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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 -
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, -
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. -
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: -
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. -
A Midsummer Night's Dream
A Midsummer Night’s Dream - The character of Puck - I. Who is Puck? Puck, also known as Robin Goodfellow, is a type of fairy who acts as an attendant to Oberon throughout the play. He speaks predominantly to Oberon and the audience for the entirety of the play and therefore seems to exist in a realm of his own outside the rest of drama. At Oberon’s request, he puts the love juice into Lysander’s eyes by accident thinking he is Demetrius. He later also applies the love juice to Demetrius’ eyes which causes the lovers’ spat in the forest in Act 3 Scene 2. Puck is also the character who transforms Bottom and gives him an ass’s head. Whilst Puck causes much of the confusion and mischief in the play, he is also the one to restore order as he puts the antidote in Lysander’s eyes causing him to rekindle his love for Hermia. At the end of the play Puck gives an epilogue to the audience suggesting: ‘Give me your hands if we be friends,/And Robin shall restore amends’. II. Context An Elizabethan audience would have been familiar with these types of fairies as they had a reputation of being mischievous and able to change into humans and animals when it suited them. Stories which contained ‘a puck’ were told throughout Britain, so his words at the start of Act 2 Scene 2: ‘I am that merry wanderer of the night’ would have resonated with an Elizabethan audience who would accept that Puck was able to fool humans and mislead those travelling in the night. -
A Midsummer Night's Dream Shakespeare's Contribution to Comedy Romantic Love 3 Couples Movement in Space to Reach a Happy En
A Midsummer Night’s Dream Shakespeare’s Contribution to Comedy Romantic Love 3 couples Movement in space to reach a happy ending Athens to the woods (nature) representing freedom, tolerance, justice, security, no-social controlled corruption, rules e.g The Winter’s Tale (Bohemia) The Tempest (deserted island) As You Like It (Arden Forest) The Merchant of Venice (Belmont) Use of supernatural elements Potion, Fairies, magic Use of more than one plot (main and sub- Main Plot: The story of the young lovers plot) Sub-plot: The story of Bottom and Titania The play presented by the guild brings the two plots together. -Marriage of Theseus & Hippolyta/related festivities -Eugus as obstacle to the marriage of Lysander and Hermia -Love triangle Helena & Demetrius [in love with Hermia, then both men in love with Helena] -Problem between Oberon & Titania: quarrel over an Indian boy Blending of comedy and tragedy More applicable to plays such as the Merchant of Venice, All’s Well That Ends Well Midsummer begins with death, potential for tragedy, then turns into a comedy. Marriage after the happy ending Marriage of the three couples (regeneration/giving birth) In Common: Love and money matters are both Classical and Shakespearean Character types are both Classical and Shakespearean e.g. Stubborn Father=Egeus Young Lovers= Lysander and Hermia Stupid/Clever Slave=Puck Helpers=Oberon Farcical Characters= trade guild actors Farce is both Classical and Shakespearean (everything that happens to Bottom is farce) A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays. -
A Midsummer Night's Dream
A MIDSUMMER NIGHT’S DREAM TEACHER PACK 1 ABOUT THIS PACK This pack supports the RSC’s 2021 performances of Michael Morpurgo’s Tales from Shakespeare, A Midsummer Night’s Dream. Michael Morpurgo’s retellings approach Shakespeare’s best loved stories from different perspectives and reimagine them for young people, and these writing resources will invite your pupils to do the same, considering how they might interpret them. The activities provided in this pack are specifically designed to support KS1-3 pupils in their writing and offers a number of writing opportunities centred around A midsummer Night’s Dream, exploring the story, characters and vocabulary. In the ‘notes from the classroom’ boxes you will find helpful hints and suggestions for how activities might be adapted for younger or older pupils. This pack was created in collaboration with Jan Anderson, an RSC Associate School teacher from Springhead Primary School. These symbols are used throughout the pack: CONTENTS READ Notes from the production, About the Approach Page 2 background info or extracts Activity 1 : The Woods outside Athens Page 3 ACTIVITY Activity 2 : Meeting Puck Page 5 A practical or open space activity Activity 3 : Meeting the Lovers Page 7 WRITE Activity 4 : The Fairy King and Queen argue Page 8 A classroom writing or discussion activity Activity 5 : Titania and Bottom Page 10 Resources Page 13 ABOUT THE APPROACH The practical activities which are described in this pack act as an important part of the writing process because they give pupils the content for their writing, including: • A deep understanding of plots and settings • Detailed understanding of characters and their relationships, dilemmas and motivations • A rich vocabulary to use in their writing The exploratory exercises aim to provide a strong audience and purpose for writing, enabling pupils to write for effect on the reader. -
Film Architecture and the Transnational Imagination : Set Design in 1930S European Cinema 2007
Repositorium für die Medienwissenschaft Tim Bergfelder; Sue Harris; Sarah Street Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema 2007 https://doi.org/10.5117/9789053569801 Buch / book Empfohlene Zitierung / Suggested Citation: Bergfelder, Tim; Harris, Sue; Street, Sarah: Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema. Amsterdam University Press 2007 (Film Culture in Transition). DOI: https://doi.org/10.5117/9789053569801. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC 3.0/ This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC 3.0/ License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. -
Midsummer: 80 Is a Playhouse-Inspired Unit with Three Curtained Entrances from Which Actors Can Enter and Exit
ASC Staff Creative Team Artistic Director Jeff Watkins Cast: Puck/ Philostrate- Ryan Vo Director of Education and Oberon- Sean Kelley Training Laura Cole Titania- Sarah Newby Halicks Helena- Destiny Thompson Development Director Rivka Levin Demetrius- Glenn Lorandeau Hermia- Kirsten Chervenak Education Staff Kati Grace Brown, Tony Lysander- Jake West Brown, Andrew Houchins, Adam King, Bottom- David Sterrit Amanda Lindsey, Samantha Smith Quince/ Egeus- Kenneth Wigley Flutre- O'Neil Delapenha Box Office Manager Becky Cormier Snout- Kirstin Calvert Finch Snug- Gabi Anderson Starveling- Cameryn Richardson Marketing Manager Jeanette Meierhofer Fairies- The Ensemble Company Manager Joe Rossidivito Director: Kati Grace Brown Photos appearing in this study guide are Music Director, Fight Choreographer courtesy of Jeff Watkins. and Lighting Designer: Mary Ruth Ralston Costume Designer: AC Butler The Atlanta Shakespeare Company 499 Peachtree St NE Atlanta GA 30308 404-874-5299 www.shakespearetavern.com Like the Atlanta Shakespeare Company on Facebook and follow ASC on Twitter at @shakespearetav. A Midsummer Night's Dream The Atlanta Shakespeare Company Photo Credit: NatioNal Portrait Gallery 2016 was the four WILLIAM huNdredth aNNiversary of Shakespeare's death, aNd SHAKESPEARE celebratioNs hoNoriNg Shakespeare (1564-1616) wrote thirty- Shakespeare's plays were popular with Shakespeare's coNtributioN seveN plays, which have become staples all types of people, iNcludiNg the two to literature took place of classrooms aNd theatre performaNces moNarchs who ruled ENglaNd duriNg his arouNd the world. across the world. lifetime: Elizabeth I (1533-1603) aNd James I (1566-1625). The soN of a glove-maker, Shakespeare was borN iN Stratford-upoN-AvoN, Shakespeare fouNd both artistic aNd co- where he received a stroNg educatioN iN mmercial success through his writiNg. -
Name Date Activity Page 9.2 Use with Chapter 9 the Language Of
Name Date Activity Page 9.2 Use with Chapter 9 The Language of Shakespeare Directions: Read the sentences from A Midsummer Night’s Dream. Rephrase each sentence in subject-verb-object order. 1. Thou hast by moonlight at her window sung with feigning voice verses of feigning love. 2. From Athens is her house removed seven leagues. 3. In that same place thou hast appointed me, tomorrow truly will I meet with thee. 4. In the wood, where often you and I upon faint primrose beds were wont to lie, emptying our bosoms of their counsel sweet, there my Lysander and myself shall meet. 5. What thou see’st, when thou dost wake, do it for thy true love take. 6. Tell me how it came this night, that I sleeping here was found, with these mortals on the ground. 1 G5T-04_TheRenaissance_FOR_PDF_4.indd 1 11/30/16 9:29 AM Fiction Excerpt 1: From A Midsummer Night’s Dream (retold with excerpts from the play by William Shakespeare) Once upon a time, in the city of Athens, a young man named Lysander and a young woman named Hermia were deeply in love. The lovers wanted to get married, but Hermia’s father, Egeus, would not allow it. Egeus told Hermia it was her duty to marry the man he had chosen, whose name was Demetrius. Egeus dragged Hermia to a hearing in front of Theseus, the Duke of Athens. “My noble Lord,” said Egeus to Duke Theseus, “full of vexation come I, with complaint against my child, my daughter Hermia.” Egeus pointed to Demetrius and said, “This man hath my consent to marry my daughter.” Then he pointed at Lysander and said, “This man hath bewitch’d the bosom of my child.