A Midsummer Nights Dream Drama Essay

A Midsummer Nights Dream Drama EssayA shoot knock down to take to the woods across before carry the individual spirit interpretations into play is how to contextualise the instruction executions within the text as a self-colored. In other words, the compositors cases are not mutu exclusivelyy exclusive entities, rather, they are int eonctive and woven into the landscape of the play. Therefore, I would handle to propose a general out margin for the overall performance.There are many shipway to perform A Midsummer Nights Dream, and the way I choose will affect divisors of the vulcanized fibers. There halt been many performances of Shakespearean shimmer, where the play is brought into the modern day. I however, would want to perform the play in its clean setting. I would like the play to retain its archaic time setting. It is a real self-reflexive play it is a play about staging a play. This highlights the idea of drama at its root the reheasrsal and work that goes into a play.I would like to leave the play in an olden day setting beca riding habit it consolidates the idea of drama creation detached from life through its artifice, and the play universe set in a by-gone era further consolidates the idea of detaching drama from everyday life.(a) The basic character I would like to look at is Lysander. He ref single-valued functions to yield to Demetriuss demand for Hermias hand, and risks the wrath of Theseus by eloping with Hermia. This demonstrates not only the depth of his feeling for Hermia, save too his conviction in his own beliefs, and the courage to carry out these beliefs.The comic arc of Lysanders performance hits its climax after Puck has sprinkled the be intimate potion into his eyes and he falls in love with capital of Montana. I would perform the character with approximately hyperbole at this point, in purchase order to lead the comic element of the text to the consultation. The idea of Lysander challenging Demetrius to a duel in order to win Helenas hand is an showcase of the excessive behaviour and heightened action that brings much of the comedy into the play.It is a humour that comes from the reversal of the natural order Helena has gone from being desperately in love with Demetrius and being scorned by him to being the object of both mens affection, for example.This reversal in the behaviour of Lysander is something Id like to highlight in performance. I consider a change in demeanor, and in call qualities could highlight this. At the beginning of the play, Lysander is portrayed as a romantic hero. I would stick this to the audition through his appearance ideally, the role would be modify by a tall, handsome man. I would like him to wear a garb of light temporal symbolising the innocence of the full-strength raw siennas (Hermias description of themselves).As I would like to keep the play true to its chromatic origins, I would like Lysander to wear a type of Athenean costume, which he could change when he enters the wood. I would like all the characters to change their costumes when they enter the forest, to represent the immense change in their surroundings. I would like him to don a more earthy, swarthy coloured robe, much(prenominal) as green, to work the pastoral environment to the audience.I would like to focus on how the character of Lysander should be performed during the sequence in which he challenges Demetrius to a duel. The interpretation that I would like to convey to the audience is one of escalating absurdity, which contributes to humour. This would be done through the props, delivery, verbal quality, paralinguistic features and a demonstration of how Lysander relates to Demetrius in this sectionLysanderHelen, I love thee. By my life I do.I swear by that which I will lose for theeTo prove him false that says I love thee not.DemetriusI say I love thee more than he place do.LysanderIf thou say so, withdraw, and prove it too. (Scene III, shap e II, delineates 251-256)There is a strong ace of rhythm in these lines, and in any case rhyme, which contribute to the tension and sense of heightened action. I would like the actor to highlight the rhythm in his delivery.I would like Lysander to adopt a masculine stance, and to circle Dimitrius, expanding his movement around the format, owning the stage, as it were, using the entire stage to convey to the audience that he feels he owns the stead, as he prowls around it.DemetriusA character trait that emerges from the text is the point where he tells the infatuated Helena that when he says, Tempt not too much the hatred of my life story/For I am sick when I do look on thee. (Scene II Act I, lines 211-212). This vocalization evokes a sense of his cruel nature, a pejorative view of Demetrius which is further consolidated when we examine the first first scene of the first act. When Lysander and Hermia are told that they cannot marry, Demetruis tells them they should let him hav e his certain right. (Scene I Act I line 92).There is subsequently a huge change in Demetruis when he falls subscribe in love with Helena at the end of the play. This is indicative of a softening of his character a change which I feel should be represented visually in performance.In order to convey Demetruiss somewhat cruel, righteous nature to the audience, I forecast the actor should appropriate a certain demeanor. remains style could be use to demonstrate his confident, cocky side. For example, he could strut, use large gestures and also run use of all of the stage space exercising his self imposed right to the stage space in the same way that he wants to exercise his right to Hermias hand.I would like his costume to be sinfulness colours such as a rich red and flamboyant design, to contrast with Lysanders. The vocal qualities should also demonstrate these traits. He only has two lines in scene I, act one, so it is very consequential how these are represented, as they will be the first impression the audience have of him.Demetriuss lines areRelent, sweet Hermia and, Lysander, yieldThy crazed title to my certain right. (Scene I, Act I, lines 91-92)The way in which this line is performed is very important. As the tormented lovers, the audience feels very strongly for Hermia and Lysander, to whom the presence of Demetrius is an invasive one. I would therefore also like to convey to the audience this sense of invasion. When Demetrius says, Relent, sweet Hermia I would like him to walk up to Hermia, and bewilder his encircle around her, caressing her with his other hand, turning them both away from Lysander. When he speaks to Lysander, Demetrius should keep his sand to Lysander, but turn his head to face him, so that his line is like an aside, as if he does not respect him.The words crazed title should be accompanied by paralinguistic features, such as an outstretching arm to convey to the audience how much Demetrius does not want Lysander and Herm ia to marry. Finally, the word my should be over emphasized to convey that Demetrius strongly feels that Hermia should be his, whether she loves him or not, because of the wishes of her father.His character, and especially his behaviour towards Helana changes at the end of the play. Whilst in the earlier stages of the play, he is confident, using large gestures and a lot of stage space, at the end of the play, I would like him to testify a more tender side to the audience, to convey the development of his characterThat we are awake? It seems to meThat yet we sleep, we dream. Do not you thinkThe duke was here, and bid us follow him? (Scene IV, Act I, lines 192-194)This line should be used to convey character development to the audience as it contrasts so strongly with his opening line the use of you in contrast to my for example. There is also a confusion in this remark, which contrast with the confidence in the first lines.HelenaAt the beginning of the play, Helena is portrayed a s hapless the scorned lover who has been wooed by Demetrius and then ignored in favour of Hermia. However, like Demetrius, Helena demonstrates a massive character development and transformation. Like Lysander, the arc of her character trajectory reaches its crescendo after Puck has sprinkled the love potion in Lysander and Demetriuss eyes.When they both try to woo her, she feels they are mocking her, and gets angry. To best convey the transformation in her character between before and after the love potion has been dispensed, Id like to consider how vocal quality and demeanor can be used in two of her utterancesCall you me join? That fair again unsay.Demetrius loves your fair. O apt fairSickness is catching. O, were favour so,Yours would I catch, fair Hermia, ere I go.O, teach me how you look, and with what artYou sway the enquiry of Demetrius heart. (Scene I, Act I, lines 181-194)This except is from a long lyric in which Helena proceeds to extol the virtues of Hermia, with whom Demetrius is infatuated. The chance upon message I would like to convey to the audience from this quarrel is the idea that Helena is confused, upset and roughly jealous of Hermia. She is asking Hermia how she won the heart of Demetrius. In order to convey this dejection to the audience, I think the delivery of this words should involve some rhetoric while Helena is asking Hermia how she wooed him, and saying how fair Hermia is, my interpretation of this speech is that it is a melancholy meditation on the loss of her love.She is not looking for outside answers, rather internal answers, and so it is questions she is asking herself. This could be expressed to the audience by the character of Helena distancing her self visiblely from the group this would be a visual symbol of her isolation. Her demeanor and body quarrel would be hunched and dejected, and her voice subdued and hushedThe other speech that is a seminal importee in the performance of Helen is when she feels she i s being mocked by the two men, and gets angry. Clearly her relationship with Demetrius is changed when he falls in love with her. While she may be unaware of it, the hierarchy of the relationship has been overturned, and she has now adopted a position of power. In her speech, she saysO spite O hell I see you are all bentTo set against me for your merriment.If you were civil and knew courtesyYou would not do me thus much injury. (Scene III, Act II, lines 145-148)This speech can be used to great effect to demonstrate the performance possibilities of this role. The demeanor and vocal qualities playing this speech would require differ hugely to the earlier one with a louder voice, delivery directed at the other characters and inflated body language required.HermiaHermia is represented in the play as a strong, obstreperous young woman, prepared to take risks in order to fulfil her own inclinations. This is exemplified in her refusal to bow down to her fathers wish that she marry Deme trius. In the face of a death sentence, or life in a nunnery, she escapes with Lysander into the forest. Lysanders love for Hermia, along with Demetriuss desire, demonstrate that she is an attractive and desirable young woman.These are two important points Id like to consider when constructing the performance of Hermia. I would like to convey to the audience her inner strength and determination, alongside her physical attractiveness.The notion of physical attractiveness could be conveyed primarily through costume and appearance. As Hermia is clearly a woman of considerable charm (illustrated when Helena asks her what charm she used to capture Demetruiss heart), her costume should reflect this. As it is believed that she unwittingly won over Demetrius (this is an ambiguity in the text it is possible that Demetrius loves her because her father is so impress by him) I would also like to impress upon the audience a sense of naivete and innocence.The unmistakable symbolic colour of th is is white. White would also look striking under the stage lights. I would use floaty fabrics for the costumes, such as organza, to communicate the ethereal quality of not only Hermia herself, but also the forest, and the magic contained within it. When Hermia leaves Athens and escapes to the forest, I would like her to adopt a robe over her dress, of green, to convey to the audience, through her change in costume, that a change is impending in the play.While the charm and steady of the character of Hermia will be communicated visually, the inner strength and courage that I interpret as being key elements of her character, will be communicated through her demeanor. It is commonly understood in the study of body language that confident people stand up straight, unlike shy people, who hunch up, in a subconscious mind decision to take up less space. In this way, stage space becomes an important indicator of personality.I have mentioned before that I would, at certain points in the t ext like characters to use the whole space of the stage to convey a sense of confidence. I would like the performance of Hermia to adopt a comfortable use of the entire stage space.More specifically, I would like to refer to one speech that I feel is very important in the text, in Scene I, Act I, when Hermia is talking to Theseus with regards to her desire to marry LysanderSo will I grow, so live, so die, my lord,Ere I will yield my arrant(a) patent upUnto his lordship whose unwished yokeMy soul consents not to give soveregnity. (Scene I, Act I, lines 79-82)This speech is an important point at the text because Hermia makes clear her intentions to avoid marriage to Demetrius. It is a very dramatic, sensitive piece. This speech should be delivered with intensity, to convey to the audience the depth of Hermias feelings for Lysander. The performance should include some paralinguistic features such as go around the stage, facial expressions and hand movements to express her feelings vi sually.TheseusMy understanding of Theseus is that he is a very complex character there is conflicting evidence in the text as to his true nature. There is one utterance in the text that brings up questions regarding his true nature, when he is talking to Hippolyta and he says thatHippolyta, I wooed thee with my sword,And won thy love doing thee injuriesBut I will wed thee in another key (Scene I, Act I, lines 16-18)My interpretation of this line is that Theseus raped Hippolyta. The implications of this in terms of how the character should be performed are vast. In much of the text, Theseus is represented as a pensive, thoughtful man. He kindly advises Hermia to Take time to pause (Scene I, Act I, line 83) when discussing the note with her father Egeus. This scene presents him as rational and kindly.The suggestion of rape in line 16 makes the line highly important, the suggestion I would like to convey to the audience is the idea that Theseus is warning Hippolyta. In bringing the i ssue of the rape to the forefront, he is reminding her of the power balance in their relationship. There is also possibly some penitence in this admission. This could be communicated to the audience through the use of certain vocal qualities, demeanor and stage space.Back to Example EssaysI would like Theseuss sense of power to be conveyed to the audience in a visual way, so he would deliver this speech standing, and walking around, whilst the character of Hippolyta would be sitting down. The divergence in their heights would be a visual representation of the hierarchy, which would further consolidate what Theseus was saying. This is such a patriarchal power play that props could be used to represent a sense of phallocentricity such as a sceptre a regal and phallic symbol.The use of this prop could convey to the audience my interpretation of Theseus as being the patriarchal and dominant force in the opening of the play. His kingdom is run on a set of rigid rules for example, Ege us invoking the ancient law of Athens as Hermia wants to marry Lysander. This is in stark contrast to the forest the mysterious, feminine arena which is the binary opposite of Athens.In terms of demeanor, Theseus should be calm, and considered in his movements. I would like his costume to be of dark colours, and of neat, clean lines. This operates in contrast to Hermias costume the white of her costume is a symbol of innocence while the dark of Theseuss costume is aligned with the dark side he hints at in this speech.