This version of A Midsummer Night’s Dream provides roles for 30 students: 6 male roles, 4 female roles, and 20 roles that can be played by either. All 30 roles are speaking characters. 9 roles are considered large, 7 are considered medium, and 14 are considered small. The small roles are easy to combine or eliminate to adjust for varying class size. The performance run time is approximately 40 minutes with no intermission.
Comparison of Shakespeare s comedies A Midsummer Night s Dream Sydney Theatre Company A Midsummer Night s Dream is a play by William Shakespeare It is believed that it was written between and It portrays the events surrounding the
If space equals emphasis, and it usually does in a play of this sort, what inferences can be drawn from the patterning of the action in A Midsummer Night’s Dream? Clearly the most important scenes take place at the heart of the play in Act III (655 ll) which contains some 224 lines more than Acts II (429 ll) and V (429 ll), and twice as many as Act I (323 ll). There are seven scenes, fewer than in any other Shakespeare play, which comprise a double frame. The first and last scenes are set at the court in Athens, the second and penultimate scenes occur at Peter Quince’s house, and the central three in the forest (Intro. 103-04). Movement from the city to the country and back again charts the temporary excursion into misrule and aberrant behavior and then a return to order and sanity. The scene bringing together the most physically grotesque and socially mismatched couple, Titania and Bottom, a Fairy Queen and an uncouth oaf, occurs at the very center of the play. In guying romantic love, Shakespeare has given the most derisive of jokes pride of place. Careful patterning to integrate plot and setting and communicate theme is evident throughout.
Crazy for You and A Midsummer Night’s Dream have dramatically different goals, and both are successful. More remarkable, though, is that in watching one, it’s easy to forget that the other could ever exist. During Crazy, the notion that there can be a more entertaining or effective performance seems absurd. What would that even look like? More tap dancing?! And during Dream, when understated winks and nudges bring you right onto the stage, it’s impossible to imagine wanting to be anywhere else.
Analysis of the structure of the play discloses that the most important events occur within the forest wilderness, that lovers’ conflicts originating outside its confines are both complicated and magically resolved by the fairies Oberon and Puck within its borders. Hence, setting facilitates plot. The young people gain insight into themselves and each other, and no-one is quite the same after the adventures of this midsummer night’s dream. They try to rationalize their experience as a “dream” but cannot forget it.
In addition to the opposition of the magic wood with the civilized city, Shakespeare establishes other polarities which influence the action in A Midsummer Night’s Dream. The setting also embodies tensions between the supernatural and the mundane, fantasy and reality, imagination and reason, dreaming and waking, passion and self control, moonshine and daylight (Intro. 100). Ultimately, the play juxtaposes antithetical value systems represented by the forest and the city contrasting the chaotic, volatile disorder of the unknown with the orderly, stable, rational order of civilized life and implicitly encouraging viewers through the characters’ behavior to reject the irrational world of dreams.
I had the pleasure of seeing two wonderful shows at the Stratford Shakespeare Festival yesterday: the musical Crazy for You and the comedy classic A Midsummer Night’s Dream. They were equally extraordinary, but in totally different ways.
Therefore although Shakespeare employs familiar characters and plot devices from Two Gentlemen of Verona in A Midsummer Night’s Dream, he also complicates the action with additional serious amorous conflicts involving more mature figures as well as burlesque which undermine the conventions of Romantic Comedy. Why does Shakespeare set up conventions of Romantic Comedy only to subvert them? Analysis of setting and structure provides further insight.
This concept has become a mainstay of romantic literature over the centuries. Shakespeare employs the Dantean interpretation to greatest effect inRomeo and Juliet but alternately uses the classical tradition of Cupid wreaking havoc in A Midsummer Night’s Dream when Oberon and Puck cast spells on Lysander, Demetrius, and Titania who inconveniently fall in love with the first person they see upon waking. Their infatuation lacks the mystery of recognizing a soul mate upon first acquaintance. Instead, Shakespeare invokes a more limited definition of the phrase and thereby reduces it to absurdity. He satirizes love at first sight by placing the characters in ridiculous situations which lead to absurd behavior. Lysander’s first glimpse of Helena causes him to abandon Hermia, which breaks her heart. The same thing happens to Demetrius which increases the hostility between the men and causes Helena to feel persecuted. The most extreme instance occurs when Titania becomes besotted with Bottom. Hence love at first sight results in contretemps rather than felicity. Their compulsory attraction exists ungoverned by will, reason, or spirit. It has been induced by artificial means and more closely simulates the results of Cupid’s capricious arrows than the exalted condition described by Dante.
The King of Dreams commissions "A Midsummer Night's Dream" and "The Tempest"and in return grants Shakespeare the power to shape the thinking and dreams of future generations.
"A Midsummer Night's Dream"celebrates this essential fact of life.To include this page in a bibliography, you may use this format:Friedlander ER (1999) Retrieved Dec.
Stichomythia, a series of rhymed lines spoken alternately by two characters, was used to great advantage in Romeo and Juliet to reveal the intimate bond between the lovers when they express their passion as one mind, one heart, one soul. But in A Midsummer Night’s Dream stichomythia functions ironically to register envy when Helena yearns for Hermia’s ability to attract Demetrius and Hermia claims smugly that the more she discourages him, the more his passion increases (I, i, 194-201). It reflects antipathy as Demetrius spurns Helena (Act II (ii, 90-91) and as Lysander rejects Hermia (III, ii, 185-86). When rivalry appears between Lysander and Demetrius (III, ii, 174-75, 254-55), the interlinked lines disclose an intense negative bond between the speakers.