‘‘This Palpable Gross This Palpable Gross

Play’Play’ Staging Staging A Midsummer A Midsummer

Night’s DreamNight’s Dream

What does a fairy look What does a fairy look like?like?

From Robin Goodfellow, His Mad Pranckes and Merry Jests (1639).

‘Puck and a Fairy’ by Arthur Rackham (1908).

Silly Shakespeare?Silly Shakespeare?

Samuel Pepys: Samuel Pepys: ‘…‘…to the King’s Theatre, where we saw to the King’s Theatre, where we saw

Midsummer Night’s DreamMidsummer Night’s Dream, which I had , which I had never seen before, nor ever shall again, for never seen before, nor ever shall again, for it is the most insipid, ridiculous play that I it is the most insipid, ridiculous play that I ever saw in my life.’ (29 September 1662)ever saw in my life.’ (29 September 1662)[N.B.: Pepys would have seen a heavily adapted version of the [N.B.: Pepys would have seen a heavily adapted version of the play.]play.]

Echo of Hippolyta?Echo of Hippolyta? ‘‘This is the silliest stuff that ever I heard.’ This is the silliest stuff that ever I heard.’

(5.1.209) (5.1.209)

Pictorial realismPictorial realism

Herbert Beerbohm Tree, A Midsummer Night’s Dream, His Majesty’s Theatre, 1900

Pictorial realismPictorial realism Victorian tendency to cut text and replace with flying Victorian tendency to cut text and replace with flying

fairies, spectacular scenery, music, dance, crowd fairies, spectacular scenery, music, dance, crowd scenes, etc.scenes, etc.

Herbert Beerbohm-Tree, His Majesty’s Theatre, 1900Herbert Beerbohm-Tree, His Majesty’s Theatre, 1900 seen by 220,000 peopleseen by 220,000 people 28 actors, a further 80 supernumeraries28 actors, a further 80 supernumeraries classical Greek costumes classical Greek costumes stream of real waterstream of real water fairies on wiresfairies on wires first production to include Felix Mendelssohn’s complete first production to include Felix Mendelssohn’s complete

score (1842)score (1842) introduced live rabbits in 1911introduced live rabbits in 1911

Tree: ‘the entire business of the stage is – Illusion. … Tree: ‘the entire business of the stage is – Illusion. … all that aids illusion is good, all that destroys illusion all that aids illusion is good, all that destroys illusion is bad’ (1913: 57).is bad’ (1913: 57).

DreamDream as metatheatre as metatheatre Write me a prologue; and let the prologue seem to say, we Write me a prologue; and let the prologue seem to say, we

will do no harm with our swords, and that Pyramus is not will do no harm with our swords, and that Pyramus is not killed indeed; and, for the more better assurance, tell them killed indeed; and, for the more better assurance, tell them that I, Pyramus, am not Pyramus, but Bottom the weaver: that I, Pyramus, am not Pyramus, but Bottom the weaver: this will put them out of fear. (Bottom, 3.1.16-20)this will put them out of fear. (Bottom, 3.1.16-20)

You, ladies, you whose gentle hearts do fearYou, ladies, you whose gentle hearts do fearThe smallest monstrous mouse that creeps on floor,The smallest monstrous mouse that creeps on floor,May now perchance both quake and tremble hereMay now perchance both quake and tremble hereWhen lion rough in wildest rage doth roar.When lion rough in wildest rage doth roar.Then know that I one Snug the joiner amThen know that I one Snug the joiner amA lion fell, nor else no lion’s dam.A lion fell, nor else no lion’s dam.For, if I should as Lion come in strifeFor, if I should as Lion come in strifeInto this place, ’twere pity on my life. (Snug, 5.1.217-24)Into this place, ’twere pity on my life. (Snug, 5.1.217-24)

Why are these utterances comical?Why are these utterances comical?

Metatheatrical jokesMetatheatrical jokes Nor doth this wood lack worlds of company;Nor doth this wood lack worlds of company;

For you in my respect are all the world.For you in my respect are all the world.Then how can it be said I am alone,Then how can it be said I am alone,When all the world is here to look on me? When all the world is here to look on me? (Helena, 2.1.223-6)(Helena, 2.1.223-6)

……here’s a marvellous convenient place for our here’s a marvellous convenient place for our rehearsal. This green plot shall be our stage, this rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring-house… (Quince, hawthorn-brake our tiring-house… (Quince, 3.1.2-4)3.1.2-4)

Conversation about difficulty of staging Conversation about difficulty of staging moonlight (3.1.43-56)moonlight (3.1.43-56)

A play about audiencesA play about audiences

Unruly audience in 5.1Unruly audience in 5.1 Oberon and Puck as audience:Oberon and Puck as audience:

Shall we their fond pageant see?Shall we their fond pageant see?Lord, what fools these mortals be! Lord, what fools these mortals be! (3.2.114-15)(3.2.114-15)

Several plays within the play?Several plays within the play? Artifice of lovers’ discourse? Artifice of lovers’ discourse?

Are there echoes of 1.1 in the Are there echoes of 1.1 in the mechanicals’ play?mechanicals’ play?

Anxiety about theatre?Anxiety about theatre? Puck’s epilogue: a genuine anxiety about offence? Or merely Puck’s epilogue: a genuine anxiety about offence? Or merely

conventional?conventional? Plato’s Plato’s RepublicRepublic: :

‘‘he [the poet] wakens and encourages and strengthens the he [the poet] wakens and encourages and strengthens the lower elements in the mind to the detriment of reason, which is lower elements in the mind to the detriment of reason, which is like giving power and control to the worst elements in a state like giving power and control to the worst elements in a state and ruining the better elements’.and ruining the better elements’.

Theseus on the simultaneous romance and danger of fantasy:Theseus on the simultaneous romance and danger of fantasy: The lunatic, the lover, and the poetThe lunatic, the lover, and the poet

Are of imagination all compact.Are of imagination all compact.One sees more devils than vast hell can hold:One sees more devils than vast hell can hold:That is, the madman. The lover, all as frantic,That is, the madman. The lover, all as frantic,Sees Helen’s beauty in a brow of Egypt.Sees Helen’s beauty in a brow of Egypt.The poet’s eye, in a fine frenzy rolling,The poet’s eye, in a fine frenzy rolling,Doth glance from heaven to earth, from earth to heaven,Doth glance from heaven to earth, from earth to heaven,And as imagination bodies forthAnd as imagination bodies forthThe forms of things unknown, the poet’s penThe forms of things unknown, the poet’s penTurns them to shapes, and gives to airy nothingTurns them to shapes, and gives to airy nothingA local habitation and a name. (5.1.7-17)A local habitation and a name. (5.1.7-17)

Theatre as conjuringTheatre as conjuring

Puck is a self-described ‘actor’ (3.1.74) and Puck is a self-described ‘actor’ (3.1.74) and shape-shifter (2.1.44-57 and 3.1.103-6).shape-shifter (2.1.44-57 and 3.1.103-6).

Titania accuses Oberon of similar deception Titania accuses Oberon of similar deception (2.1.64-8).(2.1.64-8).

Love potion tricks the senses: does the Love potion tricks the senses: does the enchantment and disenchantment of Titania enchantment and disenchantment of Titania and Lysander mimic the theatrical effect of the and Lysander mimic the theatrical effect of the play? play?

What about Demetrius? (‘I have found What about Demetrius? (‘I have found Demetrius like a jewel, / Mine own, and not Demetrius like a jewel, / Mine own, and not mine own.’ 4.1.190-1)mine own.’ 4.1.190-1)

Fantasy and shadowsFantasy and shadows ‘‘Whatsoever we present we wish it may be Whatsoever we present we wish it may be

thought the dancing of Agrippa his shadows, thought the dancing of Agrippa his shadows, who in the moment they were seen were of who in the moment they were seen were of any shape one could conceive’ (Court any shape one could conceive’ (Court Prologue to Prologue to CampaspeCampaspe, John Lyly, 1583), John Lyly, 1583)

‘‘Shadows’ in Shadows’ in DreamDream:: Oberon as ‘king of shadows’ (3.2.348)Oberon as ‘king of shadows’ (3.2.348) Fiction as shadows: ‘The best in this kind are but Fiction as shadows: ‘The best in this kind are but

shadows, and the worst are no worse if shadows, and the worst are no worse if imagination amend them.’ (5.1.210-11)imagination amend them.’ (5.1.210-11)

Players as shadows: ‘If we shadows have Players as shadows: ‘If we shadows have offended…’ (Epilogue 1)offended…’ (Epilogue 1)

DreamDream as a dream as a dream

Metaphor explicit in both title and epilogueMetaphor explicit in both title and epilogue ‘‘Bottom’s Dream’:Bottom’s Dream’:

I have had a dream past the wit of man to say what I have had a dream past the wit of man to say what dream it was. Man is but an ass if he go about dream it was. Man is but an ass if he go about t’expound this dream. Methought I was – there is t’expound this dream. Methought I was – there is no man can tell what. Methought I was, and no man can tell what. Methought I was, and methought I had – but man is but a patched fool if methought I had – but man is but a patched fool if he will offer to say what methought I had. (4.1.202-he will offer to say what methought I had. (4.1.202-8)8)

Presentations of dreams upon waking in 4.1: Presentations of dreams upon waking in 4.1: ‘like far-off mountains turned into clouds’ ‘like far-off mountains turned into clouds’ (4.1.187).(4.1.187).

What What doesdoes a fairy look a fairy look like?like?

Costume of fairies? Costume of fairies? Fairies’ shifting shapes and sizesFairies’ shifting shapes and sizes ‘‘Robin Goodfellow’ in Robin Goodfellow’ in Grim, the Collier of Grim, the Collier of

Croydon Croydon (c. 1600) wears (c. 1600) wears ‘‘a suit of leather close to his body; his face and a suit of leather close to his body; his face and

hands russet-colour, with a flail’ [club for threshing hands russet-colour, with a flail’ [club for threshing corn]corn]

Oberon’sOberon’s costume:costume: But who comes here? I am invisibleBut who comes here? I am invisible

And I will overhear their conference. (2.1.186-7)And I will overhear their conference. (2.1.186-7) Henslowe’s 1598 inventory of the Admiral’s Men’s Henslowe’s 1598 inventory of the Admiral’s Men’s

properties lists ‘a robe for to goo invisibell’ (Foakes properties lists ‘a robe for to goo invisibell’ (Foakes 2002: 325).2002: 325).

LocusLocus and and plateaplatea in in performanceperformance

The tension between The tension between the ‘abstract and the ‘abstract and symbolic’ register of symbolic’ register of the the locuslocus and the and the ‘immediate and ‘immediate and concrete’ register of concrete’ register of the the plateaplatea is one is one which the which the performance critic performance critic Colin Counsell has Colin Counsell has found ‘useful for found ‘useful for conceptualising conceptualising modern theatre’ modern theatre’ (1996: 19).(1996: 19).

Peter Brook’s Peter Brook’s Dream Dream (1970)(1970)

Metaphorical Metaphorical staging:staging: white box,white box, Slinkies,Slinkies, giant feather.giant feather.

Circus skills: Circus skills: trapezes, trapezes, stilts,stilts, spinning plates, spinning plates, clown noseclown nose

‘‘Give me your Give me your hands, if we be hands, if we be friends.’friends.’

Counsell’s adaptation of Counsell’s adaptation of locuslocus and and plateaplatea

The The plateaplatea equates to equates to the ‘Concrete’ the ‘Concrete’ register of register of performance: performance: the actorthe actor the ‘spinning plate’the ‘spinning plate’

The The locuslocus equates equates to the ‘Abstract’ to the ‘Abstract’ register of register of performance: performance: the characterthe character the ‘flower’the ‘flower’

LocusLocus and and platea platea in modern in modern performanceperformance

But because of the skill involved in spinning But because of the skill involved in spinning the plate, Counsell argues, the the plate, Counsell argues, the locuslocus’ ’ dependence upon successfully-executed dependence upon successfully-executed plateaplatea is openly displayed:is openly displayed: ‘‘The spectator must therefore acknowledge The spectator must therefore acknowledge

Concrete object and performer, and cooperate with Concrete object and performer, and cooperate with him or her to build of the performance an other-him or her to build of the performance an other-place.’ (1996: 164) place.’ (1996: 164)

Other productions taking a similar approach: Other productions taking a similar approach: Robert Lepage (NT, 1992), Edward Hall Robert Lepage (NT, 1992), Edward Hall (Propeller, 2003), Tim Supple (Dash Arts/RSC, (Propeller, 2003), Tim Supple (Dash Arts/RSC, 2006).2006).

Representing the forestRepresenting the forest

Forest as ‘green world’ Forest as ‘green world’ Transition from forest to Athens (and Transition from forest to Athens (and

back again)back again) Closure or not?Closure or not?

Representing the forest: Representing the forest: Supple 2006Supple 2006

Representing the forest: Representing the forest: Supple 2006Supple 2006

Representing the forest: Representing the forest: Lepage 1992Lepage 1992

Representing the forest: Representing the forest: Lepage 1992Lepage 1992

Casting the fairiesCasting the fairies

Doubling Doubling Oberon/Theseus and Oberon/Theseus and Titania/Hippolyta: Titania/Hippolyta: implications?implications?

Cross-gender Cross-gender casting:casting: Original practicesOriginal practices Victorian tradition of Victorian tradition of

female Oberon and female Oberon and PuckPuck

Hall/Propeller 2003Hall/Propeller 2003

Bottom’s transformationBottom’s transformation

Gregory Doran, RSC, 2008

Mike Alfreds, Shakespeare’s Globe, 2002

Bottom’s transformation: Bottom’s transformation: Brook 1970Brook 1970

Bottom’s transformation: Bottom’s transformation: Lepage 1992Lepage 1992

Bottom’s transformation: Bottom’s transformation: Supple 2006Supple 2006

DreamDream as celebration of as celebration of theatretheatre

Presentations of Flute as Thisbe (Supple 2006, Presentations of Flute as Thisbe (Supple 2006, Hoffman 1999)Hoffman 1999)

Dancing: bergomask, then fairy danceDancing: bergomask, then fairy dance Dance as symbol of unity throughout play:Dance as symbol of unity throughout play:

If you will patiently dance in our round,If you will patiently dance in our round,And see our moonlight revels, go with us.And see our moonlight revels, go with us.If not, shun me, and I will spare your haunts. If not, shun me, and I will spare your haunts. (2.1.140-2)(2.1.140-2)

Sound music. Come, my queen, take hands with me,Sound music. Come, my queen, take hands with me,And rock the ground whereon these sleepers be. And rock the ground whereon these sleepers be. (3.3.84-5)(3.3.84-5)

DreamDream as celebration of as celebration of theatretheatre

Puck’s EpiloguePuck’s Epilogue ‘‘Give me your hands’ Give me your hands’

in Brook 1970in Brook 1970 Celebration in Supple Celebration in Supple

20062006 Sadness/liminality in Sadness/liminality in

Hall 2003Hall 2003 Effect of multiple Effect of multiple

endings? endings? Puck’s speech in 5.2Puck’s speech in 5.2 Resolution or Resolution or

irresolution?irresolution?

ReferencesReferences

Counsell, C. (1996) Counsell, C. (1996) Signs of Signs of PerformancePerformance, London: Routledge., London: Routledge.

Foakes, R. A. (2002) Foakes, R. A. (2002) Henslowe’s Henslowe’s Diary: Second EditionDiary: Second Edition, Cambridge: , Cambridge: C.U.P.C.U.P.

Tree, H. B. (1913) Tree, H. B. (1913) Thoughts and Thoughts and After-ThoughtsAfter-Thoughts, New York & , New York & London: Funk & Wagnalls (available London: Funk & Wagnalls (available at archive.org). at archive.org).