Literacy Skills Teacher's Guide
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A Midsummer Night's Dream
Marin Shakespeare’s 2018 Teen Touring Company is proud to present A Midsummer Night’s Dream Directed by Jackson Currier Introduction to A Midsummer Night’s Dream “A Midsummer Night’s Dream” is considered to be one of, if not the most, easily accessible plays in all of Shakespeare’s cannon. One exposure to the wonderfully rich and magical characters within the story and you can understand its popularity. Shakespeare’s plays are full of magic. If you visit Forest Meadows for the mainstage plays at Marin Shakespeare Company this summer, you’ll see examples of this. In "Hamlet," the title character is visited by the ghost of his father. "Pericles" tells of loss and redemption, and has a character brought back to life, and a goddess visitation who guides the hero to his lost love. Both plays are filled with supernatural phenomena and magical happenings. "A Midsummer Night’s Dream" is Shakespeare’s most magical play, and it is one of the most beautiful. While magic can be used for vengeance and malevolence, its function is much gentler in “Dream”, and much more comedic. In “Dream”, magic is used to make people fall in love. (And occasionally to turn people into donkeys!) The play, in turn, casts a spell on the audiences who watch it, leading them to fall in love with its hilarious characters, ingenious plot twists and its very happy ending. Things to look for in the play 1) Many people consider “Dream” to be Shakespeare’s greatest comedy ever. One main reason is the flawless intertwining of four plots: A Duke's wedding, four lovers in romantic entanglements, a war between the King and Queen of the Fairies, and amateur craftsmen rehearsing a play. -
Synopsis: a Midsummer Night's Dream
SHAKESPEAREANCES.COM Synopsis: A Midsummer Night’s Dream The fairies create a lot of havoc—misapplying love potions, causing confusion among young lovers, turning a guy’s head into that of an ass, causing foul weather—but that’s nothing compared to the play a bunch of amateur thespians put on for the Duke of Athens’ marriage festivities. By William Shakespeare, written about 1596, first printed in a 1600 quarto Act I, Scene 1 Theseus, the Duke of Athens, has defeated the Amazons in a war but now intends to marry their queen, Hippolyta. The wed- ding is set for four days’ hence, and while he is eager to get on with the nuptials, she is showing much more patience. Into the scene comes Egeus with his daughter, Hermia, and two men, Lysander and Demetrius. Egeus wants Hermia to marry Demetrius, but she is in love with Ly- sander and refuses her father’s will. For this, Egeus wants his daughter executed under Athenian law. Theseus at least gives Hermia another option—become a virgin Nick Bottom (Max Casella, center) shows his fellow actors how he would play the lion in Theatre for a New Audience’s 2013 production of A Midsummer Night’s votary—but allows her three days to Dream. From left, Jacob Ming-Trent as Tom Snout, Zachary Infante as Francis choose whether to marry Demetrius, enter Flute, Brendan Averett as Snug, and William Youmans as Robin Starveling. Photo the sisterhood, or die. Left alone (really?), by Gerry Goodstein, Theatre for a New Audience. Lysander and Hermia complain about the not-so-smooth-course of true love and then brained scheme of telling Demetrius about Hermia’s determine to flee Athens, meet in the woods, and flight so that he would more appreciate Helena— run off to his aunt’s home where they can marry. -
Archived Press Release the Frick Collection
ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 Victorian Fairy Painting OPENING AT THE FRICK COLLECTION, BRINGS NEW YORK AUDIENCES AN UNEXPECTED OPPORTUNITY TO EXPERIENCE THIS CRITICALLY ACCLAIMED EXHIBITION October 14, 1998 through January 17, 1999 Attracting record crowds in British and American venues, the exhibition Victorian Fairy Painting comes to The Frick Collection, extending its tour and offering New York audiences an unexpected opportunity to view this unique presentation. Victorian Fairy Painting, on view October 14, 1998 through January 17, 1999, represents the first comprehensive exhibition ever devoted to this distinctly British genre, which was critically and commercially popular from the early nineteenth century through the beginning of World War I. The paintings, works on paper, and objects, approximately thirty four in number, have been selected by Edgar Munhall, Curator of The Frick Collection, from the original, larger touring exhibition, which was organized by the University of Iowa Museum of Art and the Royal Academy of Arts, London. Fairy painting brought together many opposing elements in the collective psyche and artistic sensibility of its time: rich subject-matter, an escape from the grim elements of an industrial society, an indulgence of new attitudes towards sex, a passion for the unknown, and a denial of the exactitude of photography. Drawing on literary inspiration from Shakespeare’s A Midsummer Night’s Dream to Sir Walter Scott’s Minstrelsy of the Scottish Border, as well as the theater, the dance, and music, fairy painters exercised their magic with the precision of the Pre-Raphaelites, aided too by experiments with drugs and spiritualism. -
The Character I Am Going to Analyse Is Oberon, the King of the Fairies and the Elves from the Play by Shakespeare: Midsummer Night‘S Dream Written Around 1590
The character I am going to analyse is Oberon, the King of the Fairies and the Elves from the play by Shakespeare: Midsummer night‘s dream written around 1590. The word Fairy comes from the Latin Fata derived from Fatum that means —destiny“. W hen we talk about an Elve or a Fairy we must imagine a very beautiful living being, they live in the forest, they know about music and arts in general and they are related with spring, light and white magic. They always play with love and because that lovers are connected with them and with the smell of the flowers. W e can see all this on the play by Shakespeare, when Oberon uses Cupid‘s flower to make the lovers to fall in love, we can also read some Fairies‘ songs: act three, scene one. But I am going to centre the idea only on Oberon, I want to demonstrate that this magic world is also corrupted by ambition and envy, and this can have repercussions on the real world and to make problems to humans, I mean, Oberon has envy of Titania, because she has a child with supernatural power and he wants it, this feeling provokes his ambition and because that he plays with Cupid‘s flower, to get his proposal of having that his wife but not him. The first time we see Oberon is on act two scene one, he appears in the forest and goes to talk with his friend and servant Puck, at the same time his wife Titania appears by the other side. -
A Midsummer Night's Dream
EXPLORING IMAGINATION IN DARK TIMES Eight Painted Masks inspired by Shakespeare’s A Midsummer Night’s Dream SUMMER SOLSTICE I feel growing excitement as summer solstice - June 21 - approaches and my mind turns to nature and fantasy, and especially a play written by William Shakespeare, A Midsummer Night’s Dream. The play, which premiered on January 1, 1605, is set in midsummer in Athens. Shakespeare lived all his life in the shadow of the bubonic plague, writing prolifically during outbreaks and quarantine lockdowns in London and Stratford-on-Avon. MAKING MASKS OF IMAGINARY FAIRIES My project – painting odd alien paper masks - explores my need for vicarious pleasure in imagination. I am making masks of imaginary fairies from Shakespeare’s play A Midsummer Night’s Dream. These are freakish but cathartic. I begin with Titania’s fairy assistants, Peaseblossom, Cobweb, Mustardseed, and Moth, flowers and creatures from the garden or field, tiny and magical in imagination; in reality, complex, interconnected and amazing. COMPLETING EIGHT FAIRIES After the four fairies are complete, I am still thinking about the fairy characters. First, I make Fairy. Then I make contrasting King Oberon and Queen Titania to express their fraught relationship and the extreme dichotomies of jealous rage and peaceful gratitude. I complete the set with Puck, who enlivens the plot with his maddening pranks. The Stratford Festival’s 2021 paired down “pandemic” version of the play uses 8 actors to perform all the many human and fairy characters. PEASEBLOSSOM My imagination identifies with these fantastical creatures – my name Oonagh is that of an Irish fairy goddess and it is fun to imagine what a fairy’s life might be as compared to my life as a lawyer. -
Reimagining a Midsummer Night's Dream
TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 2 The First Folio 3 Shakespeare’s England 4 The Renaissance Theater 5 Barbara Gaines Criss Henderson Courtyard-style Theater 6 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 8 Timeline 10 Chicago Shakespeare Theater is Chicago’s professional theater dedi- cated to the works of William Shakespeare. Founded as Shakespeare Shakespeare’s Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three A Midsummer Night's Dream levels wrap around a deep thrust stage—with only nine rows separating the farthest seat from the stage. Chicago Shakespeare also features a Dramatis Personae 12 flexible 180-seat black box studio theater, a Teacher Resource Center, and The Story 13 Who's Who: What's in a Name? 13 a Shakespeare specialty bookstall. Act-by-Act Synopsis 14 Now in its twenty-seventh season, the Theater has produced nearly the en- Something Borrowed, Something New… tire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopa- Shakespeare's Sources 15 tra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry The Nature of Comedy 17 IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius A History of Dreams 18 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Scholars’ Perspectives for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, Spirits of Another Sort 20 Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, The What the Critics Say 21 Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, The Two Noble Kinsmen, and The Winter’s Tale. -
The Ethics of Eating Animals in Tudor and Stuart Theaters
ABSTRACT Title of dissertation: THE ETHICS OF EATING ANIMALS IN TUDOR AND STUART THEATERS Rob Wakeman, Doctor of Philosophy, 2016 Dissertation directed by: Professors Theresa Coletti and Theodore B. Leinwand Department of English, University of Maryland A pressing challenge for the study of animal ethics in early modern literature is the very breadth of the category “animal,” which occludes the distinct ecological and economic roles of different species. Understanding the significance of deer to a hunter as distinct from the meaning of swine for a London pork vendor requires a historical investigation into humans’ ecological and cultural relationships with individual animals. For the constituents of England’s agricultural networks – shepherds, butchers, fishwives, eaters at tables high and low – animals matter differently. While recent scholarship on food and animal ethics often emphasizes ecological reciprocation, I insist that this mutualism is always out of balance, both across and within species lines. Focusing on drama by William Shakespeare, Ben Jonson, and the anonymous authors of late medieval biblical plays, my research investigates how sixteenth-century theaters use food animals to mediate and negotiate the complexities of a changing meat economy. On the English stage, playwrights use food animals to impress the ethico-political implications of land enclosure, forest emparkment, the search for new fisheries, and air and water pollution from urban slaughterhouses and markets. Concurrent developments in animal husbandry and theatrical production in the period thus led to new ideas about emplacement, embodiment, and the ethics of interspecies interdependence. THE ETHICS OF EATING ANIMALS IN TUDOR AND STUART THEATERS by Rob Wakeman Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Advisory Committee: Professor Theresa Coletti, Co-Chair Professor Theodore B. -
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" Alexandra Larkin College of the Holy Cross, [email protected]
The Criterion Volume 2018 | Issue 1 Article 5 5-8-2018 Forgotten Fairies: Traditional English Folklore in "A Midsummer Night's Dream" Alexandra Larkin College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/criterion Part of the Comparative Literature Commons, Folklore Commons, Literature in English, British Isles Commons, and the Rhetoric and Composition Commons Recommended Citation Larkin, Alexandra (2018) "Forgotten Fairies: Traditional English Folklore in "A Midsummer Night's Dream"," The Criterion: Vol. 2018 : Iss. 1 , Article 5. Available at: https://crossworks.holycross.edu/criterion/vol2018/iss1/5 This Essay is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in The rC iterion by an authorized editor of CrossWorks. Ali Larkin 12/7/17 Shakespeare Forgotten Fairies: Traditional English Folklore in A Midsummer Night’s Dream One of the most popular sets of characters in Shakespeare’s comedy A Midsummer Night’s Dream is the powerful and mysterious fairies, whose magical antics drive the action of the play. Based in traditional English folklore, the fairies stand in contrast to the upper class Athenians and the Athenian peasant players. The play, which is set in Athens, follows in part the marital discord of Oberon and Titania, King and Queen of the Fairies and their servants, which reflects the aristocratic tendencies both of the Athenian court and the patrons of Shakespeare’s work. The two fairies rule over the woods outside of Athens, and yet their lives are extremely intertwined with those within the city. -
A Midsummer Night's Dream
A Midsummer Night’s Dream - The Lovers - Part I - I. Who are the Lovers? The Lovers are a set of four different characters whose foray into the woods is the focus of play’s plot and much of the confusion as well. There are two women and two men: Hermia, Helena, Demetrius and Lysander. At the start of the play Hermia and Lysander are very much in love, however Hermia’s father Egeus wants her to marry another man: Demetrius. Hermia does not want this and prefers to marry Lysander, and after Theseus decrees that it must be so, Hermia and Lysander run away into the woods to find a way to be together. Meanwhile Helena is in love with Demetrius however her love is unrequited. When Hermia finds out from Hermia and that she and Lysander will run away into the woods, Helena plots to tell Demetrius of Hermia’s plan so that Demetrius will look favourably on her. This means that all four lovers end up in the woods by Act 2. Whilst in the woods, the mortal couples are subject to the whims of Oberon who believes he is being helpful in trying to aid love when he sees Helena chasing after Demetrius in the woods. He instructs his servant Puck to place love juice on Demetrius’ eyes so that when he awakes, he will fall in love with Helena. However Puck mistakes Demetrius for Lysander and places the love juice on Lysander’s eyes instead. When Lysander awakes, he sees Hermia and falls in love with her. -
A Midsummer Night's Dream
r LEON WILSON CLARK r.' OPERA SERIES SHEPHERD SCHOOL OPERA and the SHEPHERD SCHOOL CHAMBER ORCHESTRA present A MIDSUMMER NIGHT'S DREAM An opera in three acts Music by Benjamin Britten Text after William Shakespeare • by the composer and Peter Pears f Debra Dickinson, stage director and choreographer Thomas Jaber, conductor and musical director Kirk Markley, set designer Manning Mpinduzi Mott, lighting designer Freddy Reymundo, costume designer .. March 22, 24, 26 and 28, 2001 7:30 p.m. Wortham Opera Theatre > CAST Oberon, King of the Fairies . Joan Allouache Tytania , Queen of the Fairies . Nicole Fraley l Puck . Jonathan Morales ~ Lysander, in love with Hermia . Karim Sulayman Demetrius, in love with Hermia . .Levi Beck .... Hermia , in love with Lysander Zanna Fred/and/ Soon Cho* ~ ... Helena, in love with Demetrius . Tracy Rhodus/Nacole Palmer* ,i. .. Theseus, Duke of Athens . Joseph Rawley/Kade Smith* Hippolyta, Queen of the Amazons, • betrothed to Theseus . Jessica Lloyd ~ Bottom, a weaver, Pyramus . Orival Bento-Gon9alves Flute, a bellows-mender, Thisby . Jamin Flabiano -,..., Snug, a joiner, Lion . Craig Verm Snout, a tinker, Wall . Benjamin Westbrook Starveling, a tailor, Moon . Ryan Dohoney ~ Quince, a carpenter . Andrew Sudduth ~ Fairies: Cobweb . Katherine Moscato l Peaseblossom . Lucy Sheils Mustardseed . Erin Robinson • Moth. Amy Cowan Chorus offairies . Sara Crain, Elizabeth Good, • Clara Rottsolk Cover for Tytania: Tracy Rhodus • * Performs Saturday, March 24, and Wednesday, March 28. • I SHEPHERD SCHOOL CHAMBER ORCHESTRA -
A Midsummer Night's Dream
Shakespeare’s A Midsummer Night’s Dream Major Characters THESEUS – The fair-minded Duke of Athens EGEUS – A nobleman, Hermia's strict father LYSANDER – Young nobleman, in love with Hermia DEMETRIUS – Young nobleman, currently in love with Hermia, formerly with Helena QUINCE – Commoner, a carpenter SNUG – Commoner, a joiner (a kind of carpenter) BOTTOM – Commoner, a weaver and amateur actor FLUTE – Commoner, a bellows-mender SNOUT – Comoner, a tinker or metal repairman STARVELING – Commoner, a tailor HIPPOLYTA - Queen of the Amazons, engaged to Theseus HERMIA – Young noblewoman, Egeus' daughter who is in love with Lysander HELENA – Young noblewoman, in love with Demetrius OBERON - King of the Fairies TITANIA - Queen of the Fairies PUCK or ROBIN GOODFELLOW - A mischievous Fairy Plot Summary: A Midsummer Night’s Dream is one of Shakespeare’s most beloved and often performed comedies. It is the story of a complex love triangle. They play begins in the palace of Duke Theseus who is preparing to wed the Amazon queen, Hippolyta. The festivities are interrupted by a dispute, however. The beautiful young Hermia is in love with Lysander, but the two cannot get married. Her father, Egeus, wants her to marry the unfaithful Demetrius, and refuses to budge. So Hermia and Lysander run away together. They head to the woods outside Athens where they plan to marry in secret. Before they leave, they share their plan with their good friend Helena, who tells Demetrius, because she is in love with him. In the forest, the four are caught in the middle of a battle between members of the spirit world.