1. A Midsummer Night’s Dream
Workshop: Monday, September 11th, 2017

2. Our Story: Three Worlds
World One: “Athens”
World of Society—Law and Order (begins and ends the play)
Marriage One: Theseus & Hippolyta
Marriage Two: Hermia and …. Lysander or Demetrius? (Poor Helena!)
World Two: “The Rustics” or “The Mechanicals”
Goal: put on a play as entertainment for the marriage of Theseus & Hippolyta
These guys are basically the village idiots. They are well-intentioned, but not overly bright.
The play within the play is one of the funniest moments ever written for the stage.
World Three: “Fairyland”
World of magic & mystery & music & play
World not all believe exist—but the world that rules the play
Members from other two worlds end up in Fairyland and experience firsthand both the power and the mischief of this world

3. Character: Athens
Theseus & Hippolyta: This couple is in love—Theseus conquered Hippolyta, but he is a charming guy and won her love. It makes sense if Hippolyta is strong (queen of the Amazons)
Egeus: The parent to Hermia—strongly desires to control Hermia and who she marries (male or female)
Philostrate: A private secretary/assistant to Theseus (master of the revels—male or female)

4. Characters: The Lovers
The lovers should be hilarious. Physical comedy is critically important to bring forth their humor.
Hermia: In love with Lysander and best friends with Helena. She is strong and spirited—she is willing to disobey her parent and risk death in the name of love.
Helena: In love with Demetrius and best friends with Hermia. She is ridiculously in love—she is willing to do anything (betray a trust or pretend she is a dog) for love.
Lysander: In love with Hermia—yet is put under a spell, and, as a result, is in love with Helena for a time.
Demetrius: You absolutely should not think of Demetrius as the “bad guy.” He is confused and is rather a “player.” He doesn’t understand real love until he is helped by the fairies.
Characters: The Lovers

5. Characters: The Mechanicals
Nick Bottom: a weaver, thinks he is a great AC-TOR but is ridiculous. He also gets to have a tryst with Titania while he has been transformed into a donkey (an ass).
Peter Quince: a carpenter & leader of the group. He chooses the play, assigns the parts, and directs the actors. During the performance, he presents the prologue.
Francis Flute: a bellows-mender & plays the part of Thisbe—the female who falls in love and has a tragic end.
Tom Snout: a tinker (a craftsman who works with metals)—he is supposed to play the part of the father, but quickly learns he will need to play the role of “the wall” instead.
Snug: a joiner (a carpenter who makes doors, window frames, and cabinets). He claims to be “slow of study”, so he gets to play the part of the lion.
Robin Starveling: a tailor. At first, Robin is supposed to play Thisby’s mom, but the mechanicals decides he is instead needed to play moonshine.
Characters: The Mechanicals

6. The Characters: The Fairies
Oberon and Titania: These two are the rulers of the Fairy Realm. They were once a happy couple but are not during much of the play. Both characters are charming/attractive, powerful, egotistical at times, yet also empathetic and sympathetic.
Puck: Puck (also known as Robin Goodfellow) is in Oberon’s service, and is a mischievous, playful sprite. Being able to jump, dance, or do some gymnastics would be helpful.
Cobweb, Mustardseed, Peaseblossom, and Moth: Loyal fairies to Titania. It would be nice if they could sing. Cobweb is the fairy that meets Puck before Oberon and Titania’s first entrance. Moth is the shy fairy—she doesn’t speak.

7. AUDITIONING TIPS Perception: Confident and Likable
BEGINNING OF AUDITION
Posture
Eye Contact
Handing Sheet
END OF AUDITION
Smile & Make Eye Contact
Say THANK YOU
Walk out confidently NO MATTER WHAT

8. Auditions: Scene Work
Step One: take out your theater handbook and read the auditioning section— carefully
Step Two: find several characters (2-4) that you would like to audition for (be realistic about your strengths and weaknesses)
Step Three: using the audition guide, in your script, find the scenes/speeches assigned to the characters you would like to play
Step Four:
If it is a speech on your own—get to work 
If it is a scene with one or more people—find a partner and get to work 
I am giving you a week to practice and prepare—use it.
Make sure you understand your lines (No Fear… Spark Notes…)
Review how to read lines aloud (next slide!)
Begin practicing
Once you feel good with the lines—add strong, believable character choices
Be confident in the work you’d done and NAIL THOSE AUDITIONS!

9. Reading Shakespeare Aloud: ONE
Support the Final Word In Each Line:
Blank Verse (10 syllables)
Support the end of the line (final phrase and final word)
Do NOT let end of lines drop off
American Speaking Habit
Example: “The quality of mercy is not strained.”

10. Reading Shakespeare Aloud: TWO
Emphasize the Stressed Word or Syllables:
Blank Verse (10 syllables)
Pair of Syllables = One Foot (soft stress and hard stress—dee dum, dee dum, dee dum, etc.)
Iambic Pentameter
Example: But soft! What light through yonder window breaks?
But Soft! / What light / through yon /der win /dow breaks?
The Stress = most important words—rhythm helps draw listener to message
1st: over the top
2nd: return to saying it naturally
Slight emphasis to the stressed words
GOAL: achieve naturalness and honesty, while also stressing correct words
IGNORE? You risk disguising the meaning of the line
Try It: But Soft! What light through yonder window breaks?
Shakespeare’s lines don’t always “follow the rules”
When they don’t—it is purposeful. It is changed for a reason.
Highlight the stressed syllable (vs. the second syllable)

11. Reading Shakespeare Aloud: THREE
Separate the THOUGHTS
Separate each individual thought of the speaker with //
Full of vexation come I // with complaint
Against my child, //my daughter Hermia.--//
Stand forth Demetrius.--//My noble lord, //
This man hath my consent to marry her.--//
When you run all the thoughts together, the listener gets lost--separating helps both of you
What do you do next?
Movement exercise:
Stand still and say one thought—stop—move to new place—stop—say next thought
Go through entire speech this way
Then, one you have done this—return to practicing the speech normally
The work you’ve done will integrate itself naturally into your delivery

12. Reading Shakespeare Aloud: Four
Breathe ONLY at Punctuation Points:
DON’T: breathe at the end of every line
DON’T: breath in between each and every thought
DO: breathe at punctuation points
Example:
Stand forth, Lysander.—And my gracious duke,
This man hath bewitched the bosom of my child.—
Thou, thou, Lysander, thou has given her rhymes
and interchanged love tokens with my child.
Thou has by moonlight at her window sung
With feigning voices verses of feigning love
And stol’n the impression of her fantasy
With bracelets of thy hair, rings, gauds, conceits…
Practice!
At each punctuation point (1 word or 4 lines—makes no difference)
Exhale all unused breath
Fill lungs with deep breath before speaking next line
Do this at each punctuation point
Do NOT rush—you don’t want to become dizzy!
Instead, take your time so you can breathe deeply and fill your lungs before continuing
Now read naturally:
After doing the exercise, you will notice that you automatically breathe more deeply at the appropriate points

13. Final Reminders: AUDITIONS: CALL BACKS (if necessary):
Monday, September 18th OR Tuesday, September 19th (beginning at 3:30 in the Choir Room)
CALL BACKS (if necessary):
Wednesday, September 20th (beginning at 3:30 in the Choir Room)
PERFORMANCE DATES: November 17th, 18th, and 19th
WFBHSTHEATER.COM/Auditions
Audition Forms
Take a few minutes: find partners/set up times to practice = good with me
Break a Leg—YOU CAN DO THIS!