Abstract
In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance. After a brief exploration of critical arguments claiming that Shakespeare’s play is the model for musical versions produced during and after the Restoration, this essay investigates the negotiations and shifts of meaning in the homonymous Brazilian adaptation (2006), staged by Cia. Rústica and directed by Patrícia Fagundes. The intermedial processes, articulated in the transposition from page to stage, will be analyzed in the light of contemporary theoretical perspectives.
Highlights
In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance
Mirroring the Socratic dialogue, the play explores the nature of different forms of love relationships – erotic passion, sexual desire, sexual neuroses, “true love”, infatuation, romantic love and the love of the artisans for the theatre – their different degrees of intensity, as well as the difficulty to make clear-cut divisions among them
As we read the text or watch a performance, critical questions tend to multiply: Who can tell why sometimes “true love” turns awry and “false love” becomes true? What is the difference between erotic passion or sexual desire and the feeling which humans call “true love”? How
Summary
In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance.
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