Performance analysis
There are many different ways to interpret and perform Shakespeare’s plays. Watch the videos and decide how you would perform the three scenes from A Midsummer Night’s Dream.
Scenes to explore
A Midsummer Night’s Dream really is a play of the imagination. It is set in a midnight forest full of magical creatures. In Shakespeare’s day, the stage would have been bare, the props few, and the lighting would depend upon the weather. Theatres were open air and the plays were held in daylight.
Nowadays, Shakespeare’s plays are interpreted in many different ways on stage and screen. Directors and their production teams make choices on how they want to stage the play and how the characters will deliver their lines. The decisions they make can often change how the audience think and feel about the play and the characters in it.
Let’s look at three scenes and explore the possibilities for an exciting and unforgettable performance of A Midsummer Night’s Dream.
- Act 2 Scene 1 – Staging the argument between Oberon and Titania
- Act 3 Scene 2 – Rehearsing the lovers' fight
- Act 4 Scene 1 - Rehearsing Titania pampering Bottom in her fairy bower
Act 1 Scene 2 – Staging the argument between Oberon and Titania
In Act 1 Scene 2, Oberon is trying to persuade Titania to give him a little boy that she is taking care of. It’s the middle of the night in a magical corner of a wood in Athens. Should the stage have lots of eerie green lighting and some dry ice to set the atmosphere or is it up to the audience to use their imagination?
How would you stage the argument between Oberon and Titania?
PRESENTER
Here are the Directors. 12 divorces, nine law suits and threestints in rehab between them, these guys know what they wantand they normally get it. Today they’re looking for innovativeways of staging the fairy fight scene from A Midsummer Night’sDream.
It’s act two, scene one.
TITLE
DIRECTORS’ DEN
First into the Directors’ Den is set designer Geraldine. She’shoping her organic depiction of a forest will bring this magicalworld to life for an audience, as the fairy King Oberon andQueen Titania row over the custody of a child, which influencesthe main action of the play.
GERALDINE
Set in an open air theatre, at night, using real trees and grass onstage, lit only by flame torches and moonlight. The perfect forestsetting to A Midsummer Night’s Dream.
PRESENTER
Oberon does say they are ‘ill met by moonlight’, so Geraldinemight be into something here.
FEMALE DIRECTOR
Geraldine, I have to admit that would be very atmospheric, and Ican see the audience getting involved in the action with such apicturesque setting, there's just one problem, what if it rains?
GERALDINE
Oh well, it does state in the script that Oberon’s bad mood affectsthe weather, so if it were to rain I would simply blame the fairies.
DIRECTOR WEARING BLACK SUIT
Geraldine. A Shakespearean audience might have believed inthat sort of thing, but a modern crowd would tell you to get lost.
DIRECTOR WITH BEARD
People go to outdoor productions of Shakespeare all the time, Ican see this being really engaging.
DIRECTOR WEARING BLACK SUIT
Well not me. I’m not paying to sit in the rain, I’m out.
PRESENTER
Geraldine let down by the elements there. Will designer Stevefare any better with his inventive vision for the scene?
ACTOR WITH BEARD
I do but beg a little changeling boy to be my henchman.
ACTRESS WITH BLONDE CURLY HAIR
Set your heart at rest, the fairyland buys not the child of me.
FEMALE DIRECTOR
Steve, using the smoke to represent the contagious fog and badweather brought on by Oberon’s temper was inspired.
STEVE
Thanks very much.
DIRECTOR WITH BEARD
Hi Steve, it’s Peter, I like the way you use the darkness to youradvantage, and Oberon is certainly a creature of the night. Welldone. Tell me, how did you get the idea for torches?
STEVE
Well I use ‘em a lot for my other job, I work nights.
FEMALE DIRECTOR
That’s lovely, and what is it you do Steve?
STEVE
I’m a burglar.
PRESENTER
Next into the Directors’ Den is young designer Walter, theDirectors seem unsure if Walter has an exciting idea, or simply noidea at all.
DIRECTOR WITH BEARD
So Walter, let me just get this straight, this is just a spotlight,there is no actual set? The audience will have to use theirimagination?
WALTER
Well that’s correct, just a fairy glow about the stage. This wholeplay could be a dream, so why not let the audience use theirimagination.
FEMALE DIRECTOR
Do you know what I think? I think it’s cracking, this imaginationbusiness. I see it having a really eerie effect on the audienceappropriate to the strange and magical fairies in the play, and, itwould save a fortune on set design, actually, that’s a point, howmuch does nothing cost?
WALTER
Five million pounds.
DIRECTOR WEARING BLACK SUIT
How on earth did you come up with that figure?
WALTER
Used my imagination.
DIRECTOR WEARING BLACK SUIT
Well Walter. Imagine this. I’m out.
WALTER
Okay.
This video shows a group of stage designers pitching ideas on how to set the scene. As you watch, consider the following:
- how much the staging ideas would cost
- how long it would take to set up during a live production
- how the audience would react
Act 4 Scene 1 – Rehearsing the lovers' fight
In this scene, Oberon and Puck observe the fruits of their mixed up magic as Lysander and Demetrius fight over who loves Helena best. Helena accuses Hermia of being in on the joke and Hermia attacks her for stealing her man. Is this a comical scrap or a violent tussle?
How would you rehearse the lovers' fight?
NARRATOR
[CAPTION – A Midsummer Night’s Dream The Rehearsals!]
Welcome to the rehearsals for A Midsummer Night’s Dream.act three, scene two. [CAPTION - Act III Scene II]
Lysander and Demetrius [CAPTION – Lysander Demetrius] are at each other’s throats, both thinking they’re in love with Helena, [CAPTION – Helena] thanks to a cheeky little love potion from some mischievous fairies. [CAPTION – Oberon Puck] Cue Hermia, [CAPTION - Hermia ] who kicks off at Helena for stealing her man. But is this a slanging match [CAPTION – Chloe (Extra)] or a serious scuffle? A comical scrap or a violent tussle? [CAPTION - Comical Scrap Violent Tussle] Only the Director [CAPTION – The Director] can decide.
HERMIA
Oi.
HELENA
(Squeals)
HERMIA
You juggler, you cantor blossom, you thief of love.
HELENA
Oh, ow!
HERMIA
Get off me, let me out.
CHLOE
Who fancies who? It’s pathetic really, I thought it was totes gonna kick off, but it’s just ‘andbags. Nobodywants any trouble. I do love a good fight though.
OBERON AND PUCK
(Laugh)
CHLOE
Oh my G. Don’t even get me started on those two. I reckon they might have had something to do with it and all, they just stood there, loving it.
DIRECTOR
Okay well done everyone, well done, that's great, that’s great, I just think we might be able to do something to make it a bit funnier for the audience. So Lysander, what if you’re… you got hold of Demetrius, and you’re kind of maybe dragging him around the stage by the nose?
CHLOE
There’s some right weird bloke comes over, Derek Tour I thinkhis name was, anyway, I thought “At last, someone’s gonnabreak things up,” but he just made it worse.
LYSANDER
Be not afraid, she shall not harm thee Helena.
DEMETRIUS
No sir, she shall not. Though you take her part.
CHLOE
ROFL, I mean what are they like? It weren’t a proper fight but it was well funny, (laughs) I nearly peed myself laughing. No, I mean it, I really did babe.
DIRECTOR
Okay, that was really good. Really funny. But I think it’s time to get serious, I think we can make it more violent.
CHLOE
I don’t know what Derek Tour was playing at, but he made it twenty times worse. It got well out of hand. And then girls, not classy.
HELENA
Ow! Have you no modesty? No maiden shame?
HERMIA
(Squeaks)
HELENA
No touch of bashfulness?
CHLOE
I didn’t believe it, Derek Tour only got Puck and Oberon to go in and mix it up even more, and them girls, didn’t know what was going on.
[FIGHTING NOISES]
I had to say something.All right, all right, leave it, she ain’t worth it, she ain’t worth it.
DIRECTOR
What is going on here?
CHLOE
Don’t come the innocent with me Derek, I seen you getting involved.
DIRECTOR
I’m the director.
CHLOE
I know who you are Derek, now keep out of other people’sbusiness.
DIRECTOR
You’re confused, this is a play.
CHLOE
You might be playing Derek, but someone’s gonna get hurt in a minute.
DIRECTOR
Argh, it's A Midsummer Night’s Dream.
CHLOE
(Laughs) Oh yeah! Nice one, it’s all a dream. Do I look stupid toyou?
[CAPTION - The END]
This video shows a group of actors rehearsing the scene and the director is trying out different ways to perform it. As you watch, consider the following:
- whether the fight should be played out in a serious or playful way
- where on the stage you’d place Puck and Oberon and if they could sit with the audience
- how the audience would react to these different interpretations
Act 1 Scene 2 – Rehearsing Titania pampering Bottom in her fairy bower
In Act 1 Scene 2, Bottom is getting quite used to the fairy treatment. He becomes more and more like a donkey, demanding oats, a good scratch and finally a snooze. Should we feel sorry for him, disgusted by him, or laugh at him?
How would you interpret Bottom's fairy treatment?
TITLE
THE BIG SCENE
PRESENTER
Hello and welcome to The Big Scene. We’re at rehearsals for A Midsummer Night’s Dream. [CAPTION - A MIDSUMMER NIGHT’SDREAM]
It’s Act four, scene one, [CAPTION - ACT 4 SCENE 1] and fairy magic has been transforming Bottom and just won’t stop.The challenge facing the director today? [CAPTION - DIRECTOR] How can this player be made to look like a right donkey? She’s got options, but it’s a big ask. Can she pull it off on this team’s budget? She’s got great vision this director, but this has got to be onvincing for the crowd and still allow for a great performance from the player.
DIRECTOR
Okay, let’s run it from the top guys.
LADY IN FLORAL TOP
Hm, what wilt though hear some music my sweet love.
PRESENTER
Oh it’s a full change of kit there, he certainly looks the part, but I’m not sure he can see where he’s going.
ACTOR PLAYING BOTTOM
[MUMBLES] …hearing music, let’s have the tongs and the bones.
PRESENTER [OFF SCREEN]
And no-one can hear him!
PRESENTER
They’re at complete sixes and sevens out there, mayhem.
ACTOR PLAYING BOTTOM
This is ridiculous, I can’t see anything and he keeps moving when he shouldn’t be.
PRESENTER
Oh! Fielding an extra player? That's not in the rule book, at least not in my copy, and they are in serious danger of turningthis performance into a right old pantomime.
ACTOR PLAYING BOTTOM
I have a reasonable ear in music.
PRESENTER
Well, now, this is a classic Bottom tactic, and arguably it gets the job done, but are we getting the best performance out of this chap where we can’t see his face? And the heat is really getting to him.
ACTOR PLAYING BOTTOM
I pray you, let none of your people stir me. (yawning) I have an exposition of sleep come upon me. (yawns)
PRESENTER
Ha ha ha ha nice comic delivery, and his team mates can really see the effort he’s putting in, and so will the crowd. He’s got a clearfield of vision, and for sheer entertainment this tactic really scores.
DIRECTOR
Okay, that's good. Just want to try something else.
PRESENTER [OFF SCREEN]
But hold on, this director is still tinkering. She’s definitely a perfectionist, and she wants to get one more kick out of this donkey. Well, it’s controversial.
ACTOR PLAYING BOTTOM
Methinks I have a great desire for a bottle of hay. Good hay, sweet hay, hath no fellow.
DIRECTOR
Do the whinny!
ACTOR PLAYING BOTTOM
(whinnies)
PRESENTER
By jove, I think she’s done it. The Director has stripped it right back and gone for pure performance, and judging by the reaction of his team mates, he’s really hoofed it.
ACTOR PLAYING BOTTOM
What? You want me to eat that?
EXTRA
Yes.
PRESENTER [OFF SCREEN]
He’s handled the constant change in tactics really well, but just look at his face, it’s not attractive.
ACTOR PLAYING BOTTOMOi!
PRESENTER
But what a great ass.
This video shows a group of actors rehearsing the scene and the director is trying out different ways to perform it. As you watch, consider the following:
- whether you’d dress an actor up or leave it to the audience to use their imagination
- how the audience would react to these different interpretations of Bottom
- how other characters in the play would interact with Bottom
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