A Midsummer Night's Dream. Benjamin Britten

1997 ◽  
Vol 14 (2) ◽  
pp. 172-175
Author(s):  
J. K. Law
Keyword(s):  
Benjamin Britten ◽  
Midsummer Night's Dream ◽  
A Midsummer Night's Dream

scholarly journals A Midsummer Night’s Dream: Reflections on Benjamin Britten’s Chamber Opera

2020 ◽  
Vol 55 (1) ◽  
pp. 33796
Author(s):  
Anna Stegh Camati
Keyword(s):  
Visual Arts ◽  
Chamber Opera ◽  
Benjamin Britten ◽  
Midsummer Night's Dream ◽  
Theater Music ◽  
Theoretical Perspectives ◽  
A Midsummer Night's Dream ◽  
Art Forms ◽  
A Performance

Opera performances, located at the intersection of literature, theater music and the visual arts, tend to fuse specificities of several art forms. This essay reflects on the libretto and score of the chamber opera A Midsummer Night’s Dream (1960), by Benjamin Britten (1913-1976), based on Shakespeare’s homonymous text (1595-1596), and analyses the 1981 operatic adaptation at Glyndebourne, directed by the renowned theatre director and régisseur Peter Hall (1930-2017). The intermedial dialogues among Shakespeare, Britten and Hall will be investigated in the light of theoretical perspectives by Linda and Michael Hutcheon, Claus Clüver, Jorge Coli, Freda Chapple and others.***Sonho de uma noite de verão: reflexões sobre a ópera de câmara de Benjamin Britten***Situada na interface da literatura, teatro, música e artes visuais, a performance operística é caracterizada pela fusão de especificidades de diversas formas de arte. Este ensaio reflete sobre o libreto e a partitura de Sonho de uma noite de verão (1960), ópera de câmara de Benjamin Britten (1913-1976), composta a partir do texto homônimo (1595-1596) de Shakespeare, e analisa a adaptação operística de 1981 apresentada em Glyndebourne, dirigida pelo renomado diretor de teatro e régisseur Peter Hall (1930-2017). Os diálogos intermidiáticos entre Shakespeare, Britten e Hall serão investigados à luz de considerações teóricas de Linda e Michael Hutcheon, Claus Clüver, Jorge Coli, Freda Chapple e outros.Palavras-chave: Shakespeare; Benjamin Britten; Peter Hall; Adaptação;Intermidialidade

The Song Inside Your Mind

2020 ◽  
pp. 62-92
Author(s):  
Drew Massey
Keyword(s):  
The Other ◽  
Benjamin Britten ◽  
Subjective Experiences ◽  
Midsummer Night's Dream ◽  
The Public ◽  
The Tempest ◽  
A Midsummer Night's Dream ◽  
Way Of Thinking ◽  
Contemporary Opera ◽  
Public Imagination

Adès’s second opera, The Tempest (2003), has been celebrated for many reasons. In the public imagination it has solidified comparisons between Adès and Benjamin Britten (the composer of one of the other most well-known Shakespeare operas of the last hundred years, A Midsummer Night’s Dream, 1960). The Tempest also established Adès as a leading presence in contemporary opera. My goal in this essay is to explore how two interrelated concerns—the expressive possibilities of moving from one medium to another and the interpenetration of different subjectivities with one another—show one way of thinking about The Tempest which is emblematic of several recurrent aspects Adès’s sensibility. The Tempest, as the largest work he completed in the decade after his initial flush of success in the 1990s, demonstrates the longevity of his quest for what he calls “new objects” which transcend their medium and engender singular subjective experiences.

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

Digital canopy: high-end computation/low-tech construction

2002 ◽  
Vol 6 (3) ◽  
pp. 230-245
Author(s):  
Kristina Shea
Keyword(s):  
Digital Design ◽  
Lecture Hall ◽  
Design Team ◽  
Midsummer Night's Dream ◽  
A Midsummer Night's Dream ◽  
Design And Construction

The design and construction of this canopy and landscape for a small courtyard [1] took the form of an adventure in digital design and low-tech construction. The installation was for the end of year party in June 2002 at the Academie van Bouwkunst in Amsterdam. The courtyard occupies a central space in the school adjacent to the main lecture hall and contains a historic cobblestone court [2]. One of the design team, Neil Leach, proposed that it should be transformed into an enchanted garden suggestive of Dutch greenhouses and Shakespeare's A Midsummer Night's Dream.

Sign in / Sign up

Export Citation Format

Share Document