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The article focuses on the interpretation of "Ninny's Tomb" in Shakespeare's "A Midsummer Night's Dream." Topics include the confusion surrounding the name "Ninny," originally thought to mean "fool," which was a new word in Shakespeare's time, possibly alluding to St. Ninian, a patron saint of Scotland and the article explores how this reference connects to Ovid's "Metamorphoses" and the symbolic significance of the tomb in the play's narrative, blending themes of love and mortality.

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reviews the theatrical production of the play "A Midsummer Night's Dream," written by William Shakespeare and directed by Elle While, held at the Shakespeare's Globe Theatre in London England, on July 31, 2023.

This essay attempts to insulate the Folio from periodic swings of opinion about it by illustrating that some aspects of this text have gained greater respect over the last four centuries. The essay locates the importance of the Folio specifically in the increased esteem for its apparent reflection of early performance, as instanced in the editorial handling of a pair of cruxes near the close of A Midsummer Night's Dream. This essay charts a course from the eighteenth-century rhetorical denigration of Folio readings as supposedly corrupt theatrical documents to valuable witnesses of stage practice by some editors in the nineteenth century and later. Part of this essay's original contribution is also an emphasis on the ease with which editors moved from text to text, and line by line, to construct thoroughly hybrid editorial texts. At our four hundred-year remove, the Folio remains a powerful force not principally because it was endorsed by a series of editors who agreed on its prominence but because it has persisted through an extensive series of editorial arguments about its performability and its overall validity. [ABSTRACT FROM AUTHOR]

The article offers information on the production of "A Midsummer Night's Dream" presented by the Abbey Shakespeare Players at St Dogmael's Abbey in Llandudoch, Wales.

This paper explores the interchangeable relationship between three author figures in the nineteenth individual instalment of Neil Gaiman's popular Sandman comic book, titled 'A Midsummer Night's Dream', arguing that just as this metafictional story blurs the boundaries between theatrical/comic book fiction and reality, it also portrays an abstraction of authorship between Shakespeare, Morpheus, and Gaiman, as each figure blends into one another while influencing the shape of the narrative; as a result, each of these authors demonstrates the tangible and transformative power of a singular storyteller. Drawing from Gaiman's history of portraying Shakespeare in Sandman – and his goal throughout the series of enshrining single impactful authorship through his fictionalised take on Shakespeare – I will propose that in actuality, all three authors engage in a cyclical creative relationship with one another, which affects the perception of the comic book story's origin, with each author acting as inspiration for one another on both a diegetic and metatextual level. This culminates in the story's visual layout and meta-performance of Dream, in which their three authorial influences become momentarily indistinguishable, complicating Gaiman's ideal of single authorship. [ABSTRACT FROM AUTHOR]

This article examines the ethical dimensions of the father-daughter conflict in Shakespeare's A Midsummer Night's Dream. It analyzes the dynamics of the relationship between Egeus and Hermia, highlighting the tension between paternal authority and the freedom of romantic choice. The study explores the historical context of Renaissance marriage customs and societal expectations surrounding marriage. It also discusses the ethical choices made by Hermia, who defies her father's wishes to pursue her own romantic desires. The article provides a thought-provoking example of ethical choices in literature and the complexities of navigating multiple ethical identities. [Extracted from the article]

The article focuses on the relationship between Shakespeare's "A Midsummer Night's Dream" and Euripides' "Bacchae," highlighting the subtle ways in which Theseus' character in the play may reflect a denial of certain spiritual forces and aspects of humanity. The rejection of an interlude depicting Orpheus's dismemberment by Theseus is seen as potentially linked to themes in "Bacchae," particularly in their encounters with chthonic forces and the resistance to acknowledging them.

In William Shakespeare's A Midsummer Night's Dream the addition of the various framing devices to Pyramus and Thisbe begins with Bottom's desire to monopolize the stage. The craftsmen's metadramatic speeches motivate the courtly audience's sustained commentary on the play, by which they imitate the players in their absurdly literal interpretation of the play action and enter into competition for the attention of everyone present. Metadrama emerges as prominent feature of Shakespearean drama in order to address the potential rivalry and resistance of the audience--effects of a nascent free market and the declining respect for divine hierarchy. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Litarature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ecologically valid research and wearable brain imaging are increasingly important in cognitive neuroscience as they enable researchers to measure neural mechanisms of complex social behaviors in real-world environments. This article presents a proof of principle study that aims to push the limits of what wearable brain imaging can capture and find new ways to explore the neuroscience of acting. Specifically, we focus on how to build an interdisciplinary paradigm to investigate the effects of taking on a role on an actor's sense of self and present methods to quantify interpersonal coordination at different levels (brain, physiology, behavior) as pairs of actors rehearse an extract of a play prepared for live performance. Participants were six actors from Flute Theatre, rehearsing an extract from Shakespeare's A Midsummer Night's Dream. Sense of self was measured in terms of the response of the pFC to hearing one's own name (compared with another person's name). Interpersonal coordination was measured using wavelet coherence analysis of brain signals, heartbeats, breathing, and behavior. Findings show that it is possible to capture an actor's pFC response to their own name and that this response is suppressed when an actor rehearses a segment of the play. In addition, we found that it is possible to measure interpersonal synchrony across three modalities simultaneously. These methods open the way to new studies that can use wearable neuroimaging and hyperscanning to understand the neuroscience of social interaction and the complex social–emotional processes involved in theatrical training and performing theater. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the book "A Midsummer Night's Dream" by Shakespeare is presented. It mentions that the most powerful characters are the fairy rulers, in particular Oberon, with Titania vainly attempting to match his assertiveness. It reveals depiction of a cosmic quarrel between natural energies, struggling for possession of a strongly desired object, which results in a vividly poetic description of life-denying barrenness.

Habib Tanvir (1923–2009) was a noted Indian playwright who combined different influences to create what Anjum Katyal has termed "inclusive theatre." In 1993 he translated and directed a version of Shakespeare's A Midsummer Night's Dream entitled Kamdev Ka Apna Basant Ritu Ka Sapna [ The Love God's Own, A Springtime Dream ]. This article demonstrates how the language and class-based hierarchies within postcolonial India play out in Kamdev, in which the fairies and the elite characters speak Hindi/Urdu/Hindustani, and the mechanicals speak the Chattisgarhi dialect. I interweave a close reading of Tanvir's published translation and a video recording of a performance of the play, directed by Tanvir, which is archived in the MIT Global Shakespeares Archive. Since Tanvir both translated and directed the play, I read the archived performance and the published text as extensions of each other, and view them as existing in a "reciprocal relationship" with "the Shakespearean 'work'" (Kidnie 5). This approach allows me to move beyond existing scholarship on Tanvir's adaptation, which has considered his work only in tandem with other Indian productions, and focus instead on how Tanvir uses the specific affordances of Dream to challenge class- and language-based hierarchies. Ultimately, I show how Kamdev affords its actors, members of a subaltern community, the space to make Shakespeare, once a tool of colonization, a tool to resist neocolonial cultural and linguistic hegemonies. [ABSTRACT FROM AUTHOR]

The metatheatricality of A Midsummer Night's Dream has invited recent directors to tell particular kinds of socially progressive stories. This article uses the notion of social reparation to theorize remedial uses of Shakespeare in adaptations that give artists and audiences more moral agency. By imagining more inclusive local habitations for Dream , these socially progressive adaptations seek to remedy injustices in our times and the power asymmetries that inform Shakespeare's play. My research indicates that place and social space feature prominently in reparative adaptations. To examine the significance of place in performances of Dream , this article analyzes the queer film Were the World Mine , the cross-cultural mime-dance production Dreamer , and the Royal Shakespeare Company's pandemic-era, interactive, digital performance. All three adaptations draw on the dynamics of their newly created localities to perform various social or artistic mediations. [ABSTRACT FROM AUTHOR]

In The Renaissance of Lesbianism (2002), Valerie Traub calls readers to imagine "a production of A Midsummer Night's Dream in which Titania's complex and implicitly colonialist affections for her votaress are not minimized but explicitly motivate her resistance to Oberon," a production that "gives temporary life to Titania's beloved votaress" (76). About a decade later, in Julie Taymor's production of A Midsummer Night's Dream at Theatre for a New Audience (2013), the Indian votaress entered as a soft yellow light when Titania spoke the words: "His mother was a votaress of my order" (2.1.123). This light illuminated Titania's face against the "progeny of evils" born of her marital strife, and softened the sounds of storm and thunder that accompanied Oberon onstage. Taymor's production might not have made the colonialist intimacy between the Indian votaress and Titania as explicit as Traub imagined, but this particular staging of the Indian votaress's affective force in Shakespeare's play deviated from the production history of A Midsummer Night's Dream , in which the pregnant Indian votaress is rarely represented, although her son often appears onstage. In this chapter, I put the Indian votaress's ghost—this light—in conversation with contemporary performance and critical race theorists, to argue that Taymor's interpretation of A Midsummer Night's Dream underscored the Indian votaress's potential to offer audiences more than a vision of racist, European colonization. In the ominous world that Shakespeare and Taymor construct, the brightest light is the Indian votaress. [ABSTRACT FROM AUTHOR]

When New Zealand-based production company The Candle Wasters adapted A Midsummer Night's Dream , they broke from the patterns established by their previous web series. Instead of vlog-based narratives covering several months, Bright Summer Night is a study of a party lasting one night, depicted in ten episodes, each following a single character. As characters fixate on the personal joys and fears of friendships and romances, they are also preoccupied with the grief and stress of living during a growing global environmental catastrophe. The party setting of Bright Summer Night utilizes the carnivalesque party setting as a transformative green world, substituting substance abuse for Cupid's flower and the pressures of the contemporary youth experience for the oppressive laws of Athens. Rather than playing the intoxicated revelries of the partygoers for laughs, however, Bright Summer Night uses the setting to open dialogues about environmentalism (including the eco-anxiety of Millennials and Gen Z), sexuality, non-binary gender expression, relationship toxicity, and emotional expression. Resisting the neat problem-resolution of other adaptations such as Get Over It and A Midsummer Night's Rave , Bright Summer Night rewrites Shakespeare's lines and plot points to demonstrate that not every offense can be mended. The series also functions as a meta-commentary on using artistic expression to call attention to social and ethical issues. Drawing on ecocriticism, adaptation theory, and youth studies, this article explores how Shakespeare can be used by young people as social commentary in the digital age. [ABSTRACT FROM AUTHOR]

Puck famously concludes A Midsummer Night's Dream by suggesting that the players' utmost goal has been to avoid offending their audience and offering to "mend" any damage the play might have caused (Epilogue 8). While superficially conciliatory, Puck's final speech reminds the audience, yet again, of Dream 's many offenses and harms, and challenges theater practitioners to navigate the darker, more unsettling aspects of the play-text. Taking its cue from Puck, our introduction to this special issue on Dream in modern performance outlines the key inequities and disharmonies of the play-text that might be taken up in performance, including problems of consent, misogyny, colonialism, inequity, and ecological disaster. In the second half of the introduction, we offer a brief survey of how some of these issues have been addressed—magnified, mitigated, or erased—in the play's staging history from the nineteenth to the twenty-first century. Finally, we conclude by briefly summarizing how the essays in this special issue explore the mixed results of theatrical projects around the world that employ the play as a tool for social critique and/or imagining alternative futures. [ABSTRACT FROM AUTHOR]

This article re-examines the scholarly assumption that the theater of early Soviet Russia saw A Midsummer Night's Dream as an ideologically unobjectionable and unproblematic play. Tracing how Russian productions of Dream were reviewed from 1919 throughout the 1920s, the first section of this article examines comments on the play's potential usefulness for building a proletarian theater and concerns about the interpretative challenges it posed. The second section moves to address the expectations for Shakespearean comedy as a genre in the 1930s, framed by Shakespeare's new position as a cult writer within the cultural policy of socialist realism, and shows that Dream was interpreted as a humanist vision of an idyllic, egalitarian, and conflict-free future. Finally, the article analyzes the 1941 production at the Central Red Army Theater in Moscow, focusing on the director's assistant's rehearsal notes, which were eventually published as an essay. Both the initial notes and their final, published version reveal Soviet theater practitioners' battle with the recalcitrant play-text as they attempted to force the play into alignment with its official interpretation. By charting how staging Dream challenged early Soviet Russia's idealized vision of Shakespearean comedy and, by extension, of Shakespeare as a proto-socialist playwright, this article proposes that, when translated into performance, this comedy proved no less ideologically insidious and destabilizing than did Hamlet. [ABSTRACT FROM AUTHOR]

This article studies a number of William Shakespeare's works with a focus on night as a metaphysical aspect from a phenomenological perspective. After presenting an introduction on the literary and philosophical significance of night as a (non)phenomenon (while also referring to the scarcity of research in this field) and of alterity on a metaphysical scale, we will try to discuss the ways in which Shakespeare, from the beginning of his poetic and theatrical career, seems to have been interested in night and the various effects he wished to achieve through invoking this (non)phenomenon. We will trace the growth of Shakespeare's thought on the metaphysical aspects of night from his sonnets and poems (Venus and Adonis and The Rape of Lucrece) to some of his more mature theatrical works (chiefly A Midsummer Night's Dream, Hamlet and Macbeth). Our aim is to show, with the help of a phenomenological treatment of Shakespeare's language and theatre, how he moulds what can be termed a metaphysics of alterity as a literary and philosophical aspect of his work. [ABSTRACT FROM AUTHOR]

Since 1988, Henrik Ibsen's Peer Gynt has been performed outdoors in the summer at Gålå in Gudbrandsdalen in Norway. Peer Gynt is particularly connected to Norwegian national culture and identity, and this connection becomes particularly poignant at Gålå. The event focuses on giving the audience a celebratory national-romantic experience of the typical Norwegian landscape, traditional Norwegian culture, and Peer Gynt, the most Norwegian of all plays. The question is whether a production here necessarily has to be subjected to the celebratory atmosphere of the event or whether it is possible for a production in these circumstances to question the hegemonic, national-romantic ideology that pervades the event. This article uses Chantal Mouffe's concept of 'critical art' and Louis Althusser's reflections on the relationship between theatre and ideology to discuss this question in respect of how the productions at Gålå are marketed. The article argues that, whatever critical potential there is in performing Peer Gynt at Gålå, it can be found by directly staging and questioning the expectations that the event creates and that audience members bring with them. Sigrid Strøm Reibo employed such a strategy in her 2017 production, which is the focus of attention here. Lars Harald Maagerø is a scholar and director whose research is concerned with the political and cultural impact of contemporary theatre. His productions include A Midsummer Night's Dream and Twelfth Night with Thesbiteatret in Norway, and Mozart's Don Giovanni at Opera Østfold. [ABSTRACT FROM AUTHOR]

This article examines ideas about worlds, fiction, art, images, nature, and experience in Philip Sidney's A Defence of Poetry (1580) and Shakespeare's A Midsummer Night's Dream (1595) by drawing on accounts of the image in classical culture, on dreams and shamanistic worldviews, and on John Dewey's philosophy of pragmatism. The article suggests how theater might offer resources for bringing diverging human and nonhuman worlds into new alignments by furnishing us with accounts of knowledge and collective action that differ from those of modern science. [ABSTRACT FROM AUTHOR]

The article informs on the play "A Midsummer Night's Dream" by William Shakespeare. The play consists of several subplots that revolve around the marriage of Theseus and Hippolyta, and creates an epistemological connection between spiritual open-mindedness and an audience's engagement with a play. It outlines two audiences those who are fools for the fantastic and those whose barren empiricism prevents their moral or metamorphic transformation.

An introduction is presented in which the editor discusses articles within the issue, including the use of fairness in William Shakespeare's play "A Midsummer Night's Dream" to advance the ideology of white supremacy, children's performances of race and whiteness in the play "Henry V" and the bloodlines disrupted by women in the play "All's Well That Ends Well."

A literary criticism of the play "A Midsummer Night's Dream," by William Shakespeare is presented. It examines the anti-Black violence and quotes considered as hate speech in the play, the antiphrasis described by author George Puttenham that aligns with Shakespeare's play, and a history of the tradition of antiphrasis in literature.

The article discusses the issue of editorial alternation between the words "favours" and "savours" in William Shakespeare's play "A Midsummer Night's Dream." Topics include character Oberon's summary of how Titania had begged her husband for reconciliation in the play, the decision of most editors in the 18th- and 19th-centuries to opt for the "savours" correction, and the shift of editorial preference from "savours" to "favours" as a result of an 1853 essay by Alexander Dyce.

The article reviews a theatrical production "A Midsummer Night's Dream" at Shakespeare's Globe, London from 19 May–30 October 2021 directed by Sean Holmes.

In this paper, we report data from the first national survey of secondary Shakespeare teaching in the UK, conducted online in 2017–18 with a sample of 211 teachers distributed through England, Northern Ireland, Scotland and Wales. We report on what is taught and why. Our survey shows that the most popular play in the UK is Macbeth, which is one-fifth of all Shakespeare teaching instances in our sample. At age 11, A Midsummer Night's Dream and The Tempest dominate, while at A level A.C. Bradley's "big four" – Othello, Hamlet, King Lear and Macbeth – are the most popular. Reasons to teach certain texts related to clear plot, themes and good characters for analysis; aside from the play's characteristics, whether or not there were copies of the text in school was the major deciding factor in what to teach, along with the existence of supporting resources. [ABSTRACT FROM AUTHOR]

The article reviews a theatrical production of William Shakespeare's "A Midsummer Night's Dream," directed by Ty Defoe and performed by the Southwest Shakespeare Company on Kuly 11, 2020.

The article reviews a theatrical production of William Shakespeare's "A Midsummer Night's Dream," directed by Emma Rice and starring Sheema Mukherjee, performed at Shakepeare's Globe in London, England from May 5 to September 11, 2016.

The article reviews the theatrical production "A Midsummer Night's Dream" presented by Prague Shakespeare Company on 23 April 2020.

The plays of Shakespeare have undergone radical transformations in the ways they have been produced and perceived over the centuries. In the 20th and 21st centuries, the plays have been adapted, localized, appropriated through a vast range of media: theatre, cinema, music, comics, and cartoons. This article will focus on the appropriation of A Midsummer Night's Dream in the form of cartoons and comics, comparing different versions and different media, from the puppet version of Jiri Trnka to the animated tales, to the manga version adapted by Richard Appignanesi and illustrated by Kate Brown, to Neil Gaiman's graphic novel version of the play. [ABSTRACT FROM AUTHOR]

The article discusses the exploration of the fantastical in Shakespeare, particularly focusing on the origin of fantasy in his works and its impact on dramatic costume. It discusses the influence of Early Modern mythology, folklore, and Shakespeare's personal history, using examples from plays like A Midsummer Night's Dream and Macbeth.

The article "A Burning Summer" analyzes Shakespeare's play "A Midsummer Night's Dream" and its representation of passionate love affairs between young couples who defy established norms. The play combines elements of reality and fantasy, with human and fantastical characters coexisting in a mythical forest. The plot focuses on the romantic encounters and misunderstandings of Lysander, Hermia, Demetrius, and Helena, while the couples Theseus-Hippolyta and Titania-Oberon complete the overall romantic context. The play premiered in the context of a wedding and reflects Shakespeare's vision of life as a theater where dreams and reality merge. [Extracted from the article]

This article argues that the Indian boy of A Midsummer Night's Dream, a longstanding mystery in Shakespeare criticism, is best understood as a second iteration of Shakespeare's Adonis. Numerous similarities between the two characters suggest that the Indian boy, like his predecessor, is an attractive youth navigating the difficult transition from boyhood to manhood, and beset along the way by an overwhelming adult lover, in his case Titania. This strange predicament arises from a fundamental contradiction in Shakespeare's work between two understandings of boyhood. Are boys to be seen as future adult males, or as current objects of desire, possessed of almost feminine beauty? This crisis of definition emerges in play after play, as boys struggle to prove their masculinity in an erotic environment that relentlessly frames them as feminine. Indeed, the crisis extends into the institution of the Elizabethan theatre itself, which employed boys as "apprentices", thereby legally acknowledging their capacity for masculine adult work, but which mainly cast them in female roles and rarely offered them adult careers. The Indian boy, then, while confined to the margins of his own play, stands in the mainstream of the corpus as a whole, confronting a set of difficulties that pervade both Shakespeare's plots and the professional structure that underlay them. [ABSTRACT FROM AUTHOR]

The article reviews a theatrical production 'A Midsummer Night's Dream' by the Back Room Shakespeare Project on YouTube counterbalancing the play's usual heteronormativity.

The article discusses topics of forgery, Virgilian allusion, and schoolboy joke in the play "A Midsummer Night's Dream," by William Shakespeare. Also cited are the play's five different plotlines, Shakespeare's inspiration from Greek and Latin texts, and the criticism by Charles and Michelle Martindale on Shakespeare in their work "Shakespeare and the Use of Antiquity."

A literary criticism of book "A Midsummer Night's Dream" by William Shakespeare is presented. It outlines the characters and explores their symbolic significance. It examines the longstanding linguistic connection between sex and magnetism and female character Helena's crippling desire and also mentions the violence of Helena's attraction to Demetrius. An overview of the story is also given.

This essay explicates the phrase "at our stamp" from A Midsummer Night's Dream 3.2.25. This phrase has long proved problematic, but it can be understood through Shakespeare's numismatic metaphors. [ABSTRACT FROM AUTHOR]

Copyright of Acta Onomastica is the property of Academy of Sciences of the Czech Republic, Czech Language Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Examines the influence of author Mary Sidney on the play "A Midsummer Night's Dream," by William Shakespeare. Influences on the play "Pyramus and Thisbe," by Shakespeare; Contention of Goran Stanivukovic on who influenced the play "A Midsummer Night's Dream"; Influences of Thomas Mouffet on the play.