Midsummer Night's Dream by William Shakespeare, A (Sparknotes Literature Guide)

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In 1971, Neil Taylor argued that there was a double time-scheme in the play, making it seem to last a minimum of four nights but to also be timeless. [30] Director 1: Steve, using the smoke to represent the contagious fog and bad weather brought on by Oberon’s temper was inspired. Reynolds, Norman (14 July 2006). " Ein Sommernachtstraum"[ A Midsummer Night's Dream]. Ballet.co.uk. Archived from the original on 29 November 2014 . Retrieved 11 May 2014.

In 1967, John A. Allen theorised that Bottom is a symbol of the animalistic aspect of humanity. He also thought Bottom was redeemed through the maternal tenderness of Titania, which allowed him to understand the love and self-sacrifice of Pyramus and Thisbe. [43] In 1968, Stephen Fender offered his own views on the play. He emphasised the "terrifying power" [43] of the fairies and argued that they control the play's events. They are the most powerful figures featured, not Theseus as often thought. He also emphasised the ethically ambivalent characters of the play. Finally, Fender noted a layer of complexity in the play. Theseus, Hippolyta, and Bottom have contradictory reactions to the events of the night, and each has partly valid reasons for their reactions, implying that the puzzles offered to the play's audience can have no singular answer or meaning. [44] Sanders, Julie (2013). Shakespeare and Music: Afterlives and Borrowings. John Wiley & Sons. ISBN 978-0-7456-5765-3. 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. The Donkey Show: A Midsummer Night's Disco". Internet Off-Broadway Database. n.d . Retrieved 31 March 2017. A Midsummer Night's Dream, an American independent film that relocates the story to modern-day Los Angeles.

Kopf, Dan (22 September 2016). "What Is Shakespeare's Most Popular Play?". Priceonomics . Retrieved 11 October 2022. Geraldine: Oh well, it does state in the script that Oberon’s bad mood affects the weather, so if it were to rain I would simply blame the fairies.

Hunt, Maurice (1986). "Individuation in "A Midsummer Night's Dream" ". South Central Review. The South Central Modern Language Association. 3 (2): 1–13. doi: 10.2307/3189362. eISSN 1549-3377. ISSN 0743-6831. JSTOR 3189362.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. Broich, Ulrich (2006). "Oberon and Titania in the City Park: The Magic of Other Texts as the Subject of Der Park by Botho Strauß". In Jansohn, Christa (ed.). German Shakespeare Studies at the Turn of the Twenty-first Century. International studies in Shakespeare and his contemporaries. Newark, Delaware: University of Delaware Press. pp.144–60. ISBN 978-0-87413-911-2. In 1826, Felix Mendelssohn composed a concert overture, inspired by the play, that was first performed in 1827. In 1842, partly because of the fame of the overture, and partly because his employer King Friedrich Wilhelm IV of Prussia liked the incidental music that Mendelssohn had written for other plays that had been staged at the palace in German translation, Mendelssohn was commissioned to write incidental music for a production of A Midsummer Night's Dream that was to be staged in 1843 in Potsdam. He incorporated the existing Overture into the incidental music, which was used in most stage versions through the 19th century. The best known of the pieces from the incidental music is the famous Wedding March, frequently used as a recessional in weddings. [89]