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A Midsummer Night's Dream: Entire Play")
Masarykova univerzita Filozofická fakulta Ústav slavistiky Magisterská diplomová práce 2016 Veronika Psicová Masarykova univerzita Filozofická fakulta Ústav slavistiky Literární komparatistika Veronika Psicová Adaptations of A Midsummer Night’s Dream – a case study Magisterská diplomová práce Vedoucí práce: Jeffrey Alan Smith, M.A., Ph. D. 2016 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor for his advice, patience and support that he provided throughout the whole semester. I would also like to thank the whole Gypsywood Players for the unforgettable semester spent with them. Table of Contents 1 Introduction ............................................................................................................... 1 2 A brief introduction to Shakespearean era’s performances ....................................... 3 3 A brief summary of A Midsummer Night’s Dream ................................................... 8 4 The genesis of A Midsummer Night’s Dream ......................................................... 12 4.1 The genesis ....................................................................................................... 12 4.2 The name game ................................................................................................ 14 5 Possibilities of staging A Midsummer Night’s Dream ............................................ 16 5.1 A Midsummer -
Twilight in Quarantine New Moon
HOT AND BOTHERED: TWILIGHT IN QUARANTINE NEW MOON: CHAPTER 16 Julia “Chapter 16: Paris. At that moment, my head broke the surface. How disorienting! ” … [begin intro music] Julia “ I’d been sure I was sinking. The current wouldn’t let up. It was slamming me against more … rocks. They beat against the center of my back sharply, rhythmically, pushing the water from my lungs.” I’m Julia Argy … Vanessa And I’m Vanessa Zoltan. Julia And this is Hot and Bothered: Twilight in Quarantine. [laughs] Vanessa Can I read to you what I wanted this chapter to start like? Julia Your fanfiction? Vanessa Mmm-hmm. Julia For Chapter 16? Vanessa Yep. “At that moment, my head broke the surface. France!” Julia [laughs] She swam across the channel. Vanessa Like, come on, man! The chapter’s called “Paris”. Julia I know. Of all the reasons it could be called “Paris”, being named after the Romeo and Juliet side character was not on my list of top reasons. Vanessa, do you want to recap the chapter for us? Vanessa Even more than I wish I was in Paris right now. Julia [laughs] 3, 2, 1, go to Paris! [begin ticking sound] Vanessa So Bella doesn’t die. Jacob rescues her. And then, they go back and they nap. And her throat really hurts. And it turns out that Harry Clearwater had a heart attack and is dying. And then it turns out that he died. And Jacob is like, “I’ll take you home. You want to be home for when Charlie gets home.” And Bella they Jacob is basically like, “I know you don’t love me.” And Bella’s like, “Maybe I … … could be with you.” And then they pull up, and Carlyle’s car is in front of the house. -
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. -
A Creed to Live by Don't Undermine Your Worth by Comparing Yourself
A Creed To Live By A Hundred Years From Now Don't undermine your worth by comparing yourself A hundred years from now it will not matter what my with others. bank account was, the sort of house I lived in, or the It is because we are different that each of us is kind of car I drove but the world may be different special. because I was important in the life of a child. Don't set your goals by what other people deem A Man important. Only you know what is best for you. A man that made an impression on strangers and friends. Don't take for granted the things closest to your heart. Quiet but firm and even more stern. Cling to them as you would your life, for without Strength and courage I have learned from you, them life is meaningless. but being without you is hard to do. Don't let your life slip through your fingers by living A man with pride in every step he made. in the past or for the future. A man with vigor in every phrase. By living your life one day at a time, you live all the days of your life. The tears I’ve shed cannot surpass the smiles and the laughs we had with you. Don't give up when you still have something to give. To feel your pain I could not do, Nothing is really over until the moment you stop to feel your joy I cannot explain, trying. but being without you is hard to do. -
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. -
Travel Writing 1700–1830 an Anthology
OXFORD WORLD’ S CLASSICS TRAVEL WRITING, 1700–1830 DURING the eighteenth century British travellers fanned out to every corner of the world, driven by diverse motives: scientific curi- osity, exploration, colonization, trade, diplomacy, and tourism, which began to flourish during this period. Those at home read voraciously in travel literature, which informed curious Britons about their nation’s activities overseas. The Empire, already estab- lished in the Caribbean and North America, was expanding in India and Africa and founding new outposts in the Pacific. Readers also enjoyed reports of travel closer to home: tours of the Continent and the British Isles themselves, whose beauty spots fuelled the rising fashion for picturesque and sublime scenery. Travel writing fed readers’ desire for adventure and exoticism and reinforced their pride in their nation’s achievements. It addressed scientific questions and gave philosophers food for thought. Political controversies were fought out in travel books, including the slavery question and the French Revolution debate. Above all, travellers’ descriptions of the wider world reveal their perception of themselves. Selected authors include Daniel Defoe, Joseph Addison, Mary Wortley Montagu, Samuel Johnson, James Boswell, James Cook, William Bartram, Mary Wollstonecraft, Dorothy Wordsworth, Walter Scott, Olaudah Equiano, Mungo Park, Ann Radcliffe, Matthew ‘Monk’ Lewis, and Frances Trollope. ELIZABETH A. BOHLS is Associate Professor of English at the University of Oregon. She is the author of Women Travel Writers and the Language of Aesthetics, 1716–1818, recently translated into Japanese, and of articles on travel writing and the novel. She is currently finishing a book on identity and place in writings from the colonial British Caribbean. -
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: -
CHAPTER V CONCLUSION Based on the Writer Analysis on New Moon
CHAPTER V CONCLUSION Based on the writer analysis on New Moon novel, it concludes that the post-colonialism pattern can be applied to analyze the stereotypical image of Native American. Meyer wrote their characteristics based on common people’s knowledge of the Natives American and on how the colonial sees their minority people. There are four types of Native American stereoypes found in Meyer’s novel; with regards to the claim of werewolves who are uncivilized beings. First is they have inferior status in comparison to the Vampire/the White American. The Native American is represented as the inferior, because people that has been colonized have an inferiority complex according to Fanon (1986). As Gramsci stated in hegemony that the ideology is the representation of social interest or the dominant culture. In New Moon, the dominant character is the Vampire. In addition, from the history point of view, Edward Cullen the Vampire originally came from Europe while Jacob Black is a Native American which the history reveal originated from Asia. In New Moon, the Vampire have their own royalty or ruling class, the Volturi, while the Native American only live in pack and have their own tribe’s leader. Alice Cullen in the story stated that Volturi is very powerful and is the reason why Werewolves or the Native Americans are afraid of them. This also fits with Gramsci ideas of hegemony, where the ruling class 44 will get domination not only by force but the willingness of people who wants to be ruled. Second, they have low emotional control or quick to be angry. -
Courtly Love in Shakespeare's Sonnets and Plays
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-1921 Courtly love in Shakespeare's sonnets and plays. Rebbie Doty University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Doty, Rebbie, "Courtly love in Shakespeare's sonnets and plays." (1921). Electronic Theses and Dissertations. Paper 368. https://doi.org/10.18297/etd/368 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. UNIVERSITY OF LOUISVILlE COURTLY LOVE IN SHAKESPEARE'S SONNETS AND PIA YS. A Dissertation Submitted to the Faculty Of the Graduate School of Arts and Sciences In Partial Fulfillment of the Requirementa..1'or the Degree Of Master of Arts , Department of English , ! ": ':'"' . ~ ".,.- by "",) '}" , Rebbie Doty 1921 TABLE OF CONTENTS. -" , , ," Table of Contents. Chapter I. The System of Courtly Love. Page 1. Chapter II. Modifications of Courtly Love in the Age of" Elizabeth. 12. Chapter III. The Element of Courtly Love in Shakespeare's Sonnets and Plays. 24. " Sonnets. Love's Labour's Lost. " The Two"Gentlemen of Verona. Romeo and Juliet. A MidsUBner Night's Dream. The Merchant of ¥enice. The Taming of the Shrew. The MerrY'Wives of Windsor. Much Ado About Nothing. -
A Midsummer Night's Dream: New Perspectives
SAA 2020 A Midsummer Night’s Dream: New Perspectives Leaders: Sarah Lewis, King's College London and Gillian Woods, BirkBeck University of London Michael Drayton’s Dream Meghan C. Andrews, Lycoming College My essay will examine the reception of A Midsummer Night’s Dream in Caroline England through the lens of Michael Drayton’s Nimphidia (1627), one of Drayton’s most praised poems and which may even have been staged in the eighteenth century. Nimphidia is a fairy poem clearly based on Dream, but with a twist. In Nimphidia, Oberon, the King of Fairies, becomes enraged when he discovers his wife, Queen Mab, is in love with a fairy knight. That knight challenges Oberon to single combat, but an upset Mab prays to Proserpine to end the conflict. Proserpine gives the men water from Lethe, both promptly forget about the entire affair, and the entire party returns happily to the Fairy Court at poem’s end. The most obvious narrative change I am interested in is the reversal of what since Louis Montrose’s seminal “Shaping Fantasies” we have taken to be the gender politics of Dream, and particularly whether Nimphidia’s changes reflect the influence of Henrietta Maria, Charles I’s queen and a noted patroness of the arts. I also want to investigate how Nimphidia might reflect Drayton’s attitude toward the Caroline court more broadly; Drayton was notoriously frosty toward James I, but his attitude seems to have warmed once Charles came to the throne. The other poems published in the same volume as Nimphidia—including the pseudo-Shakespearean The Battaile of Agincourt and Miseries of Queene Margarite—will be an important interpretive context in this consideration. -
The Magic Casement : an Anthology of Fairy Poetry
THE MAGIC CASEMENT A BOOK OF FAERY POEMS GIVING GLIMPSES OF THE WORLD BEYOND THE CASEMENT: SELECTED AND ARRANGED WITH INTRODUCTION AND NOTES BY ALFRED NOYES Of THE UNIVERSITY/ or / sgALjf^ PHn REVO tyai/TTTO JM! KH l"| V'^^^W^IW\^5% 'V A Midsummer's Night: The Quarrel ANTHOLOGY P PAIRY POETRY DITED-WTnAflMDUCTIOH- ALFRED /10YES NOTE Ti/TY thanks are due to the authors and publishers whose !** kindness has permitted the use of copyright poems in this book: to Mr. Swinburne, Mr. Watts-Dunton, Mr. G. K. Chesterton (and Messrs. Dent), Mr. Rudyard Kipling, Mr. R. C. Lehmann (and the proprietors of Punch], Sir Theodore Martin (and Messrs. William Black- wood and Sons), Mrs. William Sharp (for extracts from " the poems of Fiona Macleod "), Mr. W. B. Yeats, and Dr. John Todhunter. ALFRED NOYES VII " AND IF THAT THE BOWLE OF CURDS AND CREAME WERE NOT DULY SET OUT FOR ROBIN GOOD-FELLOW, WHY, THEN, 'WARE OF BULL-BEGGARS, SPIRITS," ETC. " FROM GHOULIES AND GHOOSTIES, LONG- LEGGETY BfrASTIKS, AND THINGS THAT GO BUMP IN THE NIGHT, " GOOD LORD, DELIVER us ! Quaint Old Litany Vlll CONTENTS THE FAIRY LIFE PAGE I KNOW A BANK Wit/lam Shakespeare 3 THE URCHINS' DANCE John Ly/y 4 WHERE THE BEE SUCKS William Shakespeare 5 NURSLINGS OF IMMORTALITY "Percy Bysshe Shelley 6 NIMPHIDIA Michael Dray ton 7 MORGANA George Darky 3 1 PUCK'S SONG Rudyard Kipling 33 MODERN ELFLAND G. K. Chesterton 35 A FAIRY TALE Tom Hood 37 A FAIRY MUSTER George Darley 41 THE ELF-KING'S VICTORY R. -
New Jazz Label Discography
New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With