Ebook A Midsummer Night's Dream (Cambridge School Shakespeare), by William Shakespeare
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A Midsummer Night's Dream (Cambridge School Shakespeare), by William Shakespeare
Ebook A Midsummer Night's Dream (Cambridge School Shakespeare), by William Shakespeare
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This edition of A Midsummer Night's Dream is part of the groundbreaking Cambridge School Shakespeare series established by Rex Gibson. Remaining faithful to the series' active approach it treats the play as a script to be acted, explored and enjoyed. As well as the complete script of the play, you will find a variety of classroom-tested activities, an eight-page colour section and a selection of notes including information on characters, performance, history and language.
- Sales Rank: #308945 in Books
- Brand: Cambridge University Press
- Published on: 2005-10-31
- Original language: English
- Number of items: 1
- Dimensions: 8.94" h x .39" w x 6.02" l, .65 pounds
- Binding: Paperback
- 184 pages
Review
"...the variora of performative choices recorded in his lucid annotation provide a useful resource for teachers and students of the play. Highly recommended for all academic collections." Choice
About the Author
William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare s only son, died in childhood. The bulk of Shakespeare s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.
Jacky Bratton is Professor of Theatre and Cultural History at Royal Holloway, University of London. She is the author of New Readings in Theatre History (2003) and, with Ann Featherstone, The Victorian Clown (2006), which published previously unknown materials by Victorian comedians. In 2010 some of these stories were given a series of Radio 4 readings. She contributes to many radio and TV programmes about Victorian theatre.
Most helpful customer reviews
48 of 53 people found the following review helpful.
Delightful after 400 years!
By Anne Wingate
http://www.amazon.com/gp/product/B000JMLOJU/ref=cm_cr_rev_prod_img
A piece of magic on the stage or screen--or on the electronic paper!
This is probably Shakespeare's most delightful comedy, and I'm glad I have read it in several editions and seen various versions of the play on large screen, small screen, and stage. I wish schools would teach this instead of trying to get the kids to understand Romeo and Juliet and Julius Caesar. Even if they don't understand this one, they can tell that it's fun and somewhat vulgar, with Bottom running around in an ass's head and the Queen of the Fairies falling in temporary love with him. "Fairy" might not yet have had its most recent meaning, but Bottom in an ass's head suggested exactly the same thing then that it suggests now
While I was getting my doctorate in English, my Shakespeare teacher worshiped Shakespeare instead of enjoying it for what it was worth. She almost went ballistic when somebody pointed out vulgarities and slapstick in the plays, because we too were supposed to worship Shakespeare instead of analyzing him. Sorry, but I was right and she was wrong. Shakespeare was a very bawdy writer, and he enjoyed being bawdy.
DO NOT see the movie Dead Poet's Society without reading or watching this play first.
26 of 28 people found the following review helpful.
Laugh out loud funny!
By A Customer
Okay, so maybe I'm not the world's greatest living expert on Shakespeare, considering the fact that, other than this, I have only read Romeo and Juliet. But hey, I thought it was great. Characters like Bottom and Robin Goodfellow were hilarious. Shakespeare seems to know how to make a tangled mess of everyone's lives very well. It amazes me his power to make that seem funny at times and then seem incredibly sad at others. I have to say, I really enjoyed this comedy better than his tragedy. I'm reading The Taming of The Shrew next. I don't know if I can handle Hamlet or Othello right now. By the way, if you're like me and you need someone to explain Shakespeare's language to you, I highly recommend the New Folger Library Copy with explanations on the opposite page.
20 of 21 people found the following review helpful.
Magical and funny play in a fine edition
By Craig Matteson
There are many reasons for the popularity of Shakespeare's "A Midsummer Night's Dream", not the least among them is the almost unique joining of the humorous misuse of language (by the tradesman actors) and the utter beauty of language and expression (by Puck, Oberon, and Titania). One usually gets a farce of language or an attempt at the sublime. Here the music of the two enriches both.
How can one put together these four disparate plotlines into such a wonderful whole? The quartet of lovers and their mixed and varied attentions forms the basis of the plot in the comedy and it is a delightful enough farce. The squabble of Demitrius and Lysander over Hermia while Helena pines over Demitrius, Oberon and Titania's argument over one of her servants and Oberon's use of Puck to manipulate Titania's affections including Puck's mistaken application of Oberon's potion to Lysander's eyes, the pending marriage of Thesus and Hippolyta, and the wonderfully, magically awful play being put on by the tradesman for the nobles. Putting all this into a wonderful whole is an achievement that I believe is unmatched.
I do want to say that this play has suffered a great deal in our sex obsessed age. We have foisted on this play an eroticism that it does not claim for itself nor display. While the "adult" couples (Thesus & Hippolyta, Oberon & Titania) interact and talk in ways that include that aspect of their lives, the youthful couples always talk and act in ways that are concerned with propriety and modesty. Bottom is hardly the lust blinded brute depicted in modern productions. He is much more interested in eating and chatting with his Fairy friends than Titania. It is Titania who is under the influence of the magic flower who is infatuated with Bottom while he remains quite oblivious to her desires.
In any case, this is a fine edition of the work with many helps for the reader. Almost half the book is filled with introductory essays that provide background on the play and its text. The play itself is full of notes to help the reader understand idioms and definitions of words that are obscure, unique to Shakespeare, or that have changed meaning since 1596. There are four Appendices that cover source materials for the play, realigned text that the editors believe were corrupted in the sources we have for the play and the last one is the prologue to the play that Peter Quince butchers to the amusement of the nobles. The appendix provides us with the prologue with correct punctuation, as Quince should have read it.
All the background material is interesting and enriches our understanding of the play. But it is the play that matters and is so much fun to read.
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