Chocolate Box Girls: Summer's Dream

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Ocr ABBYY FineReader 11.0 (Extended OCR) Ocr_converted abbyy-to-hocr 1.1.11 Ocr_module_version 0.0.14 Openlibrary_edition Summer is obsessed with becoming a big time star as a successful ballet dancer. This had been her wish for a long time and it consumed her both day and night. Summer is, just like so many other young girls, trying to be what society dictates as beautiful today, meaning unless you are a size one or two you simply are not considered beautiful. She believed that to achieve her goal as a professional dancer, she must have "the perfect body", otherwise her dreams of becoming a world-famous dancer would never happen. While trying to achieve this goal she finds the rest of her life simply falling apart. [2] Plot Summary [ edit ] Tennenhouse, Leonard (1986). Power on Display: The Politics of Shakespeare's Genres. Routledge library editions: Shakespeare. Vol.48 (reprinted.). New York: Routledge. ISBN 978-0-415-35315-1. Holland, Peter, ed. (1994). A Midsummer Night's Dream. The Oxford Shakespeare. Oxford: Oxford University Press. doi: 10.1093/actrade/9780198129288.book.1. ISBN 978-0-19-812928-8.

Thirteen year-old Summer has always been passionate about dancing, but when the chance to audition for a place at a prestigious ballet school comes her way, she feels sure her dreams are about to come true. Refusing to leave anything to chance, she throws herself heart and soul into preparing – so whilst her sisters enjoy lazy summer days and beach parties with their friends, Summer spends every spare moment of the summer holidays at the ballet studio, determined to make her performance absolutely perfect. But soon, the approaching audition becomes an obsession, and in her quest to be the perfect dancer, Summer begins to spiral out of control. In 1970, R. A. Zimbardo viewed the play as full of symbols. The Moon and its phases alluded to in the play, in his view, stand for permanence in mutability. The play uses the principle of discordia concors in several of its key scenes. Theseus and Hippolyta represent marriage and, symbolically, the reconciliation of the natural seasons or the phases of time. Hippolyta's story arc is that she must submit to Theseus and become a matron. Titania has to give up her motherly obsession with the changeling boy and passes through a symbolic death, and Oberon has to once again woo and win his wife. Kehler notes that Zimbardo took for granted the female subordination within the obligatory marriage, social views that were already challenged in the 1960s. [45] In Ancient Greece, long before the creation of the Christian celebrations of St. John's Day, the summer solstice was marked by Adonia, a festival to mourn the death of Adonis, the devoted mortal lover of the goddess Aphrodite. According to Ovid's Metamorphoses, Aphrodite took the orphaned infant Adonis to the underworld to be raised by Persephone. He grew to be a beautiful young man, and when Aphrodite returned to retrieve him, Persephone did not want to let him go. Zeus settled the dispute by giving Adonis one-third of the year with Persephone, one-third of the year with Aphrodite, and the remaining third where he chose. Adonis chose to spend two-thirds of the year with his paramour, Aphrodite. He bled to death in his lover's arms after being gored by a boar. Mythology has various stories attributing the colour of certain flowers to staining by the blood of Adonis or Aphrodite. In 2011, Opera Memphis, Playhouse on the Square, and contemporary a cappella groups DeltaCappella and Riva, premiered Michael Ching's A Midsummer Night's Dream: Opera A Cappella. [93]The Globe's A Midsummer Night's Dream is wonderfully bonkers ★★★". Radio Times. 6 May 2016 . Retrieved 14 April 2020. During the years of the Puritan Interregnum when the theatres were closed (1642–1660), the comic subplot of Bottom and his compatriots was performed as a droll. Drolls were comical playlets, often adapted from the subplots of Shakespearean and other plays, that could be attached to the acts of acrobats and jugglers and other allowed performances, thus circumventing the ban against drama. When the theatres re-opened in 1660, A Midsummer Night's Dream was acted in adapted form, like many other Shakespearean plays. Samuel Pepys saw it on 29 September 1662 and thought it " the most insipid, ridiculous play that ever I saw..." [55] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( April 2021) ( Learn how and when to remove this template message) Machine Dominion • 2: Kingsbrother • 3: Forest of the Sage • 4: The Vital Blade • 5: Night and Day • 6: Treachery • 7: Bound Elsewhere • 8: Serpent's Whispers • 9: Echoes of Truth • 10: Howling Descent • 11: Deceit • 12: What Remains • 13: Specter of Niðavellir

The Sacred World • World of Awakening • World of Binding • World of Birthright • World of Blazing • World of Conquest • World of Crests • World of Dawn • World of Holy War • World of Mystery • World of Mystery Renewed • World of Origin • World of Radiance • World of Shadows • World of Thracia • World of Zenith ( Askran Kingdom • Dökkálfheimr • Emblian Empire • Hel • Jötunheimr • Ljósálfheimr • Múspell • Nifl • Niðavellir • Vanaheimr) In 1887, Denton Jacques Snider argued that the play should be read as a dialectic, either between understanding and imagination or between prose and poetry. He also viewed the play as representing three phases or movements. The first is the Real World of the play, which represents reason. The second is the Fairy World, an ideal world which represents imagination and the supernatural. The third is their representation in art, where the action is self-reflective. Snider viewed Titania and her caprice as solely to blame for her marital strife with Oberon. She therefore deserves punishment, and Oberon is a dutiful husband who provides her with one. For failing to live in peace with Oberon and her kind, Titania is sentenced to fall in love with a human. And this human, unlike Oberon is a "horrid brute". [39] Between 1917 and 1939 Carl Orff also wrote incidental music for a German version of the play, Ein Sommernachtstraum (performed in 1939). Given that Mendelssohn's parents had been Jews (and despite the fact that they converted to Lutheranism), his music had been banned by the Nazi regime, and the Nazi cultural officials put out a call for new music for the play: Orff was one of the musicians who responded. He later reworked the music for a final version, completed in 1964. [ citation needed]

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The aesthetics scholar David Marshall draws out this theme even further by noting that the loss of identity reaches its fullness in the description of the mechanicals and their assumption of other identities. In describing the occupations of the acting troupe, he writes "Two construct or put together, two mend and repair, one weaves and one sews. All join together what is apart or mend what has been rent, broken, or sundered." [22] In Marshall's opinion, this loss of individual identity not only blurs specificities, it creates new identities found in community, which Marshall points out may lead to some understanding of Shakespeare's opinions on love and marriage. Further, the mechanicals understand this theme as they take on their individual parts for a corporate performance of Pyramus and Thisbe. Marshall remarks that "To be an actor is to double and divide oneself, to discover oneself in two parts: both oneself and not oneself, both the part and not the part." [22] He claims that the mechanicals understand this and that each character, particularly among the lovers, has a sense of laying down individual identity for the greater benefit of the group or pairing. It seems that a desire to lose one's individuality and find identity in the love of another is what quietly moves the events of A Midsummer Night's Dream. As the primary sense of motivation, this desire is reflected even in the scenery depictions and the story's overall mood. [22] Ambiguous sexuality [ edit ] The Awakening of the Fairy Queen Titania A Midsummer Night's Sex Comedy (1982) was written and directed by Woody Allen. The plot is loosely based on Ingmar Bergman's Smiles of a Summer Night, with some elements from Shakespeare's play. [101]