Chocolate Box Girls: Summer's Dream

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Bottom's Dream (1983) was an animated short directed by John Canemaker, showing events of the play from the point of view of Bottom. The film uses selections of Mendelssohn's music, lines from the play, and surreal imagery to convey Bottom's experience. [ citation needed] The Maryland Shakespeare Players at University of Maryland staged a queer production in 2015 in which the lovers were same-sex couples and the mechanicals were drag queens. [76] Bevington, David (1996). "But We Are Spirits of Another Sort': The Dark Side of Love and Magic in 'A Midsummer Night's Dream' ". In Dutton, Richard (ed.). A Midsummer Night's Dream. New York: St. Martin's Press. pp.24–35. ISBN 978-0-333-60197-6. Slights, William W. E. (1988). "The Changeling in A Dream". SEL: Studies in English Literature 1500–1900. Rice University. 28 (2, Elizabethan and Jacobean Drama): 259–72. doi: 10.2307/450551. eISSN 1522-9270. ISSN 0039-3657. JSTOR 450551.

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In 1964, R.W. Dent argued against theories that the exemplary model of love in the play is the rational love of Theseus and Hippolyta. He argued that in this work, love is inexplicable. It is the offspring of imagination, not reason. However the exemplary love of the play is one of an imagination controlled and restrained, and avoids the excesses of "dotage". [41] Genuine love is contrasted with the unrequited love (and dotage) of Demetrius for Hermia, and with the supposed love (and dotage) of Titania for an unworthy object. [42] 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] A Midsummer Night's Dream, an American independent film that relocates the story to modern-day Los Angeles. John Neumeier created his full-length ballet Ein Sommernachtstraum for his company at the Hamburg State Opera (Hamburgische Staatsoper) in 1977. Longer than Ashton's or Balanchine's earlier versions, Neumeier's version includes other music by Mendelssohn along with the Midsummer Night's Dream music, as well as music from the modern composer György Ligeti, and jaunty barrel organ music. Neumeier devotes the three sharply differing musical styles to the three character groups, with the aristocrats and nobles dancing to Mendelssohn, the fairies to Ligeti, and the rustics or mechanicals to the barrel organ. [98]

Gervinus also wrote on where the fairyland of the play is located. Not in Attica, but in the Indies. His views on the Indies seem to Kehler to be influenced by Orientalism. He speaks of the Indies as scented with the aroma of flowers, and as the place where mortals live in the state of a half-dream. Gervinus denies and devalues the loyalty of Titania to her friend. He views this supposed friendship as not grounded in spiritual association. Titania merely "delight[s] in her beauty, her 'swimming gait,' and her powers of imitation". [36] Gervinus further views Titania as an immoral character for not trying to reconcile with her husband. In her resentment, Titania seeks separation from him, for which Gervinus blames her. [36]These guidelines and standards aim to keep the content on Booking.com relevant and family-friendly without limiting expression of strong opinions. They are also applicable regardless of the sentiment of the comment. Sen noci svatojánské (1959) directed by Czech animator Jiří Trnka is a stop-motion puppet film that follows Shakespeare's story simply with a narrator. The English-language version was narrated by Richard Burton. [ citation needed]