A Midsummer Night's Dream Workshop Study Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Puck of Pook's Hill
Puck Pook^mU IM: .111 %^ ,,>€ >'!' .(!';: •;;,.* "! #' k4 Cornell HmvetJjsitg ^ibiJ^tg GOLDWiN Smith Hall FROM THE FUND GIVEN BY C$o(&tniit Smtth 1909 Cornell University Library PR4854.P97 1906 Puck of Pook's Hill. 3 1924 014 173 995 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924014173995 Puck of Pook'g Hill Books by Rudyarb mpling Actions and REAcnoNa Light That FAttED, The Brushwood Boy, The Many Inventions Captains Courageous Naulahka, The (With Collected Verse Wolcott Balestier) Day's Work, The Plain Tales From the Departmental Ditties Hills AND Ballads and Bar- Puck of Pook's Hill rack-Room Ballads Rewards and Fairies Diversity of Crea- Rtjdyard Kipling's tures, A Verse: Inclusive Edi- Eyes of Asia, The tion, 1885-1918 Feet of the Young Sea, Warfare Men, The Seven Seas, The Five Nations, The Soldier Stories France at War Fringes ok the Fleet Soldiers Three, The From Sea to Sea Story of the Gadsbys, History op England, A AND In Black and Jungle Book, The White Jungle Book, Second Song of the English^ A Just So Song Book Songs from Books Just So Stories Stalky & Co. Kim They Kipling Stories and trafncs Poems E ery Child and discover- Should Know IES Kipling Birthday Book, Under the Deodars, The The Phantom 'Rick- Letters of Travel shaw, AND Wee Willie Life's Handicap: Being WiNKIE Stories of Mine Own With the Night Mail People Years Between, The CONTENTS PUCK OF POOR'S HILL PUCK'S SONG See you the dimpled track that runs. -
'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world. -
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. -
La Revista De Taos and the Taps Cresset, 04-15-1905 Jose ́ Montaner
University of New Mexico UNM Digital Repository Revista de Taos, 1905-1922 New Mexico Historical Newspapers 4-15-1905 La Revista de Taos and the Taps Cresset, 04-15-1905 Jose ́ Montaner Follow this and additional works at: https://digitalrepository.unm.edu/revista_taos_news Recommended Citation Montaner, Jose.́ "La Revista de Taos and the Taps Cresset, 04-15-1905." (1905). https://digitalrepository.unm.edu/ revista_taos_news/607 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Revista de Taos, 1905-1922 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. AÑO IX (I TAOS, N EVO MÉXICO, $ AHA DO 13 DE ABKÍL DE 100- NO 15 vnV" r Organo Oficial tí 1 üíiipül Organ ilk H' - sai ti i i il Of f Condado deTao--- . r.-- í m v i Taos ÍNüjofy. Mb 8 14 M i' J 1 U AND TLTU TAOS CRESSET, ENGLISIH AND SPANISH. Periódico Liberal e Independiente, Del Pueblo, Para el Pueblo, y por . el Pueblo. Homero, 200. (Id .iiicstead entry No. 5617 ) " (Homestead entry No. 5672.) llamón EL PROFESOR La Muerte de Jesús. Martínez, Precinto no. 4, NOTICE FOR FUBLtf ION. NOTICE FOR PUBLICATION. fiadores Alex Adaniscn, A. Clothier y Donaciano Department rf the lnlerior, Department of the Interior, Cordova, 200 pesos. Land Offie at Santa Fe, N. M. Land Office at Santa Fe, N. M este reflnchlo'grnpo condenado por lesiones determvna-- ' Pedro A. Apartede Tafoya, Prec. no. -
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. -
A Midsummer Night's Dream Act I
A Midsummer Night’s Dream Act I William Shakespeare, 1590s, performed in 1594-96 William Shakespeare ACT I SCENE I Theseus passes judgement to Hermia, who refuses to marry Demetrius and agrees to run away with Lysander. They confide in Helena, who is already in love with Demetrius. THESEUS: Now, fair Hippolyta, our nuptial hour Draws on apace; four happy days bring in Another moon– but, O, methinks, how slow This old moon wanes! She lingers my desires, Like to a step-dame or a dowager Long withering out a young man's revenue. 1. Our nuptial hour: the time of our wedding. 2. Apace: quickly. 3. Four happy days bring in Another moon: there will be a full moon in four days’ time. 4. Lingers: makes me wait for. 5. A step-dame or a dowager Long withering out a young man’s revenue: like a step-mother or a widow who is growing old and spending a young man’s inheritance (which he would not be able to claim until she died). HIPPOLYTA: Four days will quickly steep themselves in night; Four nights will quickly dream away the time; And then the moon, like to a silver bow New bent in heaven, shall behold the night Of our solemnities. 1. Steep: drown 2. Solemnities: marriage ceremonies. THESEUS: Go, Philostrate, Stir up the Athenian youth to merriments; Awake the pert and nimble spirit of mirth; Turn melancholy forth to funerals; The pale companion is not for our pomp. Hippolyta, I woo'd thee with my sword, And won thy love, doing thee injuries; But I will wed thee in another key, With pomp, with triumph and with revelling. -
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 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 -
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. -
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.