A Midsummer Night's Dream
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Activity & Resource Guide for Camp Activities
Jesters & Fools Activity & Resource Guide For Camp Activities Camp Theater 2020 Great Lakes Theater www.greatlakestheater.org 2 Welcome Jesters & Fools to Camp Theater! Dear Campers and Families, Since camp is geared for play, I’ve created brief videos for each day to inspire campers to go make theater away from the computer. This activity guide, along with the videos, contains theater activities, crafts and more to encourage campers to use their imaginations at home and create “drama” in any space. Some of these activities can be done by campers on their own, other activities will require family participation. And since theater is all about play, community, imagination and fun, I invite everyone to experience Camp Theater in their own creative way. Get Ready, Get Set and Play! Sincerely, Lisa Ortenzi Great Lakes Theater Director or Educational Programming Share Your Camp Theater Adventures With Us! Send photos and videos of activities and crafts to [email protected]” Camp Theater 2020 Great Lakes Theater www.greatlakestheater.org 3 Table of Contents Welcome Campers Page 2 Improvisation Activity Contentless Scenes Page 4 & 5 Music & Dance in the Elizabethan Era Page 6 Fairy Song & Dance Activity Page 6 Rude Mechanicals Bergamask Dance Page 7 Rude Mechanicals Awkward Dance Activity Page 7 Performing Pyramus & Thisbe Page 8 Technical Elements for Pyramus & Thisbe Costumes Page 9 Props Page 10 Scenery, Sound & Lighting Page 11 Script for A Midsummer Night’s Dream Chorus Speech Page 12 Mechanicals Scene “Pyramus & Thisbe” Page 13 & 14 Design Your Own Lion’s Mask Page 15 Create Your Own Scenic Design Page 16 & 17 Create Your Own Costume Design Page 18 & 19 Create Your Own Program Design Page 20 Coloring Pages Pages 21-25 Theater Glossary Page 26 & 27 Camp Theater Day 5 Camp Theater 2020 Great Lakes Theater www.greatlakestheater.org 4 Improvisation Contentless Scenes Scenarios for Scenes You will need 2 people for this improvisation exercise. -
A Midsummer Night's Dream, by William Shakespeare Being Most
A Midsummer Night's Dream, by William Shakespeare Being Most Shamelessly Condensed for a Small Company and Limited Duration by Jennifer Moser Jurling With Mechanics Set Forth for Use in the Role-Playing Game The Play's the Thing, by Mark Truman With Thanks to MIT for http://shakespeare.mit.edu/ DRAMATIS PERSONAE OBERON, king of Faerie. Part: Faerie. Plot: Betrayer to Titania. Prop: Lantern. PUCK, servant to Oberon. Part: Faerie. Plot: Sworn to Oberon. Prop: Disguise. TITANIA: queen of Faerie. Part: Faerie. Plot: Rival to Oberon. Prop: Coin. THESEUS: duke of Athens. Part: Ruler. Plot: In Love with Hippolyta. Prop: Crown. HIPPOLYTA: queen of Amazons. Part: Maiden. Plot: In Love with Theseus. Prop: Crown. PETER QUINCE: director, Athens Acting Guild. Part: Hero. Plot: Rival to Nick Bottom. Prop: Letter. NICK BOTTOM: actor in the guild. Part: Fool. Plot: Rival to Peter Quince. Prop: Lantern. SNUG: actor in the guild. Part: Commoner. Plot: Friend to Peter Quince. Prop: Disguise. Note to Playwright: You may wish to use “In Love with Hippolyta” as Oberon’s starting plot and “In Love with Theseus” as Titania’s starting plot. Of course, these can also be added later or not at all. ACT I Faerie king Oberon and his queen, Titania, quarrel. (Titania has a changeling human boy among her attendants, and she refuses to let him be one of Oberon’s henchmen. They also argue over Oberon’s love for Hippolyta and Titania’s love for Theseus.) Oberon enlists his servant Puck to fetch a flower that will enable him to cast a love spell on Titania, so that she will fall in love with a monstrous beast. -
A Midsummer Night's Dream
THE SHAKESPEARE THEATRE OF NEW JERSEY EDUCATION PRESENTS SHAKESPEARE LIVE! 2017 A Midsummer Night’s Dream BY WILLIAM SHAKESPEARE STUDENT-TEACHER STUDY GUIDE COMPILED AND ARRANGED BY THE EDUCATION DEPARTMENT OF THE SHAKESPEARE THEATRE OF NEW JERSEY Shakespeare LIVE!, The Shakespeare Theatre of New Jersey’s educational touring company, is part of Shakespeare in American Communities: Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest. Additional support for Shakespeare LIVE! is provided by The Investors Foundation, Johnson & Johnson, The Provident Bank Foundation, and the Turrell Fund. COVER: Mustardseed, Peasblossom and Moth from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM THIS PAGE: The Mechanicals from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM. ALL PHOTOS by Jerry Dahlia ©2015 unless noted. In This Guide: Classroom Activities for Teachers and Students ...............................p2 Shakespeare: Helpful Tips For Exploring & Seeing His Works .......p3 About the Playwright ................................................................................p4 Shakespeare’s London .............................................................................p5 Shakespeare’s Verse ..................................................................................p6 “Are you SURE this is English?” .............................................................. p7 A Midsummer Night’s Dream: An Introduction ...................................p8 Midsummer: -
The Function of Forest in the Faerie Queene: Seeing the Woods for the Trees
The Function of Forest in The Faerie Queene: Seeing the Woods for the Trees Nicholas Randell April 1987 The Function o£ Forest in The Faerie Queene: Seeing the Woods £or the Trees Nicholas Randell April 1987 Generally, the mention of place in\regard to/The Faerie Queene summons up the image of Alma's House of Temperance, the Bower of Bliss, or Isis' Temple. These settings are highly stagey: the narrative comes to a halt) and the reader is expected to interpret the composite images of the scene. The crocodile at Isis' feet enJoys the same relationship to her as Justice does to equity. Equity, its allegorical representative embodied in Isis, exercises a restraining influence over the "cruel doome" of Justice, i.e., the crocodile that Isis stands on. These places smack of the unreal; they and their set pieces exist primarily to illustrate a moral orientation or philosophical position. In Acrasia's Bower of Bliss, of course, unreality is Just the point. With its "painted flowres" it caters to the whims of the men it hopes to ensnare. The Bower exists for them. It is made to please: "The dales for shade, the hills for breathing space"! (The Faerie Queene. II, xii,5S) But what of place when The Faerie Queen's narrative rolls right along? What about the landscape that doesn't make man happy or remind him of one or another truth? All the symbolic places of The Faerie Queen are, in a very real sense, interludes of a larger piece, brief moments in a landscape that undulates about them. -
Written by 'L'ravis Beacham No Portion of This Script Lna.Y
,. KILLING ON CARNIVAL ROW Written by 'l'ravis Beacham No portion o.f this script lna.y be performed, reproduced, or .used by any means, or quoted or published in any ·medium without the ·prior: written consent of Kopelso:il Entertainment. · ·r·.,, ___ '¥.. ! July 22, 2005 . ·.~·:;, © 2005 . KOPELSON EN'l'ER'l'AI.NMEN'l' All Rights Reserved · EXT. SEWER TUNNEL -- NIGHT not just a "broken and bent archway" An archway at the end of an alley. Broken and bent long . ' ago, crnsted with moss. A trickle of water cuts through. not just "wet" A SCREAM from within. Laboured BREATHING, the rapid SPLISH SP:LASH of footfalls. AISLING COBWEB, beautiful and intense, bursts from the tunnel into the narrow alley. doesn't just come out, but "bursts" Her body, petite, young, and frail, tense with fear. From her back sprout a pair of large moth-like wings, fragile, intricate, frayed at the edges. tells us exactly why/how her wings are fragile Aisling Cobweb is a faerie. And she's running for her life. She catches her tattered skirt on !lletal grating and stumbles face first. she turns, panicked. ·· In the darkness, distant at first, an eerie WAIL. Her eyes widen. "tattered skin" tells us Aisling, flexes her wings, and takes to she has already been caught. so she is not just THE AIR running. she is escaping. with frantic agility. She flies, weaving between narrow ) alleys, dodging gas lanterns and sagging clothes-lines. She is not just Her papery wings carry her swerving around tight corners. running, she is "weaving and She slams into the s.ide of a steep inclined dodging." But ROOF not just "weaving and where she scrambles for a foothold on the.slate-shingles. -
Sample Pages
CRITICAL INSIGHTS A Midsummer Night’s Dream Editor Nicolas Tredell SALEM PRESS A Division of EBSCO Information Services, Inc. Ipswich, Massachusetts GREY HOUSE PUBLISHING A Midsummer Night’s Dream as Fantasy Fiction Catherine Belsey Fantastic Stories As the title promises, A Midsummer Night’s Dream is fantasy fiction, depicting improbable events in a world that is not accountable to everyday reality. And in that respect the play bears some resemblance to the Harry Potter series, perhaps the most popular instance of the genre in our own time. Both have secured attention from a wide age range. Like J. K. Rowling’s stories, Shakespeare’s play tends to captivate the young, at least in performance, if not on the page. At the same time, A Midsummer Night’s Dream appeals to grown- ups—as, it turned out, the Harry Potter books were to do, too. In due course, Rowling’s novels were reissued with special covers, more severe, broadly Gothic, to be read by adults who might have been embarrassed by jackets designed for children. This is less surprising than we might think. In Shakespeare’s day—and for many years after—fairy tales were not confined to the nursery but were told by the fireside to entertain the whole family. A Midsummer Night’s Dream’s world of spells and mischief offers to charm playgoers of all ages. What is the attraction of fantasy fiction? How does it work? How do we learn to inhabit its imagined worlds? Can it do anything that other genres cannot do? Perhaps strange adventures in unreal settings can cast new light on the reality we think we know. -
Ell 1E5 570 ' CS 20 5 4,96;
. MC0111117 VESUI17 Ell 1E5 570 ' CS 20 5 4,96; AUTHOR McLean, Ardrew M. TITLE . ,A,Shakespeare: Annotated BibliographiesendAeaiaGuide 1 47 for Teachers. .. INSTIT.UTION. NIttional Council of T.eachers of English, Urbana, ..Ill. .PUB DATE- 80 , NOTE. 282p. AVAILABLe FROM Nationkl Coun dil of Teachers,of Englishc 1111 anyon pa., Urbana, II 61.801 (Stock No. 43776, $8.50 member, . , $9.50 nor-memberl' , EDRS PRICE i MF011PC12 Plus Postage. DESCRIPTORS Annotated Biblioal7aphies: *Audiovisual Aids;'*Dramt; +English Irstruction: Higher Education; 4 *InstrUctioiral Materials: Literary Criticism; Literature: SecondaryPd uc a t i on . IDENTIFIERS *Shakespeare (Williaml 1 ABSTRACT The purpose of this annotated b'iblibigraphy,is to identify. resou'rces fjor the variety of approaches tliat teachers of courses in Shakespeare might use. Entries in the first part of the book lear with teaching Shakespeare. in secondary schools and in college, teaching Shakespeare as- ..nerf crmance,- and teaching , Shakespeare with other authora. Entries in the second part deal with criticism of Shakespearear films. Discussions of the filming of Shakespeare and of teachi1g Shakespeare on, film are followed by discu'ssions 'of 26 fgature films and the,n by entries dealing with Shakespearean perforrances on televiqion: The third 'pax't of the book constituAsa glade to avAilable media resources for tlip classroom. Ittries are arranged in three categories: Shakespeare's life'and' iimes, Shakespeare's theater, and Shakespeare 's plam. Each category, lists film strips, films, audi o-ca ssette tapes, and transparencies. The.geteral format of these entries gives the title, .number of parts, .grade level, number of frames .nr running time; whether color or bie ack and white, producer, year' of .prOduction, distributor, ut,itles of parts',4brief description of cOntent, and reviews.A direCtory of producers, distributors, ard rental sources is .alst provided in the 10 book.(FL)- 4 to P . -
Fairy Tale: a Very Short Introduction by Marina Warner
Volume 37 Number 2 Article 12 Spring 4-17-2019 Fairy Tale: A Very Short Introduction by Marina Warner Barbara L. Prescott Stanford University Alumni Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Comparative Literature Commons, English Language and Literature Commons, and the Folklore Commons Recommended Citation Prescott, Barbara L. (2019) "Fairy Tale: A Very Short Introduction by Marina Warner," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 37 : No. 2 , Article 12. Available at: https://dc.swosu.edu/mythlore/vol37/iss2/12 This Book Reviews is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm This book reviews is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol37/iss2/12 EVIEW ESSAYS NAVIGATING THE C ARTE DU TENDRE IN FA IRY T ALE: A V ERY SH ORT INTRODUCTION BY MAR INA WARNER BARBARA PRESCOTT FAIRY TALE: A VERY SHORT INTRODUCTION. -
A Midsummer Night's Dream
47th Season • 450th Production SegerStrom StAge / JANUArY 21 - FeBrUArY 20, 2011 David Emmes Martin Benson ProdUciNg ArtiStic director ArtiStic director presents A MIDSUMMER NIGHT’S DREAM BY William Shakespeare Cameron Anderson Nephelie Andonyadis Lap Chi Chu John Ballinger & Ken Roht SceNic deSigN coStUme deSigN LightiNg deSigN origiNAL mUSic Ken Roht John Ballinger Kimberly Egan Joshua Marchesi Jamie A. Tucker* CHOREOGRAPHY MUSIC DIRECTOR SoUND DESIGN PRODUCTION MANager STAGE MANAGER directed BY Mark Rucker Laurie Smits Staude hoNorArY ProdUcer corPorAte ProdUcer A Midsummer Night’s Dream • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Theseus, Duke of Athens ........................................................... Elijah Alexander* Hippolyta, Queen of the Amazons ..................................... Susannah Schulman* Egeus, an Athenian citizen ........................................... William Francis McGuire* Hermia, daughter to Egeus, in love with Lysander ...................... Kathleen Early* Demetrius, in love with Hermia .................................................. Tobie Windham* Lysander, in love with Hermia .......................................................... Nick Gabriel* Helena, in love with Demetrius ......................................................... Dana Green* Peter Quince .................................................................................. Hal Landon, Jr.* Nick Bottom, a weaver ....................................................................... Patrick -
School Radio
School Radio A Midsummer Night’s Dream 2: THE REHEARSAL Adapted by Julia Cranney SCENE 3: QUINCE’S HOUSE, ATHENS PUCK Welcome to the other side of Athens, a place where people live in small houses, not big palaces. This is the house of Mistress Quince, who loves to write plays. Tonight she’s gathered together her friends to rehearse her latest effort. QUINCE Right then... SNUG Woah, it’s cold tonight in’t it? STARVELING I know. Call this summer? QUINCE Ladies and gentlemen… SNOUT Oi! Stop hogging the warm! FLUTE I’ll only be a minute… Ow! [FLUTE, SNUG AND STARVELING CRASH TO THE FLOOR] QUINCE Is everyone here? BOTTOM Ahem… You’re best to call our names, one by one, according to the script. QUINCE Oh yes. Here’s the list of everyone’s name, who are thought best to act in our play for the Duke and Duchess on their wedding day at night. BOTTOM Yes, good Mistress Quince, now tell us what the play is and so get to the point. QUINCE Our play is the most lamentable story and most cruel death of Pyramus and Thisbe. PUCK Pyramus and Thisbe? That’s a story about a couple of star-crossed lovers that definitely doesn’t end well. It’s meant to be a tragedy, but if this lot do it, I think it’s going to end up a comedy. 1 School Radio www.bbc.com/teach/school-radio © BBC 2020 School Radio A Midsummer Night’s Dream BOTTOM Now, good Mistress Quince, it’s time to give out the parts. -
5Ffbcc3d63870fc8d9eabbd9 a Midsummer Nights Dream 2021 Season.Pdf
THE AUSTRALIAN SHAKESPEARE COMPANY PRESENTS DIRECTED BY GLENN ELSTON MUSIC BY PAUL NORTON Featuring Hugh Sexton, Alison Whyte, Fletcher O’Leary, Dion Mills, Anna Burgess, Tony Rive, Madeleine Somers, Laurence Boxhall, Syd Brisbane, Kevin Hopkins, Richard Piper, Lizzy Brennan, Mitchell Wills, Andrew Cullimore, Penelope Gordon, Milly Whyte and Sasha Lippman Choreographer Costume Production Manager Sue-Ellen Shook Karla Erenbots Peter Amesbury Kaspa Elston Sound Set Lighting Stage Manager Andrew Nielson Joshua Sunderland Thomas Roach Brittany Coombs Adam Cartwright SYNOPSIS The tale, which takes place in the court of Athens and the woods beyond, is one of tangled loves and magic potions. Theseus, The Duke of Athens, is arranging his marriage to Hippolyta, Queen of the Amazons, whom he has just defeated in battle. But first he has to judge a matrimonial dispute. Egeus wants his daughter Hermia to marry Demetrius, but she wants to marry Lysander. Egeus claims Lysander has bewitched his daughter and, in accordance with ancient Athenian law, demands that unless she complies with her father’s wishes and marries Demetrius, she must become a nun or be put to death. Theseus gives her three days to decide and after briefly considering their options, Hermia and Lysander elope to the nearby woods - but not before disclosing their plans to her childhood friend Helena, who is desperately in love with Demetrius. Meanwhile, a bunch of tradesmen, referred to as the mechanicals, are rehearsing a show for the Duke’s marriage. Like all amateur theatricals they have their ham, in this case it is Bottom the Weaver. As Lysander notes, “The course of true love never did run smooth”, but nei- ther do Shakespearean plots, for in the woods the lovers fall under the spell cast by Oberon, King of the Fairies, who is in dispute with Titania, Queen of the Fairies. -
A Midsummer Night's Dream
CLASSIC DRAMA UNABRIDGED William Shakespeare A Midsummer Night’s Dream With Warren Mitchell Michael Maloney Sarah Woodward and full cast 1 Music and opening announcement 1:21 2 Act 1 Scene 1 6:20 3 Act 1 Scene 1: LYSANDER How now my love, why is your cheek so pale? 5:11 4 Act 1 Scene 1: HELENA How happy some o’er other some can be! 1:51 5 Musical interlude 0:49 6 Act 1 Scene 2 6:05 7 Musical interlude 1:06 8 Act 2 Scene 1 2:50 9 Act 2 Scene 1: OBERON Ill met by moonlight, proud Titania! 4:43 10 Act 2 Scene 1: OBERON Well, go thy way. Thou shalt not from this grove 2:20 11 Act 2 Scene 1: DEMETRIUS I love thee not, therefore pursue me not. 3:10 12 Act 2 Scene 1: OBERON I know a bank where the wild thyme blows 1:09 13 Musical interlude 1:43 14 Act 2 Scene 2 4:50 15 Act 2 Scene 2: PUCK Through the forest have I gone… 1:12 16 Act 2 Scene 2: HELENA Stay though thou kill me, sweet Demetrius! 3:32 2 17 Act 2 Scene 2: HERMIA Help me Lysander, Help me! 1:08 18 Closing music 1:49 19 Opening music 0:50 20 Act 3 Scene 1 7:29 21 Act 3 Scene 1: BOTTOM I see their knavery. This is to make an ass of me 5:16 22 Act 3 Scene 2 2:14 23 Act 3 Scene 2: DEMETRIUS O, why rebuke you him that loves you so? 2:38 24 Act 3 Scene 2: OBERON What hast thou done? Thou hast mistaken… 1:44 25 Act 3 Scene 2: LYSANDER Why should you think that I should woo… 3:52 26 Act 3 Scene 2: HELENA Lo, she is one of this confederacy 8:41 27 Act 3 Scene 2: OBERON This is thy negligence.