Chocolate Box Girls: Summer's Dream

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In his essay "Preposterous Pleasures: Queer Theories and A Midsummer Night's Dream", Douglas E. Green explores possible interpretations of alternative sexuality that he finds within the text of the play, in juxtaposition to the proscribed social mores of the culture at the time the play was written. He writes that his essay "does not (seek to) rewrite A Midsummer Night's Dream as a gay play but rather explores some of its 'homoerotic significations'... moments of 'queer' disruption and eruption in this Shakespearean comedy." [23] According to Kehler, significant 19th-century criticism began in 1808 with August Wilhelm Schlegel. Schlegel perceived unity in the multiple plot lines. He noted that the donkey's head is not a random transformation, but reflects Bottom's true nature. He identified the tale of Pyramus and Thisbe as a burlesque of the Athenian lovers. [32] In 1817, William Hazlitt found the play to be better as a written work than a staged production. He found the work to be "a delightful fiction" [32] but when staged, it is reduced to a dull pantomime. He concluded that poetry and the stage do not fit together. [32] Kehler finds the comment to be more of an indication of the quality of the theatrical productions available to Hazlitt, rather than a true indication of the play's supposed unsuitability to the stage. She notes that prior to the 1840s, all stage productions of this play were adaptations unfaithful to the original text. [32]

Situated in Maroni and only 26 km from Amathus, Summer Dream Cyprus features accommodation with sea views, free WiFi and free private parking. There is a private entrance at the bed and breakfast for the convenience of those who stay. The accommodation provides airport transfers, while a car rental service is also available. BFI Screenonline: Ill Met By Moonlight (1957)". www.screenonline.org.uk . Retrieved 18 January 2018. Garden, Robin (2014). Shakespeare Reloaded. Cambridge University Press. p.135. ISBN 978-1-107-67930-6. Marshall, David (1982). "Exchanging Visions: Reading A Midsummer Night's Dream". ELH. The Johns Hopkins University Press. 49 (3): 543–75. doi: 10.2307/2872755. eISSN 1080-6547. ISSN 0013-8304. JSTOR 2872755. S2CID 163807169.

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Barnes, Clive (18 April 1967). "Midsummer Night's Dream: Balanchine Helps Turn Classic into Film". The New York Times. ISSN 0362-4331. OCLC 1645522 . Retrieved 31 March 2017. Clapp, Susannah (8 May 2016). "A Midsummer Night's Dream review – the wildest of dreams". The Observer . Retrieved 14 April 2020.

Waleson, Heidi (25 January 2011). "A Remarkably Inventive A Cappella Premiere". The Wall Street Journal. ISSN 0099-9660. OCLC 781541372. In 1971, James L. Calderwood offered a new view on the role of Oberon. He viewed the king as specialising in the arts of illusion. Oberon, in his view, is the interior dramatist of the play, orchestrating events. He is responsible for the play's happy ending, when he influences Theseus to overrule Egeus and allow the lovers to marry. Oberon and Theseus bring harmony out of discord. He also suggested that the lovers' identities, which are blurred and lost in the forest, recall the unstable identities of the actors who constantly change roles. In fact the failure of the artisans' play is based on their chief flaw as actors: they can not lose their own identities to even temporarily replace them with those of their fictional roles. [46] O'Donovan, Gerard (30 May 2016). "Russell T Davies made Shakespeare engaging, fresh and funny". The Telegraph. Archived from the original on 5 August 2016 . Retrieved 1 April 2017. Were the World Mine (2008) features a modern interpretation of the play put on in a private high school in a small town. [ citation needed] [102] A 1996 French film, The Apartment ( L'Appartement), directed by Gilles Mimouni, has many references to the play.Also writing in 1971, Hugh M. Richmond offered an entirely new view of the play's love story lines. He argued that what passes for love in this play is actually a self-destructive expression of passion. He argued that the play's significant characters are all affected by passion and by a sadomasochistic type of sexuality. This passion prevents the lovers from genuinely communicating with each other. At the same time it protects them from the disenchantment with the love interest that communication inevitably brings. The exception to the rule is Bottom, who is chiefly devoted to himself. His own egotism protects him from feeling passion for anyone else. Richmond also noted that there are parallels between the tale of Pyramus and Thisbe, featured in this play, and that of Shakespeare's Romeo and Juliet. [47]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( April 2021) ( Learn how and when to remove this template message)Dent also denied the rationality and wisdom typically attributed to Theseus. He reminded his readers that this is the character of Theseus from Greek mythology, a creation himself of "antique fable". [41] Theseus' views on art are far from rational or wise. He cannot tell the difference between an actual play and its interlude. The interlude of the play's acting troop is less about the art and more of an expression of the mechanicals' distrust of their own audience. They fear the audience reactions will be either excessive or inadequate, and say so on stage. Theseus fails to get the message. [42] 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] Swear words, sexual references, hate speech, discriminatory remarks, threats, or references to violence 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.