By William Shakespeare
A brand new component of the advent to this up to date version considers very important specialist theater productions and the massive output of scholarly feedback at the play that have seemed in recent times. The analyzing checklist has been revised and augmented to mirror the scope of the revised version. First variation Hb (1985): 0-521-22194-3 First version Pb (1985): 0-521-29389-8
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Additional resources for A Midsummer Night's Dream
L. Barber, Shakespeare''s Festive Comedy, 1959. Erwin Panofsky, Studies in Iconology, 1939, repr. 1962, pp. 125-6. Olson, 'Court marriage', p. 115; see also Wickham, Shakespeare''s Dramatic Heritage, p. 183, where he says Shakespeare presents 'sex as a wood through which in adolescence everyone is obliged to pass. On the far side of the wood is marriage... ' Barber, Shakespeare's Festive Comedy, p. 139. 155). What they see as savage reflects the increasing savagery of their own passions, as love and friendship turn to hatred.
P. 24. , p. 27. , p. 30. 3 Inevitably, Brook was pressed to talk about the production, and did so; in what he said about it the notion of ' collective creation ' seemed to be contradicted by his firm and peculiar interpretation of some aspects of the play. In an interview recorded late in 1970, he was asked to comment on a striking feature of his production, the doubling of Theseus with Oberon, and Hippolyta with Titania, and in explanation said that the couples were closely related because Theseus and Hippolyta are trying to ' discover what constitutes the true union of a couple', and that they go through quarrels as Oberon and Titania in order to make their marriage 'complete'.
So Hippolyta retorts well to Theseus's famous comment : THESEUS The best in this kind are but shadows; and the worst are no worse, if imagination amend them. HIPPOLYTA It must be your imagination then, and not theirs. 205-7) Indeed, the interlude of ' Pyramus and Thisbe ' makes us laugh in large part because we sense the discrepancy between the conception Quince and Bottom have of drama as realistic, holding the mirror up to nature, and their want of the imagination or skill that would enable them to achieve the dramatic illusion they aim for.