The story's narrator, a nobleman named Montresor, describes his revenge against fellow noble Fortunato. Plot summary Fortunato and Montresor drink in the catacombs. The story has been frequently adapted in multiple forms since its original publication. Poe may have been inspired to write the story by his own real-life desire for revenge against contemporary literary rivals. Further, Fortunato is depicted as an expert on wine, which Montresor exploits in his plot, but he does not display the type of respect towards alcohol expected of such experts. However, Poe also leaves clues that Montresor has lost his family's prior status and blames Fortunato. Scholars have noted that Montresor's reasons for revenge are unclear and that he may simply be insane. At the end of the story, Montresor reveals that 50 years have passed since he took revenge and Fortunato's body has not been disturbed. For unknown reasons, Montresor seeks revenge upon Fortunato and is actually luring him into a trap, entombing him alive within the catacombs. Fortunato follows him into the Montresor family vaults, which also serve as catacombs. Montresor invites Fortunato to sample amontillado that he has just purchased without proving its authenticity. As in " The Black Cat" and " The Tell-Tale Heart", Poe conveys the story from the murderer's perspective. Like several of Poe's stories, and in keeping with the 19th-century fascination with the subject, the narrative follows a person being buried alive – in this case, by immurement. The story, set in an unnamed Italian city at carnival time, is about a man taking fatal revenge on a friend who, he believes, has insulted him. " The Cask of Amontillado" ( ) is a short story by the American writer Edgar Allan Poe, first published in the November 1846 issue of Godey's Lady's Book. “Poe has an aesthetic that lends itself to immersion, and it was exciting to see everything come together in this installation.Illustration of "The Cask of Amontillado" by Harry Clarke, 1919 We all know Poe,” said project manager Elizabeth Kurtzman, a master’s student in English. Movement and color-including a beating scarlet heart lodged in a stark ribcage-were sparingly and artfully applied to the black-and-white imagery. Visitors to the installation heard recordings of texts curated and directed by theatre faculty members Amanda Nelson and Natasha Staley in collaboration with English faculty member Ashley Reed, performed by Virginia Tech students, and presented through the Cube’s 150 speakers, which allowed the sound effects to permeate the space.Īt the same time, the audience members watched virtual shadow puppets projected onto the Cube’s 360-degree cyclorama in an update of the 19th-century tradition of “crankies,” in which hand-cranked moving panoramas were used to tell stories. “Poe’s Shadows,” an immersive theatrical installation, used the advanced technologies of the Cube - an experimental performance space in the Moss Arts Center - to bring the work of Edgar Allan Poe to life.ĭrawing from two of Poe’s best-known works, “The Tell-Tale Heart” and “The Raven,” the installation explored what happens when literary texts are lifted from the page to the stage and then reimagined through the use of new technology.
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