Int. Treasure Chest - day Kelli is cleaning the counters at the treasure chest. Her phone rings and she answers it. kelli ACME Anvils, how can I help you? Cut to: Ext. School - day Cori is walking while talking on her phone. cori Hey Kelli. Do you mind if I bring some of the theatre cast over this afternoon? We're in Hell Week for Midsummer Night's Dream and we wanted to get some extra practice in before rehearsal tonight. cut to: Int. Treasure Chest - day kELLI Sure, no problem. cut to: ext. school -day cORI Thanks Kel. See you in a bit. Int. Treasure Chest - day The Treasure Chest tables hve been moved off to the side. Cori & Jon act out a scene from Midsummer night's Dream. Wayne, Ashley, Grace, Nick, Brad, Kelli, and Mei watch. Jon (as …show more content…
naTE Is this the part where we compare my bed in the closet to your bed in the dishwasher box? grACE (Laughs) Nah. Int. Theatre - day Cori, Jon, Wayne, Ashley, Dorian, Kyle, Wesley, Luke, Brad, Greg, Veronica, Lucy, and Nora are all in costume at Dress rehearsal for a Midsummer Night's Dream. Jon and Ashley are center stage. Nora is in the wings on her phone. Their director, DR. SAMUEL CLAYTON watches. Jon (as Oberon) Ill met by moonlight, proud Titania. Ashley (as Titania) What, jealous Oberon! Fairies, skip hence: I have forsworn his bed and company. Jon (as Oberon) Tarry, rash wanton: am not I thy lord? AsHLEY (As Titania) Then I must be thy lady: but I know When thou hast stolen away from fairy land, And in the shape of Corin sat all day, Playing on pipes of corn and versing love To amorous Phillida. Why art thou here, Come from the farthest Steppe of India? But that, forsooth, the bouncing Amazon, Your buskin'd mistress and your warrior love, To Theseus must be wedded, and you come To give their bed joy and prosperity. Jon (as Oberon) How canst thou thus for shame, Titania, Glance at my credit with Hippolyta, Knowing I know thy love to Theseus? Nora talks loudly on the phone off to the side. nora (on …show more content…
dR. CLAYTON Ok, now, after you say that, I want you to kiss him. gRACE Oh... dR. CLAYTON Do you have a problem with that. nATE Grace, if you're not comfortable with... gRACE No, I'm fine. dR. CLAYTON Ok. Let's go from "And then the moon." Grace (as Hippolyta) ...And then the moon, like to a silver bow New-bent in heaven, shall behold the night Of our solemnities. Grace looks a bit awkward leaning in to kiss him, but she looks determined to do what's asked of her and she gently kisses Nate on the lips. When they part, his eyes linger on her for a moment, then he looks back down at his script. nate (as Theseus) ...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. dr. CLAYTON Good. Make the kiss a bit more relaxed next time. Remeber, you're suposed to like eachother. I think you two will work. Thanks for filling in. gRACE No problem. dR. CLAYTON Nate, you sure you can be off book in two days? nATE I've got this. dr. CLAYTON Alright then. Let's work on the Pyramus and
In the story, the supreme ruler of Athens, Thesius ends up marrying Hippolyta, the Queen of the Jungle. However, during the whole story, Hippolyta never throughly discusses her feelings and ideas about the marriage. She acts as if she has no choice but to marry Thesius. This can be proven by examining Hippolyta's position in the relationship between herself and Thesius. Hippolyta was captured by Thesius during battle and Thesius intimidates Hippolyta into marrying him since he is a supreme ruler and she was defeated by him. Thesius reveals that he capture Hippolyta in battle in the following quote, "I wood thee by my sword/ And won thy love doing thee injuries" (Act I, Pg 7). The above quote and the fact that Hippolyta never discusses her feelings about the wedding leads the re...
In classical Greek literature the subject of love is commonly a prominent theme. However, throughout these varied texts the subject of Love becomes a multi-faceted being. From this common occurrence in literature we can assume that this subject had a large impact on day-to-day life. One text that explores the many faces of love in everyday life is Plato’s Symposium. In this text we hear a number of views on the subject of love and what the true nature of love is. This essay will focus on a speech by Pausanius. Pausanius’s speech concentrates on the goddess Aphrodite. In particular he looks at her two forms, as a promoter of “Celestial Love” as well as “Common Love.” This idea of “Common Love” can be seen in a real life context in the tragedy “Hippolytus” by Euripides. This brings the philosophical views made by Pausanius into a real-life context.
In the first part of the play Egeus has asked the Duke of Athens, Theseus, to rule in favor of his parental rights to have his daughter Hermia marry the suitor he has chosen, Demetrius, or for her to be punished. Lysander, who is desperately in love with Hermia, pleads with Egeus and Theseus for the maiden’s hand, but Theseus’, who obviously believes that women do not have a choice in the matter of their own marriage, sides with Egeus, and tells Hermia she must either consent to marrying Demetrius, be killed, or enter a nunnery. In order to escape from the tragic dilemma facing Hermia, Lysander devises a plan for him and his love to meet the next evening and run-off to Lysander’s aunt’s home and be wed, and Hermia agrees to the plan. It is at this point in the story that the plot becomes intriguing, as the reader becomes somewhat emotionally “attached’’ to the young lovers and sympathetic of their plight. However, when the couple enters the forest, en route to Lysander’s aunt’s, it is other mischievous characters that take the story into a whole new realm of humorous entertainment...
This is a use of the gender lense because it shows that Hippolyta did not have the choice of who she was to marry. An important point is that Hippolyta was a part of the Amazons, which were an all-female warrior group. One would think that this would result in her opposing the “wooing,” but the play gives no evidence of this. Perhaps the fact that Theseus is the Duke of Athens gives him more jurisdiction over others, but it is more likely than not that if Hippolyta captured Theseus, he would not be obligated to love her. Theseus’ quote shows that women often did not have a choice in who they loved, and had to be content with the man that "captured" or "woo'd" them.
In the play A Midsummer Night's Dream a group of labourers decided to put on a play for the wedding of the Duke and Queen but have never acted before and are horrible at acting. For example when they said “Therefore, another prologue must tell he is not a lion.” (III, i, 34-35)
The four lovers run away to the woods outside of Athens. In the woods, a world of fairies dwell. The fairy king, Oberon, stumbles across Demetrius and Helena while Helena is begging Demetrius to love her. Since Oberon is having some problems with love on his own, he tries to help Helena with her unfortunate situation. He sends his jester, Puck, to use a flower that, if its juice is dropped onto someone who’s sleeping’s eyes, will make the person fall madly in love with the first person they lie their eyes on. “Take thou some of it, and seek through this grove; A sweet Athenian lady is in love with a disdainful youth; anoint his eyes; but do it when the next thing he espies may be the lady. Thou shalt know the man by the Athenian garments he hath on.”(64) Puck, following Oberon’s orders, finds Lysander and Hermia instead of Demetrius and Helena. Anointing Lysander’s eyes, he leaves, thinking he did his bidding. Helena finds Lysander sleeping, and, wi...
Yet mark'd I where the bolt of Cupid fell: /It fell upon a little western flower, /Before milk-white, now purple with love's wound, /And maidens call it love-in-...
A Midsummer Night’s Dream is one of Shakespeare’s most popular and frequently performed comical plays (Berardinelli). The play transformed into a cinematic production by Michael Hoffman has not changed in its basic plot and dialogue, but the setting and some character traits have. The play setting has been gracefully moved from 16th century Greece to 19th century Tuscany (Berardinelli). The addition of bicycles to the play affects the characters in that they no longer have to chase each other around the woods, but can take chase in a more efficient fashion. As far as characters are concerned, Demetrius is no longer the smug and somewhat rude character we find in act 1, scene 1 (Shakespeare pg. 6, line 91), but rather a seemingly indifferent gentleman placed in an unfortunate circumstance set to delay his wedding to Hermia. Perhaps the most noticeable change in the character set from stage to film occurs in the characters of Puck and Nick Bottom.
“Come, Eurycleia, move the sturdy bedstead out our bridal chamber-that room the master built with his own hands. Take it out now, sturdy bed that it is, and spread it deep with fleece, blankets and lustrous throws to keep him warm.” (23.
Throughout A Midsummer Night’s Dream by William Shakespeare, there are multiple analyses that one can follow in order to reach a conclusion about the overall meaning of the play. These conclusions are reached through analyzing the play’s setting, characterization, and tone. However, when one watches the production A Midsummer Night’s Dream directed by Michael Hoffman, a completely different approach is taken on these aspects, leading to a vastly different analysis of the work. Though there are many similarities between the original written play A Midsummer Night’s Dream by William Shakespeare and the on-screen production of the aforementioned play which was directed by Michael Hoffman, there are differences in setting and
Shakespeare, William, and Russ McDonald. A Midsummer Night's Dream. New York, NY: Penguin, 2000. Print.
William Shakespeare’s writings are famous for containing timeless, universal themes. A particular theme that is explored frequently in his writings is the relationship between men and women. A Midsummer Night’s Dream contains a multitude of couplings, which are often attributed to the fairies in the play. Each of these pairings has positive and negative aspects, however, some relationships are more ideal than others. From A Midsummer Night’s Dream the optimal pairings are Lysander and Hermia, Demetrius and Helena, and Oberon and Titania; while the less desirable pairings are Theseus and Hippolyta, Hermia and Demetrius, Lysander and Helena, and Titania and Bottom. Throughout A Midsummer
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
The play A Midsummer Night’s Dream, written by Shakespeare is a comedy filled with love, magic and dreams. Shakespeare has created four groups of characters for the reader to learn about, the lovers, the royals, the fairies and the mechanicals. All groups have a major impact on the play but one of the main groups is The Lovers who consist of Lysander, Helena, Demetrius and Hermia. Shakespeare uses Diction and Syntax to help the reader understand the characters better.
In his play, A Midsummer Night's Dream, Shakespeare, clearly establishes the feelings of Theseus with respect to love. Theseus expresses his doubt in the verisimilitude of the lover's recount of their night in the forest. He says that he has no faith in the ravings of lovers- or poets-, as they are as likely as madmen are to be divorced from reason. Coming, as it does, after the resolution of the lovers' dilemma, this monologue serves to dismiss most of the play a hallucinatory imaginings. Theseus is the voice of reason and authority but, he bows to the resulting change of affection brought about by the night's confused goings on, and allows Hermia, Lysander, Helena and Demetrius to marry where their hearts would have them. This place where the line between dream and reality blurs is an important theme of the play.