1. A Midsummer Night’s Dream 3 Video clip of Act 1, scene 2

2. Bottom’s dream and “vision” of theater St. Paul: “But as it is written, eye hath not seen, nor ear heard, neither have entered into the heart of man, the things that God hath prepared for them that love him.” (1 Corinthians 2:9). Shakespeare teasing the Puritans? Shakespeare teasing the Puritans? Or expressing a comic, quasi-religious faith in theater? Or expressing a comic, quasi-religious faith in theater?

3. Pyramus and Thisbe and the invention of theater Yes, a “bad play,” but a really good bad play? Yes, a “bad play,” but a really good bad play? A play that’s actually inventing theater, as children do when they decide to put on a play. A play that’s actually inventing theater, as children do when they decide to put on a play. Contrast the comments of the court party: V, 237ff, 305ff. Contrast the comments of the court party: V, 237ff, 305ff. Recall Theseus: “The best in this kind are but shadows, And the worst no worse if imagination mend them. Hippolyta’s answer is, without her knowing it, the point: It must be your imagination then. Well duh! Recall Theseus: “The best in this kind are but shadows, And the worst no worse if imagination mend them. Hippolyta’s answer is, without her knowing it, the point: It must be your imagination then. Well duh! Theater is always a pact between players and audience Theater is always a pact between players and audience

4. The irony of the lovers’ irony? We watch “Pyramis and Thisbe” through the lovers, mediated by their “witty” commentary... We watch “Pyramis and Thisbe” through the lovers, mediated by their “witty” commentary...... After we’ve watched their comedy in the forest, Puck their unseen director, playwright.... After we’ve watched their comedy in the forest, Puck their unseen director, playwright. Their dream – or nightmare – had them move through the various permutations, the “geometry,” of love relationships. Their dream – or nightmare – had them move through the various permutations, the “geometry,” of love relationships. From our perspective, were they any less comic than Quince’s company? From our perspective, were they any less comic than Quince’s company?

5. Helena’s fantasy She imagines that she’s caught in a play: III, 2, 145ff. She imagines that she’s caught in a play: III, 2, 145ff. Hermia too part of this conspiracy: ll. 192ff. Hermia too part of this conspiracy: ll. 192ff. Interrupted sisterhood – interrupted childhood – now plunges her into an unwilling role. Interrupted sisterhood – interrupted childhood – now plunges her into an unwilling role. “Persevere, counterfeit sad looks,/ Make mouths when I turn my back,/ Wink at each other, hold the sweet jest up.” ll. 237ff. “Persevere, counterfeit sad looks,/ Make mouths when I turn my back,/ Wink at each other, hold the sweet jest up.” ll. 237ff. A general fantasy of adolescence? A general fantasy of adolescence?

6. Bottom seems the only one who manages a transition from reality into the dream world of fairies, then emerging back to “reality”. Bottom seems the only one who manages a transition from reality into the dream world of fairies, then emerging back to “reality”. He also manages the various incongruities, a “classical” tragedy that concludes with a Bergomask dance, a love affair with the queen of the fairies and memories of a donkey’s head. He also manages the various incongruities, a “classical” tragedy that concludes with a Bergomask dance, a love affair with the queen of the fairies and memories of a donkey’s head. Bottom “the weaver.” After all this, can he go back to mere weaving? Bottom “the weaver.” After all this, can he go back to mere weaving?

7. The audience’s complicity In the epilogue, Puck makes the play our dream. It’s evanescent, inconsequential, but ours. In the epilogue, Puck makes the play our dream. It’s evanescent, inconsequential, but ours. “If you pardon” this strange, weird play, the Lord Chamberlain’s Men “will mend.” “If you pardon” this strange, weird play, the Lord Chamberlain’s Men “will mend.” So our applause makes us complicit with Puck, friends with his mischievous, mildly malicious power. So our applause makes us complicit with Puck, friends with his mischievous, mildly malicious power.

8. Theatrical self-reflexivity Why refer to theater and imagination within a play? It seems to counter the usual referentiality of theater. Why refer to theater and imagination within a play? It seems to counter the usual referentiality of theater. The “anti-realism” of MND. The “anti-realism” of MND. Art calling attention to art. Art calling attention to art. What’s the effect in MND ? What’s the effect in MND ?

9. Change of direction: MND and experimentation Play has been a site of theatrical and imaginative play. Play has been a site of theatrical and imaginative play. Music: Mendelssohn > Balanchine’s ballet (1962). Music: Mendelssohn > Balanchine’s ballet (1962). Opera: Benjamin Britten’s opera (1962). Opera: Benjamin Britten’s opera (1962). Peter Brooke’s famous production of the play at the RSC (1970). Peter Brooke’s famous production of the play at the RSC (1970). Does the play invite experimentation? Does the play invite experimentation?

10. The Adrian Noble film of MND Its experiments? Its experiments? The effect of the doubling? The effect of the doubling? The set for the “forest”? The set for the “forest”? The boy? The boy?