A Midsummer Night’s Dream – Shakespeare Essay Example

for a more enchanting effect and to kick-start their involvement in the story.

In the woods, Titania and Oberon argue and Titania speaks the famous line, "The fairy kingdom buys not the child of me." However, in two different productions, the portrayal of their characters varies greatly. The Open Air Theatre Production depicts Titania as a benevolent fairy, while Oberon is a strict and moody king. The line, "Why should Titania cross her Oberon?" reveals Oberon's temper in the production at the Open Air Theatre. Conversely, in the film production, Oberon remains calm as he attempts to reason with Titania.

The portrayal of Titania and Oberon in the film differs from the original play, with Titania taking on a more malevolent character and Oberon appearing mild-mannered and good-humoured. This is exemplified in the line "What, jealous Oberon! Fairies, skip hence; I have forsworn his bed and company" where Titania teases Oberon in an attempt to aggravate him. This exchange alters the plot in both versions. However, in the Open Air Theatre Production, there is sympathy towards Titania while Oberon is viewed as unreasonable and scheming.

The film portrays Titania as moody and Oberon as gentler with better intentions. In the Open Air Theatre Production, Puck appears with another fairy and they discuss the issue of Oberon and Titania's arguing. Even though Puck is reserved initially, as soon as the other fairy recognises him, he jumps around the stage and causes mischief.

Puck exudes a playful and mischievous demeanor, with a hint of elfishness. In the Open-Air Theatre rendition, he is portrayed as more human, solely causing mayhem. Conversely, the film depicts Puck as a shrewd and

sly character, slinking in and out of shadows. A prime illustration of the divergence in Puck's personality in the plays is evident when he utters the words, "I go, I go: look how I go, Swifter than arrow from the Tartar's bow." In the Open-Air production, he moves at a leisurely pace and looks back at the spectators while vocalizing this phrase.

In this particular production, the comical side of Puck's sarcasm is highlighted. However, in the film, Puck is seen on a bicycle while uttering these words, resulting in a more practical rather than humorous effect. Though not as impactful as the characters of Titania and Oberon, this subtle difference makes Puck more amusing in the Open-Air production. Both productions faced the challenge of portraying the fairies in a fairy-like manner. In the film, the fairies are represented as tiny fly-sized creatures with the ability to shrink and grow at will.

Both productions feature actors wearing unusual costumes, but in the Open-Air performance, the fairies are able to move around unnoticed by the rest of the cast. Additionally, the Open-Air fairies wear face paints and make-up to enhance their otherworldly appearance. In contrast, the film fairies are portrayed as having limited knowledge of the human world, displaying interest in unfamiliar objects such as a record player and a bike. This contrast contributes to the enigmatic nature of the film fairies, while also highlighting the human qualities of the Open-Air fairies. Overall, both productions achieve a successful blend of realism and fantasy, with the Open-Air performance being particularly effective. The mechanicals are another group of characters in both productions.

The portrayal of the group is crucial

as they provide the primary source of comedy in the play. Although introduced similarly in both plays, the film places greater emphasis on Bottom, the weaver, depicting him as an intelligent individual despite his lowly occupation.

In the production of the play, the comic aspect is crucial especially when it comes to Bottom, a character who is drenched in wine. The audience is urged to sympathize with him. In contrast, the Open-Air version portrays Bottom's comical role more prominently; he speaks in a dialect, exaggerates his actions, and is outspoken. Meanwhile, the cinematic production still maintains Bottom's liveliness, but with a touch of sophistication that evokes empathy from the viewers and makes it challenging to laugh at his character.

In the Open-Air production, there is no issue as we are intended to find humor in Bottom's character rather than sympathize with him, particularly in scene I, ii. Line 27 to 34, 'The raging rocks And shivering shocks Shall break the locks Of prison gates; And Phibbus' car Shall shine from far And make and mar The foolish Fates,' emphasizes this point. This scene establishes Bottom's character for the entire performance. In the production, Bottom is boisterous, leaping from tables and exaggerating every action which endears him to the audience for his comedic parts and demonstrates the rest of the mechanicals' respect for him.

Although clothing is traditionally used to indicate one's social status rather than their profession, the portrayal of Bottom in the film presents him as a struggling artist with fancy clothing that does not match his menial job. Despite being better dressed than the other mechanicals, his clothes are still cheaper than those

of the lovers. Furthermore, in this production, the mechanicals admire Bottom less and tolerate his behavior more. As a result, the audience sympathizes with Bottom during this scene, which also introduces us to the other mechanicals: Peter Quince (a carpenter), Snug (a joiner), Flute (a bellows mender), Snout (a tinker), and Starveling (a tailor).

Quince, Snug, and Flute all showcase comedic elements. Quince's short-temper with Bottom is accentuated more in the Open-Air production, but less so in the film. Shakespeare's line "Have you the lion's part written? Pray you, if it be, give it me, for I am slow of study," suggests that Snug is portrayed as rather dense in both performances. However, in the film, this is further emphasized by giving Snug a dialect. Flute does not have a significant role until the play within the play in both productions. However, he delivers his emotional monologue as Thisby in such a captivating manner that both the audience and the other mechanicals are left in awe.

In the Open-Air performance, the rest of the mechanicals are amazed as they look around the stage at Flute. Snout's part in the play within the play is amusing, and in this production, his emphasis on the word "wall" adds to his humor. In the film, although his lack of acting ability is also exploited, there is more focus on his ridiculous appearance. Starveling, the final mechanical, is portrayed as stuck-up and reserved in both productions, though more so in the Open-Air rendition.

'To be brief, I am the Man in the Moon and the lantern is akin to me, with this very thorn bush serving as mine, and this dog as

my companion.' The way these lines are delivered during the Open-Air production suggests that the speaker would rather not partake in the play, appearing exasperated with its current state. While not as pronounced in the film adaptation, their frustration with the audience's lack of engagement is still visible. The portrayal of the mechanicals is similarly effective in both productions, with subtle differences setting them apart.

Both productions depict the lovers as carefree young people rebelling against the rules of Athens. Hermia is portrayed as a beautiful and relaxed girl deeply in love with Lysander, who is depicted as a bohemian figure with scruffy clothing and long hair in both cases. While the love between Hermia and Lysander is evident in both productions, the film focuses more on the sexual aspect. Helena is neither pretty nor ugly in either production, and we are urged to sympathize with her in the Open-Air production, where she is just as beautiful as Hermia but lacking Demetrius's affection.

While the Open-Air production portrays Demetrius's affection towards Hermia and Helena's lust towards Demetrius as comedic, the film takes a different approach. The film depicts Helena's lust as irritating and embarrassing, while Demetrius's affection towards Hermia is more sexual and justified in Hermia's rejections. One scene (II, I, 188-244) is played differently in both productions.

Helena and Demetrius are alone in the woods, with Demetrius trying to flee from Helena's pursuit. The Open-Air version emphasizes the comedic aspect of the scene rather than the sexual one. Helena clings to Demetrius while delivering lines like 'I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you. Use me but as your

spaniel, spurn me, strike me, Neglect me, lose me;' She then throws herself on top of him, causing him to roll over her. While Demetrius threatens to rape Helena in the lines 'You do impeach my modesty too much To leave the city and commit yourself Into the hands of one that loves you not;To trust the opportunity of the night, And the ill counsel of a desert place, With the rich worth of your virginity,' the darker implications are downplayed in the Open-Air production for comedic purposes. Demetrius quickly jumps up and escapes from Helena when he realizes the compromising situation he's in.

The scene in the film places a greater emphasis on its sexual elements. Helena and Demetrius engage in close conversation before Demetrius pushes Helena back, bringing them even closer. This adds a real sense of threat and potential rape, revealing a darker side to Demetrius that affects the play's audience. Like 'The Woman in Black', 'A Midsummer Night's Dream' also features a play within a play. Just as it draws the audience closer to the actors, it adds to the suspense and terror experienced throughout the performance.

The mechanicals, characters previously mentioned, are the ones performing a play within the play for the Duke of Athens on his wedding day in 'A Midsummer Night's Dream'. This play is the main source of comic relief in the overall play and also rationalizes the inclusion of the mechanicals. Additionally, it contributes to the intermingling of the characters' worlds and adds to their confusion while they are in the woods. The mechanicals portray the different roles in this play.

Quince, Bottom, Flute, and Snout each

contribute a distinct element of comedy to the performance. Quince's comic delivery is characterized by its rigidness, while Bottom achieves humor through his flamboyant acting style. Flute's performance may not be funny, but the perfection of his speech is nonetheless shocking. Finally, Snout provides amusement simply by virtue of being a speaking wall.

The Open-Air version of the play amplifies the humor of Moonshine, portrayed by Starveling, through his frustrated delivery of lines and interruption during emphasis on the word wall. Additionally, Snug's portrayal as the Lion highlights their stupidity, particularly in the Open-Air version.

The play's portrayal of characters highlights their individual traits, particularly in the play within the play. Throughout the performance, the recurring themes of love and sex dominate, particularly among the fairies and lovers. An example of this is when Titania invites Bottom, saying, "Come, sit thee down upon this flow'ry bed / While I thy amiable cheeks do coy / And stick musk-roses in the sleek smooth head. / And kiss thy fair large ears, my gentle joy." Despite her blatant advances, Bottom remains oblivious to her desires in the Open-Air production.

However, the film implies that Bottom and Titania do have sex, which strengthens our sympathy towards Bottom, portraying him as more human. Conversely, in the Open-Air production, Bottom's ignorance towards Titania's advances is played for comedic effect. Another scene that varies between productions is II, ii, 35-65, where Lysander attempts to convince Hermia to sleep with him, but she refuses.

The Open-Air production and the film adaptation each have their own unique strengths. The Open-Air production hones in on the comedy of the play, with a specific focus on farcical elements

within the lovers. For instance, there is a comic reversal of Lysander and Hermia's situation where Helena attempts to seduce Demetrius. This brand of humor is typical of Shakespeare's style and gives the play an added layer of comedy. On the other hand, the film adaptation places greater emphasis on the sexual aspects of the play, highlighting romantic and lustful actions. Both productions are successful in their own right.

The Open-Air production emphasizes the comical aspects of the play, bringing out the humor in the love scenes. In my opinion, it strikes a better balance between the romantic and comedic elements than the other production. The various dramatic techniques and acting choices used in each performance result in two noticeably distinct versions of the same play.