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A Midsummer Night's Dream (Cambridge School Shakespeare), by William Shakespeare, Rex Gibson
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An improved, larger-format edition of the Cambridge School Shakespeare plays, extensively rewritten, expanded and produced in an attractive new design. An active approach to classroom Shakespeare enables students to inhabit Shakespeare's imaginative world in accessible and creative ways. Students are encouraged to share Shakespeare's love of language, interest in character and sense of theatre. Substantially revised and extended in full colour, classroom activities are thematically organised in distinctive 'Stagecraft', 'Write about it', 'Language in the play', 'Characters' and 'Themes' features. Extended glossaries are aligned with the play text for easy reference. Expanded endnotes include extensive essay-writing guidance for 'A Midsummer Night's Dream' and Shakespeare. Includes rich, exciting colour photos of performances of 'A Midsummer Night's Dream' from around the world.
- Sales Rank: #155791 in Books
- Published on: 2014-01-20
- Original language: English
- Number of items: 1
- Dimensions: 9.69" h x .35" w x 7.44" l, .95 pounds
- Binding: Paperback
- 190 pages
Review
This edition of A Midsummer Night’s Dream is wonderfully lucid and thoughtful, offering supporting material that will appeal to readers from high school students to scholars. The introduction is especially thoughtful, offering, in addition to expected discussions of love, magic and imagination, an exploration of the theatrical history. The bibliography and filmography are both detailed and helpful, and the questions guide students to consider the play from many viewpoints without ever forcing an interpretation onto them.
- Annalisa Castaldo, Widener University
Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499. From the Publisher
An exciting new edition of the complete works of Shakespeare with these features: Illustrated with photographs from New York Shakespeare Festival productions, vivid readable readable introductions for each play by noted scholar David Bevington, a lively personal foreword by Joseph Papp, an insightful essay on the play in performance, modern spelling and pronunciation, up-to-date annotated bibliographies, and convenient listing of key passages.
From the Inside Flap
Magic, love spells, and an enchanted wood provide the materials for one of Shakespeare's most delightful comedies. When four young lovers, fleeing the Athenian law and their own mismatched rivalries, take to the forest of Athens, their lives become entangled with a feud between the King and Queen of the Fairies. Some Athenian tradesmen, rehearsing a play for the forthcoming wedding of Duke Theseus and his bride, Hippolyta, unintentionally add to the hilarity. The result is a marvelous mix-up of desire and enchantment, merriment and farce, all touched by Shakespeare's inimitable vision of the intriguing relationship between art and life, dreams and the waking world.
Each Edition Includes:
- Comprehensive explanatory notes
- Vivid introductions and the most up-to-date scholarship
- Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
- Completely updated, detailed bibliographies and performance histories
- An interpretive essay on film adaptations of the play, along with an extensive filmography
Most helpful customer reviews
49 of 54 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.
27 of 29 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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