Essay about Analysis Of ' Midsummer Night 's Dream '

Essay about Analysis Of ' Midsummer Night 's Dream '

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In terms of time scale there will be a very long rehearsal and development process. Deafinitely Theatre translated and rehearsed their 2014 “Midsummer Night’s Dream” in 5 weeks, but in the case of this production I believe longer will be required. Most of the actors in the Deafinitely Theatre Company were deaf, knew sign language and had worked with each other before, making the rehearsal process smoother. In this case, it is important to consider that we will have a newly formed company of both hearing and deaf people from a variety of backgrounds, most of them probably unfamiliar with working with someone who cannot understand them. It will take longer for this company to build rapport and a means of communication due to the complications of a language barrier. As this is also an experimental piece an extensive development period is also required, entailing the company working as a collaborative, exploring the emotions and themes of the text, translating them into movements, working out where it is appropriate to use BSL poetry/VV and where to use other story telling techniques. We would also need time to run dance and stage combat rehearsals. Throughout this process it is imperative to do scratch performances to small groups of deaf and hearing audience members to get opinions and ensure the comprehension of the story. Overall it’s predicted that pre-production will take 8-12 weeks, but this is entirely subject to change. It would be advisable to start rehearsals in the first half of the year so some of the company can showcase snippets of scenes at the Deaffest, the UK’s leading deaf film and arts festival, which happens annually every May. This will be a good opportunity to get a deaf audience opinion and advertise the play. ...

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...production is limitless. It also fits Turtle Key Art’s mantra – “original, ground-breaking, inclusive art to entertain and inspire.” This will be an original production devised from the expertise and experience of hearing and deaf theatre professionals and performers. It will be ground-breaking (and quite literally ground-shaking) in terms of talent and performance. It will be designed to be holey inclusive to hearing and deaf audiences, allowing anyone of any hearing ability to appreciate and be entertained by the iconic stories of Shakespeare. Lastly this production will inspire more works like itself and encourage more deaf and hearing actors to work in collaboration with each other and unlock the creative potential of both communities together. To summarise this is an excellent investment, for Turtle Key Arts, into the deaf community and theatre arts as a hole.

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