On Caliban, William Shakespeare’s mysterious figure of the island on which the intrigue of The Tempest (1611) takes place, Édouard Glissant writes that despite Prospero’s brutal colonization, “the monster Caliban is conscious” and once decolonized, he “will contest the legitimacy which Prospero projects” opening up the island-world for a “new order of community” (Glissant, Philosophie de la Relation, 2009; Glissant, Poétique de la Relation, 1990). Thinking with Glissant’s le monster Caliban, this case study is on Aimé Césaire’s Une tempête (1969), a reconfiguration of Shakespeare’s original play written from a francophone, Caribbean, and colonized perspective. "Staging the Païdeuma" also incorporates the unique vision of the 2022 production of Une tempête at the Blackfriars Playhouse in Staunton, Virginia, interwoven with theoretical discourse on the païdeuma—a vital comprehension of civilization and culture in relation to place created by German ethnographer Leo Frobenius, a notion further developed by Aimé and Suzanne Césaire in their early Tropiques-era writings.