to influence reality.

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Made by Manish Pragasan and Ruben Cerrato 

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Prospero is the protagonist of the storm. He was the legitimate Duke of Milan who (with his daughter Miranda) was abandoned on a lifeboat in the middle of the sea by his brother Antonio and Alonso, king of Naples, to die. Prospero and Miranda survived on a small island. Knowing the magic, he uses it to take control of the island and its characters. On the island, he became the lord of Caliban and Ariel. He subsequently recovers the Duchy of Milan again
Because of his powers some believe that Prospero represents Shakespeare, James I, or God, or that he is inspired by Thomas Harriot, a philosopher-scientist with a reputation as a magician in his time.
Caliban He is a repulsive monster slave of Prospero. He is the son of Sycorax, a witch who was abandoned on the island, pregnant with Caliban, and died before Prospero's arrival. Caliban had attempted to rape Miranda, Prospero then enslaved him and has tormented him ever since. Caliban, out of hatred towards him, takes Stephen, one of the castaways, as his new master and would like him to become master of the island by killing him; but in the end he discovers that Stefano is not what he expected and agrees to obey the magician again. Even though Caliban is considered a monster, he is given the most moving speeches in the play:
Ariel is the spirit of the air freed from Prospero's spells and helps him get Ferdinand and Miranda engaged.
Miranda is Prospero's daughter. Shipwrecked with her father when she was a child, she lacks a lot in her experiences of the reality that surrounds her. She is a fifteen-year-old who does not choose her husband, in fact Prospero sends Ariel to kidnap Ferdinand so that the two fall in love. From her limited experience she believes that all men are good, but even though she seems naive, she shows moments of great steadfastness.
Ferdinand is the prince of Naples and son of Alonso (king of Naples). He falls in love with Miranda and promises him the title of queen. Blinded by love, he makes a solemn vow to be sincere with Prospero and not to violate Miranda's chastity before their wedding.
Antony serves as a usurper who desires the title of more powerful brother.

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Made by Ruben Cerrato and Manish Pragasan