A Midsummer Night's Dream

Total Page:16

File Type:pdf, Size:1020Kb

A Midsummer Night's Dream A NOISE WITHIN SPRING 2021 STUDY GUIDE William Shakespeare’s A Midsummer Night’s Dream Edu STUDY GUIDES FROM A NOISE WITHIN A rich resource for teachers of English, reading, arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. Pictured: Carolyn Ratteray, Evan Lewis Smith, and Veralyn Jones, Gem of the Ocean More information? It would be our pleasure. We’re 2019. PHOTO BY CRAIG SCHWARTZ. here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green DIRECTOR OF EDUCATION TABLE OF CONTENTS Special thanks to our Dinner On Stage donors who kept the arts thriving this year by Character Map ......................................4 supporting our Student Matinees (SMATs): Synopsis ...........................................5 SMAT PERFORMANCE SPONSOR About the Author: William Shakespeare ...............6 ($5,000 AND ABOVE) Richard Green Sheila & Alan Lamson Timeline of William Shakespeare’s Life. 7 Jeanie & Terry Kay Barbara Lawrence William & Priscilla Terri Murray Historical Context: Elizabethan Society ................8 Kennedy Richard & Sally Roberts Love Trouble: The Light and Dark of SCHOOL SPONSOR ($2,500 AND ABOVE) A Midsummer Night’s Dream. 9 Bill & Clarie Bogaard Julie & Lance Markowitz A 16th Century Ovid: The Influence of Kathleen & Bruce & Valerie Merritt James Drummy Lyn Spector Classical Mythology on the Understanding Sheila Grether-Marion & Lois Tandy of Shakespeare’s Plays ...............................11 Mark Marion Liz & Rhodes Trussell Barbara Henderson Themes and Motifs ................................. 13 Verse and Prose .................................... 16 CLASS SPONSOR ($1,000 AND ABOVE) Molly Bachmann Eugene Kapaloski Try Your Hand at Shakespeare ........................17 Meg Huntington Cajero Thomas & Gloria Lang Jack & Becky Doody Jay Lesiger Words Coined by Shakespeare ....................... 18 Fred & Sandy Engler Cynthia Nunes & Armando Gonzalez Barbara Nye The Art of the Shakespearean Insult .................. 19 Diane Grohulski Diana Peterson-More Pre-Show Preparation: Research .....................20 Schuyler & Gail Samuel & Deborah Hollingsworth William Christian Pre-Show Preparation: Activities ..................... 21 Robert & Jennifer Israel Margaret Sedenquist Denise Jay Tribune Direct Essay Questions ....................................23 Miranda Johnson-Haddad Vickie Taylor Additional Resources ...............................24 Molly Joseph WORKSHOP SPONSOR ($500 AND ABOVE) Robert Cathcart Bob Low, in honor of wife Cecilia Center Anni Frandsen Low, A NOISE WITHIN’S EDUCATION PROGRAMS MADE POSSIBLE IN PART BY: John Cushman Ph.D. Ann Peppers Foundation Kenneth T. and Julie Daniels Alan Miller Eileen L. Norris Foundation Patrick Garcia Julia Rodriguez-Elliott Capital Group Companies Sandra Greenstein Janet Samuel Michael J. Connell Ralph M. Parsons Foundation Selma Holo & Fred Croton Deborah Strang David Holtz Donna Tucker, in memory Foundation Shakespeare in American Forsight Creations of Beverly Parks The Dick and Sally Roberts Communities: National Jim Kelly Tucker Coyote Foundation Endowment for the Arts Arthur J. Gallagher & Co. Loretta Vigil in partnership with Jason King Marianne Wallace The Jewish Community Arts Midwest. David & Julia Zuckerman Foundation Elyse Klein Steinmetz Foundation The Green Foundation BUS SPONSOR ($350 AND ABOVE) Dwight Stuart Youth Fund Wendy Alden Allan Mohrman Anonymous Scott Myers Julie Fox Blackshaw Norma Richman Mary Hacker Edmund Roberts Ilona Linden Daniel Rothmuller Nancy Macky Chromatic Joan Mills Interactive Media ADDITIONAL DONORS Jerry Gallagher & Jan Sanders Gerard Clarke Linda Saurenman Margaret Grossman Stuart Semigran Margaret Koch Angela Conner & Irene Lacher Kevin Speaks Mark Nelson Sallie Strang This project is part of Shakespeare in American Communities, a program of the National Endowment for the Arts in partnership with Arts Midwest. Cover Image: A Midsummer Night’s Dream by Gustave Doré, c. 1870 4 A NOISE WITHIN 2020/21 REPERTORY SEASON | Spring 2021 Study Guide A Midsummer Night's Dream CHARACTER MAP ATHENIAN COURT THE LOVERS Theseus Hippolyta Lysander Hermia The Duke The warrior Queen Another young A young lover and of Athens, of the Amazons, lover. In love with the daughter of Theseus, is Hippolyta, is Hermia. Egeus. betrothed to betrothed to Hippolyta. Theseus. Egeus The father Philostrate of Hermia. The master of the revels to Duke Theseus’ court. Helena Demetrius Another young Another young The Mechanicals lover. In love lover. Egeus’ pick for with Demetrius. Hermia. Nick Bottom Peter Quince weaver and A carpenter and one of the the director of the “mechanicals.” THE FAIRES “mechanicals.” Plays Pyramus. Supernatural Francis Flute Tom Snout A bellows mender, A tinker, also Titania Oberon also one of the one of the The Queen of The King of “mechanicals.” Plays “mechanicals.” the fairies. the Fairies. Thisbe. Plays a Lion. Snug Robin Starveling Fairies Puck A joiner, also one of A tailor, also attend to Titania. Oberon's servant. the “mechanicals.” one of the Peaseblossom A.k.a. Robin Plays a Wall. “mechanicals.” Cobweb Goodfellow. Plays Moonshine. Moth Mustardseed 5 A NOISE WITHIN 2020/21 REPERTORY SEASON | Spring 2021 Study Guide A Midsummer Night's Dream SYNOPSIS Theseus, Duke of Athens, after conquering the warrior Amazons in battle, is in turn conquered by the charms of their Queen, Hippolyta, and they are now planning to marry. To speed the time until their wedding night, Theseus orders amusements to be staged. In the spirit of loyalty, Bottom the weaver and other tradesmen decide to prepare a play for the Duke and his bride. The preparations are interrupted by Egeus, an Athenian, who brings his daughter, Hermia, and her two suitors before Theseus, entreating him to command A Midsummer Night’s Dream by Robert Fowler, c.1900 Hermia to wed Demetrius. Hermia begs to be allowed to marry Lysander, The four lovers are greatly confused. Oberon finds whom she loves. The duke orders Hermia to obey that Puck put the potion on Lysander’s eyes and her father under penalty of death or confinement not Demetrius, so Oberon uses another potion to in a convent. Hermia and Lysander, thinking that break the spell. When Demetrius wakes up, he sees the decree is too harsh, agree to secretly meet in a the neglected Helena being wooed by Lysander. His nearby forest and escape to another city. They tell own love for her returns, and he is ready to fight their plans to Helena, the former lover of Demetrius Lysander to win back the love of Helena. Helena, who still dotes on him. To win back his love, Helena having been so rejected, thinks that both men are informs Demetrius of Hermia and Lysander’s escape mocking her, and Hermia is dazed by the rejection plan. of her lover, Lysander. The fairies prevent conflict by causing the four to wander around in the dark Meanwhile, in the forest, the fairy king and queen, forest until they tire and fall asleep. Puck corrects Oberon and Titania, are at odds. In spite, Oberon his mistake by smearing Lysander’s eyes to undo asks Puck to obtain a special love potion to pour on the love potion. This way, when everyone wakes up, Titania’s sleeping eyes. This will cause her to love the Lysander will love Hermia and Demetrius will love first thing she sees upon waking. Just then, Oberon Helena. sees Demetrius looking for the meeting place chosen by Hermia and Lysander. Instead, much to Titania entertains Bottom as her true love until his distaste, Demetrius meets Helena. Upon seeing Oberon, whose anger has cooled, removes the spell Helena’s distress from being rejected by Demetrius from her eyes. Bottom is restored to his human yet again, Oberon asks Puck to smear Demetrius’ form and rejoins his friends in Athens. On an early eyes with the love potion so that he may love morning hunting trip, Theseus comes upon the four Helena. But, when Lysander and Hermia arrive, Puck lovers in the forest. When all is explained, Theseus mistakenly smears Lysander’s eyes with the love withdraws his order to Hermia and grants permission potion, and, as Helena wanders by, Lysander falls in for her to marry Lysander, also allowing Helena to love with her and abandons Hermia. marry Demetrius. This same enchanted spot in the forest is the place A wedding feast for all three couples is spread at selected by Bottom and his company of tradesmen the Duke’s palace. Bottom’s acting troupe comes to for the final rehearsal of their play. The mischievous the wedding feast and presens the “comic” tragedy Puck magically crowns Bottom with the head of an of Pyramus and Thisbe, which is performed in a ass, which terrifies the other players into running wondrous
Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • The Low-Status Character in Shakespeare's Comedies Linda St
    Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created.
    [Show full text]
  • Ourhousetoyourhouse Royal Opera House Announces New Friday Premiere Stream: the Royal Ballet’S the Dream (2017)
    17 March 2021 #OurHouseToYourHouse Royal Opera House announces new Friday Premiere stream: The Royal Ballet’s The Dream (2017) The Royal Opera House is delighted to continue its #OurHouseToYourHouse programme, featuring online broadcasts that can be accessed by audiences around the world for just £3. Join us on Friday 19 March at 7pm GMT as we stream The Dream (2017). Frederick Ashton’s delightful interpretation of Shakespeare’s A Midsummer Night’s Dream is a classic of The Royal Ballet’s repertory, and this production, recorded in 2017, features music from Felix Mendelssohn performed by the Orchestra of the Royal Opera House and designs from David Walker. Showcasing the extraordinary talents of dancers of The Royal Ballet, this recording stars Principal dancers Akane Takada as Titania and Steven McRae as Oberon. Also featured are First Soloist Valentino Zucchetti as Puck and Principal Character Artist Bennet Gartside as Bottom. Titles currently available to view via stream.roh.org.uk include La Fille mal gardée (The Royal Ballet, 2015), Il trittico (The Royal Opera, 2011), Raymonda Act III (The Royal Ballet, 2019), Tony and the Young Artists (The Royal Opera, 2021) and The Sleeping Beauty (The Royal Ballet, 2020). As part of our ongoing partnership with the BBC, Royal Opera House content continues to be available via BBC Sounds and BBC iPlayer. The Royal Opera’s 2018 performance of Wagner’s Ring Cycle in Keith Warner’s acclaimed production is available to listen to again in full. Presented by Tom Service, these performances feature Antonio Pappano conducting the Orchestra of the Royal Opera House and a stellar cast including soprano Nina Stemme as Brünnhilde; baritone John Lundgren as Wotan; mezzo- soprano Sarah Connolly as Fricka; and tenor Stefan Vinke as Siegfried, among others.
    [Show full text]
  • Rebecca Stanton 1. the Story of Pyramus and Thisbe Chosen by The
    1/27/2015 Blog Wow: View blog Rebecca Stanton A Midsummer Night's Dream, redux Oct 4, 2013 2:25 PM As we discussed in class on Thursday, while Shakespeare's play is both more light­ hearted and just plain "lighter" ­­ easier to digest ­­ than Spenser's deliberately MAGIC AND MODERNITY difficult, densely allegorical poem, A Midsummer Night's Dream nonetheless Official Course Blog shares certain background assumptions and even thematic concerns with The Faerie Queene. Similar vocabulary is used to talk about magic, love, dreams, visions ­­ as in The Faerie Queene, the inherent unreliability (and potential demonic origin?) of dreams and visions, and even of straightforward sensory data about the material world, is at issue. To put it another way, it's not just the "mind's eye" that is easily bamboozled ­­ our actual eyes are as well. What does Shakespeare's comedy have to say about empirical knowledge and human understanding? Where does magic play into all of this? Fairies, as we've seen in Spenser, are serious business ­­ not, as the historian Diane Purkiss suggests in the introduction to her superb At the Bottom of the Garden: A Dark History of Fairies, Hobgoblins, Nymphs, and Other Troublesome Things, merely "tiresome wingy thingies who are always good." Purkiss continues: "Actually, as we shall see, fairies are an invention that almost wholly lacks moral engagement. In stories about fairies, there are exceedingly strict rules of behaviour, but these apply not to the fairies but to human beings, and they exist for reasons of self­preservation,
    [Show full text]
  • Shakespearean Tragedy's
    SHAKESPEAREAN TRAGEDY’S SHAKESPEAREAN TRAGEDY’S: A CRITICAL STUDY Rameshsingh M.Chauhan Assistant Professor, ISSN 2277-7733 Sardar Vallabhbhai Vanijya Mahavidyalaya, Ahmedabad Volume 6 Issue 4, March 2018 Abstract Shakespearean say that tragedy is nothing but a sad play is not accurate the plays often involve the fall of noble stature. The character always has a fatal that leads to their downfall. Their downfall is usually set into motion by external forces that the characters have little or no control over. The tragedies are also characterized by a great deal of death. The tone is usually very somber from the onset of the play. The plays are meant to examine human nature. The elements below can be found in Shakespeare tragedies, how well do they match the play know? They end with the death of the tragic heroes. The deaths of the heroes have a big impact on the people around them. And the larger community other person dies as part of the tragic chain of events. The heroes reach a pack in the day of happiness or achievement. Macbeth becomes King Romeo and Juliet get married. This usually happens about through. After this peak, there is a peripateia where events take a terrible turn for the worse. The heroes are in some part responsible for this change of fortunes. The paper critically analyses the Shakespearean tragedy. Key words: criticism, critical study, shakespeare, tragedy William Shakespeare is the greatest English writer. He was born on April 23, 1564 in Stratford upon even Shakespeare was the most documented Elizabethan play write.
    [Show full text]
  • 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.
    [Show full text]
  • Conversations with Bill Kristol
    Conversations with Bill Kristol Guest: Paul Cantor Professor of English, University of Virginia Taped March 15, 2021 Table of Contents I. Comedy and Skepticism (0:15 – 13:05) II: Shakespeare's Comedy (13:05– 46:32) III: Love and Friendship (46:32 – 1:23:40) I. Comedy and Skepticism (0:15 – 13:05) KRISTOL: Hi, welcome back to CONVERSATIONS. I'm Bill Kristol, very pleased to be joined again by my friend Paul Cantor, Professor of Literature at the University of Virginia. He has been a guest on many conversations ranging in topics from Shakespeare to popular culture, to fiction, to Westerns in movies and novels. But today, we're going to talk about Shakespeare and comedy. Before we get into that, I should say that you can watch a whole series of lectures by Paul, excellent lectures on Shakespeare, at the Shakespeare and Politics page of Great Thinkers, www.thegreatthinkers.org. So, go to www.thegreatthinkers.org, click on Shakespeare and politics, and you'll get a very well curated page with Paul's lectures and actually, the earlier conversations we've had on Shakespeare, et cetera. But enough of the promotion, let's get to the topic, so Paul, thanks for being with me. CANTOR: Pleasure being here. I know it's virtual. KRISTOL: Yeah. I know, next time. Next time in — CANTOR: Yeah, I think so. KRISTOL: Next time in reality, but. So, Shakespeare and comedy. So you wanted to talk about comedy? With most people interested in Shakespeare, the tragedies come to mind first, and they're more serious and heavy and weighty and all that.
    [Show full text]
  • A Midsummer Night's Dream Education Pack
    EDUCATION PACK 1 Contents Introduction Introduction ....................................................................................................................................................3 Section 1: An Introduction to Shakespeare ……………………......................................................................……4 William Shakespeare 1564 - 1616 ..................................................................................................................5 Elizabethan and Jacobean Theatre..................................................................................................................7 Section 2: The Watermill’s Production of A Midsummer Night’s Dream....................................................10 A Brief Synopsis ............................................................................................................................................11 Character Profiles…………………………………………………………………………………………………………………………………….13 Character Map...............................................................................................................................................15 Themes of The Watermill’s A Midsummer Night’s Dream………………………………………………………………………..16 Meet the Cast................................................................................................................................................18 The Design Process........................................................................................................................................21 Costume Designs……………………………………………………………………………………………………………………………………..23
    [Show full text]
  • 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.
    [Show full text]
  • Love's Labour's Lost
    Love’s Labour’s Lost by William Shakespeare Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey LOVE’S LABOUR’S LOST: Know-the-Show In This Guide – LOVE’S LABOUR’S LOST: An Introduction ............................................................................... 2 – The Life of William Shakespeare ............................................................................................... 3 – LOVE’S LABOUR’S LOST: A Synopsis ....................................................................................... 4 – Sources of the Play ................................................................................................................... 5 – Who’s Who in the Play ............................................................................................................. 6 – Changing Views of LOVE’S LABOUR’S LOST ............................................................................ 7 – The Language of LOVE’S LABOUR’S LOST ............................................................................... 8 – Food for Thought....................................................................................................................... 9 – Commentary & Criticism ........................................................................................................ 10 – In this Production ..................................................................................................................
    [Show full text]
  • Fairy Queen Resource Pack
    1 The Fairy Queen Resource Pack 2 Contents Page 3-4 Plot Summary 5 Characters: The Faeries 6 Characters: The Lovers 7 Characters: The Mechanicals 8-9 Henry Purcell & The Fairy Queen 10 Creative Writing Exercise: Mischievous Puck 11 Drama Exercise: You Spotted Snakes 12-13 Design and make a Fairy Crown 14 Magical Muddle character game 15 A Midsummer Night’s Dream Word Search 3 “A Midsummer Night’s Dream” by William Shakespeare Plot Summary Duke Theseus and Queen Hippolyta are preparing for their wedding. Egeus, a nobleman, brings his daughter Hermia to Theseus, as he wants her to marry Demetrius but she is in love with another man, Lysander. The Duke, Theseus, commands Hermia to obey her father and either marry Demetrius or, according to Athenian Law, she must be put to death or enter a convent. Hermia and Lysander decide to runaway together that night to get married in secret. Hermia tells her best friend Helena of her plans. Helena is in love with Demetrius (even though he hates her and loves Hermia), so she tells him about Hermia and Lysander’s plans, hoping that she might win his love. All the four lovers run away into the woods that night - Demetrius following Hermia & Lysander and Helena following after Demetrius. Meanwhile, there are a group of tradespeople called the Mechanicals who are rehearsing a play in the same woods. They include Bottom the weaver, Quince the taylor and Flute the bellows mender, among others. The play they are rehearsing is ‘The Tragedy of Pyramus and Thisbe’ and it is to be performed for the Duke and Queen at their wedding.
    [Show full text]
  • THESEUS, HIPPOLYTA, and PHILOSTRATE Enter, with a Number of Lords and Servants
    ACT 5 THESEUS, HIPPOLYTA, and PHILOSTRATE enter, with a number of lords and servants. HIPPOLYTA These lovers are saying some strange things, Theseus. THESEUS Yes, strange—and totally made up too. I’ll never believe any of these old legends or fairy tales. Lovers and madmen hallucinate about things that sane people just can’t understand. Lunatics, lovers, and poets all are ruled by their overactive imaginations. some people think they see devils and monsters everywhere—and they’re lunatics. Hippolita Lovers are just as crazy, and think a dark-skinned gypsy is the most gorgeous woman in the world. Poets are always looking around like they’re having a fit, confusing the mundane with the otherworldly, and describing things in their writing that simply don’t exist. All these people have such strong imaginations that, when they feel happy, they assume a god or some other supernatural being is bringing that happiness to them. Or if they’re afraid of something at night, they look at the shrubbery and imagine it’s a wild bear! HIPPOLYTA But the story that these lovers are telling, and the fact that they all saw and heard exactly the same things, make me think there’s more going on here than imaginary fantasies. Their story is bizarre and astounding, but it’s solid and consistent. The lovers—LYSANDER, DEMETRIUS, HELENA, andHERMIA—enter. THESEUS Here come the lovers, laughing happily.—I wish you joy, my friends! I hope the days ahead are full of joy for you. LYSANDER We wish you even more joy, and hope joy comes to you in your royal walks, at your table, and in your royal bed! THESEUS Now, what kind of entertainment do we have to fill up the long three hours between dinner and bedtime? Where is our entertainment director? What performances have been prepared? Aren’t there any plays for us to enjoy while we wait in torture for bedtime to come? Let me see Philostrate.
    [Show full text]