Chocolate Box Girls: Summer's Dream

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Also in 1979, Harold F. Brooks agreed that the main theme of the play, its very heart, is desire and its culmination in marriage. All other subjects are of lesser importance, including that of imagination and that of appearance and reality. [51] In 1980, Florence Falk offered a view of the play based on theories of cultural anthropology. She argued that the play is about traditional rites of passage, which trigger development within the individual and society. Theseus has detached himself from imagination and rules Athens harshly. The lovers flee from the structure of his society to the communitas of the woods. The woods serve here as the communitas, a temporary aggregate for persons whose asocial desires require accommodation to preserve the health of society. This is the rite of passage where the asocial can be contained. Falk identified this communitas with the woods, with the unconscious, with the dream space. She argued that the lovers experience release into self-knowledge and then return to the renewed Athens. This is " societas", the resolution of the dialectic between the dualism of communitas and structure. [51] Bevington, David (1996). "But We Are Spirits of Another Sort': The Dark Side of Love and Magic in 'A Midsummer Night's Dream' ". In Dutton, Richard (ed.). A Midsummer Night's Dream. New York: St. Martin's Press. pp.24–35. ISBN 978-0-333-60197-6. In the beginning Demetrius is not a likeable character. He is arrogant and stubborn. However, he ends up as one of the main romantic characters in the play.

Garden, Robin (2014). Shakespeare Reloaded. Cambridge University Press. p.135. ISBN 978-1-107-67930-6. James Halliwell-Phillipps, writing in the 1840s, found that there were many inconsistencies in the play, but considered it the most beautiful poetical drama ever written. [30] Ocr ABBYY FineReader 11.0 (Extended OCR) Ocr_converted abbyy-to-hocr 1.1.11 Ocr_module_version 0.0.14 Openlibrary_edition A 1996 French film, The Apartment ( L'Appartement), directed by Gilles Mimouni, has many references to the play. What starts out as cutting junk food from her diet soon progresses to skipping meals, and Summer starts experiencing dizzy spells and a drop in her dancing performance. Meanwhile Skye has grown close to Jamie Finch, son of a film producer who is working locally during the holidays. Summer's boyfriend Aaron is unsupportive of Summer's aspirations to become a dancer. After learning he made a bet with classmate Alfie Anderson that she would fail her audition, Summer breaks up with him.Asbel • August • Eyvel • Finn • Galzus • Karin • Kempf • Leif • Lifis • Mareeta • Miranda • Nanna • Olwen • Osian • Reinhardt • Ronan • Saias • Salem • Sara • Tanya • Veld Hunt, Maurice (1986). "Individuation in "A Midsummer Night's Dream" ". South Central Review. The South Central Modern Language Association. 3 (2): 1–13. doi: 10.2307/3189362. eISSN 1549-3377. ISSN 0743-6831. JSTOR 3189362. In 1974, Marjorie Garber argued that metamorphosis is both the major subject of the play and the model of its structure. She noted that in this play, the entry in the woods is a dream-like change in perception, a change which affects both the characters and the audience. Dreams here take priority over reason, and are truer than the reality they seek to interpret and transform. [49] Also in 1974, Alexander Leggatt offered his own reading of the play. He was certain that there are grimmer elements in the play, but they are overlooked because the audience focuses on the story of the sympathetic young lovers. He viewed the characters as separated into four groups which interact in various ways. Among the four, the fairies stand as the most sophisticated and unconstrained. The contrasts between the interacting groups produce the play's comic perspective. [49] The aesthetics scholar David Marshall draws out this theme even further by noting that the loss of identity reaches its fullness in the description of the mechanicals and their assumption of other identities. In describing the occupations of the acting troupe, he writes "Two construct or put together, two mend and repair, one weaves and one sews. All join together what is apart or mend what has been rent, broken, or sundered." [22] In Marshall's opinion, this loss of individual identity not only blurs specificities, it creates new identities found in community, which Marshall points out may lead to some understanding of Shakespeare's opinions on love and marriage. Further, the mechanicals understand this theme as they take on their individual parts for a corporate performance of Pyramus and Thisbe. Marshall remarks that "To be an actor is to double and divide oneself, to discover oneself in two parts: both oneself and not oneself, both the part and not the part." [22] He claims that the mechanicals understand this and that each character, particularly among the lovers, has a sense of laying down individual identity for the greater benefit of the group or pairing. It seems that a desire to lose one's individuality and find identity in the love of another is what quietly moves the events of A Midsummer Night's Dream. As the primary sense of motivation, this desire is reflected even in the scenery depictions and the story's overall mood. [22] Ambiguous sexuality [ edit ] The Awakening of the Fairy Queen Titania Fools and Mortals' finds Shakespeare's brother taking center stage". The Christian Science Monitor. 16 January 2018 . Retrieved 14 April 2020.

Reynolds, Norman (14 July 2006). " Ein Sommernachtstraum"[ A Midsummer Night's Dream]. Ballet.co.uk. Archived from the original on 29 November 2014 . Retrieved 11 May 2014. Over Hill, Over Dale", from Act 2, is the third of the Three Shakespeare Songs set to music by the British composer Ralph Vaughan Williams. He wrote the pieces for a cappella SATB choir in 1951 for the British Federation of Music Festivals, and they remain a popular part of British choral repertoire today. Charles, Gerard (2000). "A Midsummer Night's Dream". BalletMet. Archived from the original on 1 May 2011 . Retrieved 29 January 2010. Buchanan, Judith (2005). "Historically Juxtaposed Beans (I): A Midsummer Night's Dream on Film". In Buchanan, Judith (ed.). Shakespeare on Film. Harlow: Pearson Education. pp.121–49. ISBN 978-0-582-43716-6.In 1970, R. A. Zimbardo viewed the play as full of symbols. The Moon and its phases alluded to in the play, in his view, stand for permanence in mutability. The play uses the principle of discordia concors in several of its key scenes. Theseus and Hippolyta represent marriage and, symbolically, the reconciliation of the natural seasons or the phases of time. Hippolyta's story arc is that she must submit to Theseus and become a matron. Titania has to give up her motherly obsession with the changeling boy and passes through a symbolic death, and Oberon has to once again woo and win his wife. Kehler notes that Zimbardo took for granted the female subordination within the obligatory marriage, social views that were already challenged in the 1960s. [45] Bernard Cornwell's novel Fools and Mortals (2017) is about the creation and first performance of the play, as seen by the young actor, Richard Shakespeare, brother of the playwright. [86] Musical versions [ edit ] Botho Strauß's play The Park (1983) is based on characters and motifs from A Midsummer Night's Dream. [83] Not me being an adult and relating to this middle grade novel so much :P I could really relate to Summer’s perfectionism in this book. Even at the times where her perfectionism became toxic. Because everyone tells her how perfect and stable she is all the time, she feels like she can’t reach out to anyone when she feels like she needs some help. Director 3: So Walter, let me just get this straight, this is just a spotlight, there is no actual set? The audience will have to use their imagination?

Director Harley Granville-Barker introduced in 1914 a less spectacular way of staging the Dream: he reduced the size of the cast and used Elizabethan folk music instead of Mendelssohn. He replaced large, complex sets with a simple system of patterned curtains. He portrayed the fairies as golden robotic insectoid creatures based on Cambodian idols. His simpler, sparer staging significantly influenced subsequent productions. [ citation needed] First into the Directors’ Den is set designer Geraldine. She’s hoping her organic depiction of a forest will bring this magical world to life for an audience, as the fairy King Oberon and Queen Titania row over the custody of a child, which influences the main action of the play. Aelfric • Annette • Arval • Ashe • Balthus • Bernadetta • Byleth • Caspar • Catherine • Claude • Constance • Cornelia • Cyril • Death Knight • Dedue • Dimitri • Dorothea • Edelgard • Felix • Ferdinand • Flame Emperor • Flayn • Gatekeeper • Hapi • Hilda • Holst • Hubert • Ignatz • Ingrid • Jeralt • Kronya • Leonie • Linhardt • Lorenz • Lysithea • Manuela • Marianne • Mercedes • Monica • Nemesis • Petra • Raphael • Rhea • Seiros • Seteth • Shamir • Shez • Solon • Sothis • Sylvain • YuriSuspicious - when Lysander and Demetrius tell her they love her she thinks it’s a cruel joke. What’s more, she suspects that her best friend, Hermia is in on it. Both David Wiles of the University of London and Harold Bloom of Yale University have strongly endorsed the reading of this play under the themes of Carnivalesque, Bacchanalia, and Saturnalia. [10] Writing in 1998, David Wiles stated that: "The starting point for my own analysis will be the proposition that although we encounter A Midsummer Night's Dream as a text, it was historically part of an aristocratic carnival. It was written for a wedding, and part of the festive structure of the wedding night. The audience who saw the play in the public theatre in the months that followed became vicarious participants in an aristocratic festival from which they were physically excluded. My purpose will be to demonstrate how closely the play is integrated with a historically specific upper-class celebration." [11] Wiles argued in 1993 that the play was written to celebrate the Carey-Berkeley wedding. The date of the wedding was fixed to coincide with a conjunction of Venus and the new moon, highly propitious for conceiving an heir. [12] Love [ edit ] Hermia and Lysander by John Simmons (1870) The next critic known to comment on the play was John Dryden, writing The Authors Apology for Heroique Poetry; and Poetique Licence in 1677. He was preoccupied with the question of whether fairies should be depicted in theatrical plays, since they did not exist. He concluded that poets should be allowed to depict things which do not exist but derive from popular belief. And fairies are of this sort, as are pygmies and the extraordinary effects of magic. Based on this reasoning, Dryden defended the merits of three fantasy plays: A Midsummer Night's Dream, The Tempest, and Ben Jonson's The Masque of Queens. [30] 18th century [ edit ] Time • 5: Divine Foretelling • 6: King of Light • 7: Goddess Reunion • 8: Seeing the Present • 2: World of the Past • 3: Within Wheels • 4: Ouroboros • 9: The Innocent • 10: Light's Fading • 11: Without Limits • 12: Seer of the Past • 1: Golden Seer Like with the previous book, it also talks a bit not being ready for having a boyfriend and all the boys stuff that seems to be markers of ‘growing up’ in their eyes. Summer is not quite ready to let go of her childhood.

Twyning, John (2012). Forms of English History in Literature, Landscape, and Architecture. New York: Springer Nature. ISBN 978-1-137-28470-9.

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Merwin, Ted (23 March 2007). "The Dark Lady as a Bright Literary Light". The Jewish Week. pp.56–57.