1. ‘This Palpable Gross Play’ Staging A Midsummer Night’s Dream

2. What does a fairy look like? From Robin Goodfellow, His Mad Pranckes and Merry Jests (1639). ‘Puck and a Fairy’ by Arthur Rackham (1908).

3. Silly Shakespeare? Samuel Pepys: Samuel Pepys: ‘…to the King’s Theatre, where we saw Midsummer Night’s Dream, which I had never seen before, nor ever shall again, for it is the most insipid, ridiculous play that I ever saw in my life.’ (29 September 1662) ‘…to the King’s Theatre, where we saw Midsummer Night’s Dream, which I had never seen before, nor ever shall again, for it is the most insipid, ridiculous play that I ever saw in my life.’ (29 September 1662) [N.B.: Pepys would have seen a heavily adapted version of the play.] Echo of Hippolyta? Echo of Hippolyta? ‘This is the silliest stuff that ever I heard.’ (5.1.209) ‘This is the silliest stuff that ever I heard.’ (5.1.209)

4. Pictorial realism Herbert Beerbohm Tree, A Midsummer Night’s Dream, His Majesty’s Theatre, 1900

5. Pictorial realism Victorian tendency to cut text and replace with flying fairies, spectacular scenery, music, dance, crowd scenes, etc. Victorian tendency to cut text and replace with flying fairies, spectacular scenery, music, dance, crowd scenes, etc. Herbert Beerbohm-Tree, His Majesty’s Theatre, 1900 Herbert Beerbohm-Tree, His Majesty’s Theatre, 1900 seen by 220,000 people seen by 220,000 people 28 actors, a further 80 supernumeraries 28 actors, a further 80 supernumeraries classical Greek costumes classical Greek costumes stream of real water stream of real water fairies on wires fairies on wires first production to include Felix Mendelssohn’s complete score (1842) first production to include Felix Mendelssohn’s complete score (1842) introduced live rabbits in 1911 introduced live rabbits in 1911 Tree: ‘the entire business of the stage is – Illusion. … all that aids illusion is good, all that destroys illusion is bad’ (1913: 57). Tree: ‘the entire business of the stage is – Illusion. … all that aids illusion is good, all that destroys illusion is bad’ (1913: 57).

6. Dream as metatheatre Write me a prologue; and let the prologue seem to say, we will do no harm with our swords, and that Pyramus is not killed indeed; and, for the more better assurance, tell them that I, Pyramus, am not Pyramus, but Bottom the weaver: this will put them out of fear. (Bottom, 3.1.16-20) Write me a prologue; and let the prologue seem to say, we will do no harm with our swords, and that Pyramus is not killed indeed; and, for the more better assurance, tell them that I, Pyramus, am not Pyramus, but Bottom the weaver: this will put them out of fear. (Bottom, 3.1.16-20) You, ladies, you whose gentle hearts do fear The smallest monstrous mouse that creeps on floor, May now perchance both quake and tremble here When lion rough in wildest rage doth roar. Then know that I one Snug the joiner am A lion fell, nor else no lion’s dam. For, if I should as Lion come in strife Into this place, ’twere pity on my life. (Snug, 5.1.217-24) You, ladies, you whose gentle hearts do fear The smallest monstrous mouse that creeps on floor, May now perchance both quake and tremble here When lion rough in wildest rage doth roar. Then know that I one Snug the joiner am A lion fell, nor else no lion’s dam. For, if I should as Lion come in strife Into this place, ’twere pity on my life. (Snug, 5.1.217-24) Why are these utterances comical? Why are these utterances comical?

7. Metatheatrical jokes Nor doth this wood lack worlds of company; For you in my respect are all the world. Then how can it be said I am alone, When all the world is here to look on me? (Helena, 2.1.223-6) Nor doth this wood lack worlds of company; For you in my respect are all the world. Then how can it be said I am alone, When all the world is here to look on me? (Helena, 2.1.223-6) …here’s a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring- house… (Quince, 3.1.2-4) …here’s a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring- house… (Quince, 3.1.2-4) Conversation about difficulty of staging moonlight (3.1.43-56) Conversation about difficulty of staging moonlight (3.1.43-56)

8. A play about audiences Unruly audience in 5.1 Unruly audience in 5.1 Oberon and Puck as audience: Oberon and Puck as audience: Shall we their fond pageant see? Lord, what fools these mortals be! (3.2.114-15) Shall we their fond pageant see? Lord, what fools these mortals be! (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 mechanicals’ play? Are there echoes of 1.1 in the mechanicals’ play?

9. Anxiety about theatre? Puck’s epilogue: a genuine anxiety about offence? Or merely conventional? Puck’s epilogue: a genuine anxiety about offence? Or merely conventional? Plato’s Republic: Plato’s Republic: ‘he [the poet] wakens and encourages and strengthens the lower elements in the mind to the detriment of reason, which is like giving power and control to the worst elements in a state and ruining the better elements’. ‘he [the poet] wakens and encourages and strengthens the lower elements in the mind to the detriment of reason, which is like giving power and control to the worst elements in a state 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 poet Are of imagination all compact. One sees more devils than vast hell can hold: That is, the madman. The lover, all as frantic, Sees Helen’s beauty in a brow of Egypt. The poet’s eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shapes, and gives to airy nothing A local habitation and a name. (5.1.7-17) The lunatic, the lover, and the poet Are of imagination all compact. One sees more devils than vast hell can hold: That is, the madman. The lover, all as frantic, Sees Helen’s beauty in a brow of Egypt. The poet’s eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shapes, and gives to airy nothing A local habitation and a name. (5.1.7-17)

10. Theatre as conjuring Puck is a self-described ‘actor’ (3.1.74) and shape- shifter (2.1.44-57 and 3.1.103-6). Puck is a self-described ‘actor’ (3.1.74) and shape- shifter (2.1.44-57 and 3.1.103-6). Titania accuses Oberon of similar deception (2.1.64-8). Titania accuses Oberon of similar deception (2.1.64-8). Love potion tricks the senses: does the enchantment and disenchantment of Titania and Lysander mimic the theatrical effect of the play? Love potion tricks the senses: does the enchantment and disenchantment of Titania and Lysander mimic the theatrical effect of the play? What about Demetrius? (‘I have found Demetrius like a jewel, / Mine own, and not mine own.’ 4.1.190-1) What about Demetrius? (‘I have found Demetrius like a jewel, / Mine own, and not mine own.’ 4.1.190-1)

11. Fantasy and shadows ‘Whatsoever we present we wish it may be thought the dancing of Agrippa his shadows, who in the moment they were seen were of any shape one could conceive’ (Court Prologue to Campaspe, John Lyly, 1583) ‘Whatsoever we present we wish it may be thought the dancing of Agrippa his shadows, who in the moment they were seen were of any shape one could conceive’ (Court Prologue to Campaspe, John Lyly, 1583) ‘Shadows’ in Dream: ‘Shadows’ in Dream: 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 shadows, and the worst are no worse if imagination amend them.’ (5.1.210-11) Fiction as shadows: ‘The best in this kind are but shadows, and the worst are no worse if imagination amend them.’ (5.1.210-11) Players as shadows: ‘If we shadows have offended…’ (Epilogue 1) Players as shadows: ‘If we shadows have offended…’ (Epilogue 1)

12. Dream as a dream Metaphor explicit in both title and epilogue Metaphor 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 dream it was. Man is but an ass if he go about t’expound this dream. Methought I was – there is no man can tell what. Methought I was, and methought I had – but man is but a patched fool if he will offer to say what methought I had. (4.1.202-8) 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 t’expound this dream. Methought I was – there is no man can tell what. Methought I was, and methought I had – but man is but a patched fool if he will offer to say what methought I had. (4.1.202-8) Presentations of dreams upon waking in 4.1: ‘like far- off mountains turned into clouds’ (4.1.187). Presentations of dreams upon waking in 4.1: ‘like far- off mountains turned into clouds’ (4.1.187).

13. What does a fairy look like? Costume of fairies? Costume of fairies? Fairies’ shifting shapes and sizes Fairies’ shifting shapes and sizes ‘Robin Goodfellow’ in Grim, the Collier of Croydon (c. 1600) wears ‘Robin Goodfellow’ in Grim, the Collier of Croydon (c. 1600) wears ‘a suit of leather close to his body; his face and hands russet- colour, with a flail’ [club for threshing corn] ‘a suit of leather close to his body; his face and hands russet- colour, with a flail’ [club for threshing corn] Oberon’s costume: Oberon’s costume: But who comes here? I am invisible And I will overhear their conference. (2.1.186-7) But who comes here? I am invisible And I will overhear their conference. (2.1.186-7) Henslowe’s 1598 inventory of the Admiral’s Men’s properties lists ‘a robe for to goo invisibell’ (Foakes 2002: 325). Henslowe’s 1598 inventory of the Admiral’s Men’s properties lists ‘a robe for to goo invisibell’ (Foakes 2002: 325).

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

15. Peter Brook’s Dream (1970) Metaphorical staging: Metaphorical staging: white box, white box, Slinkies, Slinkies, giant feather. giant feather. Circus skills: Circus skills: trapezes, trapezes, stilts, stilts, spinning plates, spinning plates, clown nose clown nose ‘Give me your hands, if we be friends.’ ‘Give me your hands, if we be friends.’

16. Counsell’s adaptation of locus and platea The platea equates to the ‘Concrete’ register of performance: the actor the actor the ‘spinning plate’ the ‘spinning plate’ The locus equates to the ‘Abstract’ register of performance: the character the character the ‘flower’ the ‘flower’

17. Locus and platea in modern performance But because of the skill involved in spinning the plate, Counsell argues, the locus’ dependence upon successfully-executed platea is openly displayed: But because of the skill involved in spinning the plate, Counsell argues, the locus’ dependence upon successfully-executed platea is openly displayed: ‘The spectator must therefore acknowledge Concrete object and performer, and cooperate with him or her to build of the performance an other-place.’ (1996: 164) ‘The spectator must therefore acknowledge Concrete object and performer, and cooperate with him or her to build of the performance an other-place.’ (1996: 164) Other productions taking a similar approach: Robert Lepage (NT, 1992), Edward Hall (Propeller, 2003), Tim Supple (Dash Arts/RSC, 2006). Other productions taking a similar approach: Robert Lepage (NT, 1992), Edward Hall (Propeller, 2003), Tim Supple (Dash Arts/RSC, 2006).

18. Representing the forest Forest as ‘green world’ Forest as ‘green world’ Transition from forest to Athens (and back again) Transition from forest to Athens (and back again) Closure or not? Closure or not?

19. Representing the forest: Supple 2006

21. Representing the forest: Lepage 1992

23. Casting the fairies Doubling Oberon/Theseus and Titania/Hippolyta: implications? Doubling Oberon/Theseus and Titania/Hippolyta: implications? Cross-gender casting: Cross-gender casting: Original practices Original practices Victorian tradition of female Oberon and Puck Victorian tradition of female Oberon and Puck Hall/Propeller 2003 Hall/Propeller 2003

24. Bottom’s transformation Gregory Doran, RSC, 2008 Mike Alfreds, Shakespeare’s Globe, 2002

25. Bottom’s transformation: Brook 1970

26. Bottom’s transformation: Lepage 1992

27. Bottom’s transformation: Supple 2006

28. Dream as celebration of theatre Presentations of Flute as Thisbe (Supple 2006, Hoffman 1999) Presentations of Flute as Thisbe (Supple 2006, Hoffman 1999) Dancing: bergomask, then fairy dance Dancing: 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, And see our moonlight revels, go with us. If not, shun me, and I will spare your haunts. (2.1.140-2) If you will patiently dance in our round, And see our moonlight revels, go with us. If not, shun me, and I will spare your haunts. (2.1.140-2) Sound music. Come, my queen, take hands with me, And rock the ground whereon these sleepers be. (3.3.84-5) Sound music. Come, my queen, take hands with me, And rock the ground whereon these sleepers be. (3.3.84-5)

29. Dream as celebration of theatre

30. Puck’s Epilogue ‘Give me your hands’ in Brook 1970 ‘Give me your hands’ in Brook 1970 Celebration in Supple 2006 Celebration in Supple 2006 Sadness/liminality in Hall 2003 Sadness/liminality in Hall 2003 Effect of multiple endings? Effect of multiple endings? Puck’s speech in 5.2 Puck’s speech in 5.2 Resolution or irresolution? Resolution or irresolution?

31. References Counsell, C. (1996) Signs of Performance, London: Routledge. Counsell, C. (1996) Signs of Performance, London: Routledge. Foakes, R. A. (2002) Henslowe’s Diary: Second Edition, Cambridge: C.U.P. Foakes, R. A. (2002) Henslowe’s Diary: Second Edition, Cambridge: C.U.P. Tree, H. B. (1913) Thoughts and After-Thoughts, New York & London: Funk & Wagnalls (available at archive.org). Tree, H. B. (1913) Thoughts and After-Thoughts, New York & London: Funk & Wagnalls (available at archive.org).