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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, -
Seeing Is Believing
0 6 M AY 1 9 9 8 Seeing is Believing How photography killed Victorian Fairy Painting When William Blake reported a fairy funeral in his back garden, it's doubtful anyone demanded proof of what he had seen. That, of course, was before the camera entered the picture. Photography attempted to make up for the supposed inability of previous generations to record visually what was 'really' there, by providing apparently objective evidence for manifestations that could otherwise only be supported on a subjective basis. Confusing art with a kind of faux-scientic journalism, one casualty of this somewhat misguided will-to-truth was the representation of fairies. Developments in photography demanded that fairies - symbolic remnants of a displaced people, fallen angels, heathen dead or the unconscious made esh - relocate from their niche in the imagination of folklorists, dramatists and artists, to science's inhospitable laboratory. It was a move that, as it inadvertently sanitised, de-sexualised and trivialised fairy mythology, revealed elements of truth and ction, and showed the boundaries between genres and media to be as layered and co-dependant as the pieces of a Russian Doll. 'I see only phantoms that strike my eye, but disappear as soon as I try to grasp them' wrote Jean Jacques Rousseau in 1769. 1 The diculty of grasping phantoms and the myriad motivations for wanting to do so have, over the centuries, been manifold. During no period in history, however, was the attempt made more vigorously than in Victorian Britain, where phantoms assumed wings and found their way into painting. -
Changelings-High-School-Edition.Pdf
CHANGELINGS: HIGH SCHOOL PERFORMANCE EDITION Written by Reina Hardy Reinahardy.com 312-330-3031 [email protected] For whatsoever from one place doth fall, Is with the tide unto another brought: For there is nothing lost, that may be found, if sought. -The Fairy Queen, Edmond Spenser Forget about the baby. -Labyrinth, David Bowie Note: This version of the script takes place in Austin, TX, but could be adapted to any city with at least one university. ii. Casting Information Humans, in order of appearance The Young Mother- female Luther Powers- male, early 20s. Has a habit of holding eye contact with others for entirely too long. Megan Powers- His sister. Female, early 20s. Knows she is pretty. Timothy Stamp- Her fiance. Male, early 20s. Magus Kemp- any gender, but male is preferred. A grandiose and talkative wizard. Angus Powers- male, 30s-40s. A less than ideal father from the Elizabethan era. Fairies, in order of appearance (note, with the exception of the Wicked Child and Pandora, the gender casting for fairies is quite flexible. Adjust pronouns as needed.) The Wicked Child/Elizabeth- female, appears around 13. A whimsical, dangerous fairy princess with a habit of stealing babies. The Whiteling- any gender, sort of a mother of pearl gargoyle thing. The Mysterious Figure/Pandora- female. An immensely powerful and scary fairy queen. The Luck Angel- any gender. A very kind and pretty fairy. Luwis- any gender. A fairy janitor. Grunts. Bantam Beth- a little girl who is also a fierce fighter. Bantam- the same person as Bantam Beth, but a large burly dude. -
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: -
Distressing Damsels: Sir Gawain and the Green Knight As a Loathly Lady Tale
Distressing Damsels: Sir Gawain and the Green Knight as a Loathly Lady Tale By Lauren Chochinov A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of English University of Manitoba Winnipeg, Manitoba Copyright © 2010 by Lauren Chochinov i Abstract At the end of Sir Gawain and the Green Knight, when Bertilak de Hautdesert reveals Morgan le Fay’s involvement in Gawain’s quest, the Pearl Poet introduces a difficult problem for scholars and students of the text. Morgan appears out of nowhere, and it is difficult to understand the poet’s intentions for including her so late in his narrative. The premise for this thesis is that the loathly lady motif helps explain Morgan’s appearance and Gawain’s symbolic importance in the poem. Through a study of the loathly lady motif, I argue it is possible that the Pearl Poet was using certain aspects of the motif to inform his story. Chapter one of this thesis will focus on the origins of the loathly lady motif and the literary origins of Morgan le Fay. In order to understand the connotations of the loathly lady stories, it is important to study both the Irish tales and the later English versions of the motif. My study of Morgan will trace her beginnings as a pagan healer goddess to her later variations in French and Middle English literature. The second chapter will discuss the influential women in Sir Gawain and the Green Knight and their specific importance to the text. -
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
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 -
Program Notes to Henry Purcell but Now Considered to Be by His Student John Weldon
1704 once again sported a new score first attributed Program Notes to Henry Purcell but now considered to be by his student John Weldon. In William Shakespeare’s Twelfth Night music is called the “food of love,” and indeed music played a Purcell’s own contribution to Shakespearean vital part in his plays. Fanfares heralded music drama is his 1692 semi-opera, The Fairy performances. Sweet ayres and songs filled with Queen. Purcell had already composed an innuendo, sung by servants and clowns, commented impressive body of incidental music for plays by on the actions of their betters. And a merry jig would Shadwell, Dryden, and William Congreve. (This conclude the day’s drama, be it a comedy, tragedy, includes the celebrated “Music for a while” from or romance. In Shakespeare’s “wooden O” the Dryden’s Oedipus.) His one “pure opera” is the musicians’ loft was as essential as the unworthy miraculous miniature, Dido and Aeneas. Yet it is his scaffold on which your imaginary forces worked. semi-operas where Purcell’s most accomplished scores for the theatre are to be found. His Little of the music presented in the Globe during preceding efforts in the genre, Dioclesian and King Shakespeare tenure survives. The doomed Arthur, were enormous successes and the music of Desdemona likely sang this folk melody to the The Fairy Queen exceeds them both in length, “Willow Song” in Othello. “Full fathom five” by complexity, and dramatic scope. It is a very loose Robert Johnson, lutenist to Shakespeare’s King’s adaptation of A Midsummer Night’s Dream, but Men theatrical troupe, was probably performed in Purcell did not set any of Shakespeare’s text. -
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.