By William Shakespeare
A brand new part of the creation to this up to date variation considers very important expert theater productions and the massive output of scholarly feedback at the play that have seemed lately. The interpreting checklist has been revised and augmented to mirror the scope of the revised variation. First variation Hb (1985): 0-521-22194-3 First version Pb (1985): 0-521-29389-8
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Extra info for A Midsummer Night's Dream
Example text
The gilded fairies wore exotic costumes, oriental in inspiration, part Cambodian, part Byzantine moment apparently the controller of mechanical devices at the Savoy Theatre. 1 This production also abandoned Mendelssohn's music in favour of English folk music arranged by Cecil Sharp. Its abrupt break with the traditional staging of the play shocked many critics and reviewers, horrified some, and delighted those who saw in Norman Wilkinson's 'futuristic' designs and Granville-Barker's radically innovative treatment of the actors and the text an exciting liberation from the overburdened approach habitual in the nineteenth century.
187-8. The Exemplary Theatre, 1922, p. 2 1 1 . 135-41, their lines exactly balanced in repeating the same rhythm, and passing into rhyming couplets from line 171 to the end of the scene. These mark the quasi-hallucinatory condition induced in them by the infatuation of the lovers, whose rather absurd plan to meet in a wood seven leagues from Athens looks even sillier when Helena proposes to send Demetrius after them, and follow him herself. Things base and vile, holding no quantity, Love can transpose to form and dignity.
5. Jackson Cope, The Theater and the Dream, 1973, p. 224, sees Bottom's dream as a 'crucial rebuttal' of the Duke's speech on imagination; Theseus, he says, speaks from 'the smug security of his rationalism'. Sidney Homan also sees Theseus as a rationalist contemptuous of the imagination in When the Theatre Turns to Itself: The Aesthetic Metaphor in Shakespeare, 1981, pp. 79-103. 2 A Midsummer Night's Dream 36 III 1 IrÈÊjL [W>v : ! J" HkoseUos&vns Seed' 12 Possible ways of staging Act 4 , Scene 1, by C.