Analysis Of A Midsummer Night's Dream

Ask any student, and they remember middle and high school assignments to decipher William Shakespeare’s plays, whether it was Romeo and Juliet, Hamlet, or other plays. Often a teacher would create a lesson plan where the students would act out the play, learning from the direct interaction. Likewise, many Shakespearean rewrites read by students inevitably contained dialogue decoders, which allowed the readers the ability to interpret a Shakespearean word or phrase into modern diction. However, many of these lesson plans are routinely used with subsequent grade levels, and therefore can become monotonous for a reader, boring the student who has to read and decipher the text.

While this reuse is perfectly acceptable and relatively normal, for

Richard III, illustrated by Patrick Warren, is described with emotion and conflict within the characters, and draws out the dramatic and cinematic quality of the play, showing a dark side of the play and is set in medieval times (Appignanesi, 2007). A Midsummer Night’s Dream, illustrated by Kate Brown, is set in present-day Athens, but incorporates an alternative history. The mythological gods and rigid class systems and divine monarchies of our current history, have not been lost (Appignanesi, 2008). Essentially, this adaptation intertwines modern technologies to the ancient traditions of the Greeks (Appignanesi,

Julius Caesar, illustrated by Mustashrik, is set in some unknown, futuristic, science fiction like setting in Rome (Appignanesi, 2008). As You Like It, illustrated by Chie Kutsuwada, is set in modern-day China, where rural and urban worlds collide (Appignanesi, 2009). Othello illustrated by Ryuta Osada, is set in a fantastical Venetian carnival setting (Appignanesi, 2009). Much Ado About Nothing, illustrated by Emma Vieceli, is set in the political and social movement that between 1815 and 1871 that directly contributed to the creation of modern Italy (Appignanesi, 2009). King Lear, illustrated by ILYA, is portrayed in a setting reminiscent of The Last of the Mohicans in the Japanese manga style (Appignanesi, 2009). Twelfth Night, illustrated by Nana Li, is set—strangely enough—in a Steampunk which is a subgenre of science fiction(Appignanesi, 2009). Henry VII, illustrated by Patrick Warren, was uniquely partnered with the Historic Royal Palaces, creating a blend of historically accurate and Shakespearean drama (Appignanesi, 2009). The Merchant of Venice, illustrated by Faye Yong, is set in a fantasy realm with Light Elves and Dark Elves as the main cast (Appignanesi,