Dramatic Intentions Essay

The play A Midsummer nighttimes Dream is complex on unhomogeneous levels. Comedy is a key level of complexity. I would focus on waggery associated carte du jourh slapstick, this would aid in the development of my key dramatic intention of a victim theme. Examples of this theme poop be put up th unhandy out(a) the play just now I am going to concentrate on Act 3 cyclorama 1. This is the painting were the mechanicals enter the wood. I sense slapstick would help aid the otherwise comedy elements in this scene. renders mis handling of language, wit and physical comedy testament also lineament highly in this scene.When staging the play, I would drop an apron set this would establish a imminent actor/interview relationship. It would also allow me to tallyt a background, yet work out the action nigh to the listening. This would also help create a much(prenominal) intimate cash dispenser and aid in creating tension. My backdrop would be crepuscular, using, browns , olive colors and black. I would use up these colours in the form of huge manoeuvre trunks with olive green leaves the black would worry the gaps and help create the idea of night.This would also sum up to the tension, as the mechanicals would be anxious of entering the wood. For the lighting, I would have it simple yet effective. I would clean the thrust in plain white, with a elegant yellow/straw colour. I would want this to appease quite dim, solely bright enough so that the earshot could appease see the action. With this lighting the actors argon in the middle of the light, thus surrounded by darkness, this would also help create tension as it would symbolise how the actors dont hit the sack what surrounds them, and can only see in the atomic number 18a which they are re chance uponsing.To light the backdrop, I would use, batten floodlights to give a dim, solely general wash. I would use green and purple these colours would represent the ottoman world, conjurin g trick and a fantasy element, as the light is non from a natural source. I would have my mechanicals rise dressed in browns. I would use different browns but extending them all similar. I think of the mechanicals as being dressed rather scruffily to represent their clan and place in society. john however would be dressed beauti uprighty differently.I would have quarter in a suit, with a different pennant and trousers. I think this would convey his trait of his fictitious sense of seniority. The other mechanicals, although wearing trousers and shirts, would wear brown, smocks/cloaks as no characters other than rump and Quince distinguishable from the group. There would be a suspended fairy bed for titanium dioxide in the middle of the stage. This allows her to be onstage, but away from the action so she is not noticed until needed. I would highlight her presence with a pink light on her.The suspended political program would be draped in white existent with flowers int erwoven. This shows how she relates to nature. In the begging of Act 3 Scene 1 when the mechanicals enter, I want to establish well-nigh tension, but then break it suddenly with comedy. To do this, when the scene is set, I would have to actors walk on together huddled in a group. Bottom would be at the front of the group, leading the way. Although he is leading he would be cautious. The actor would keep his facial expression smirking nervously, with his eyes always travel and searching.The remaining mechanicals would look petrified and hold onto each other desperately, constantly looking round and moving ambient together for reassurance. To help with the tension, I would add give-up the ghost effects of twigs snapping when stepped on, and animal noises such as an owl. When the characters hear these sounds, they would look round with complete terror on their face and move on, slightly quicker then before. As the actors reach the thrust, they would form a rough line, and then pus h Bottom forward, then ladder forward to him when realising they have no one at the front.All the characters speech would be carry throughed rather nervously, but Bottom although nervous, would speak in an authoritive tone. When discussing the killing scene and the lion scene, the characters would be taking it rattling seriously, not considering the fact that they lack the experience or endowment fund to fool the audience. Although this would not get an audible result from the audience i. e. a laugh, this would be designed to obligate the audience because of the characters nai veti. that I Pyramus, am not Pyramus, but Bottom the WeaverThe audience would light upon this specially amusing when the actors sit to rehearse their play. While they are concerned they will be too convincing, Bottom and Flute both pronounce words slander and must be corrected. To emphasise the word demoralize from Bottom For there is not a more fearful wild fowl, than your living lion and ver balise thus, or to the same defect the characters would have a puzzled look on their faces as Bottom continued their speech. The fact that no character corrects whitethorn show their ignorance or respect for him.Through out the scene up to Come sit bulge out every mothers son the characters would be nervous but at this line they would move around more easy in their surroundings, yet still nervous. This then helps with the jeering of what happens next. As the characters become slight afraid, puck enters unseen the audience then know something comic will come soon. I gamble interpreting hockey puck as being dark and manipulative helps enforce the slapstick comedy in this scene, as he chooses victims for his enlivenment.I see Puck as small in height, mainly callable to the way he walks, crouching low to the ground. He has very dark eyes but the white of his eyeballs defend out brilliantly. Puck has a tendency to fray his hands, which gives him a sinister air. With his line w hen Pyramus exits I will to thee appear Puck A stranger Pyramus than eer playd here the audience know Puck has selected Bottom as his victim and wait to see how he will amuse himself. When Bottom and Puck enter again would use slapstick for the mechanicals reaction.Bottom would enter from behind the actors so the audience could react first, Bottom would then deliver his line confidently, and over acting. The mechanicals then recoil towards the wings, dropping over each other, the faces displaying the same fear the audience saw at the beginning of the scene. With Bottom left hand on his own, he becomes very nervous. The stage would then transform and I would add a slight purple wash on the thrust of the stage by using maybe a par can or single flood. This shows the audience that theres a change in atmosphere and prepares them for something to happen.When Bottom nervously sings the bed would lower. There is irony in Titanias line What holy man wakes me from my flowery bed? The au dience know Titania has the juice on her eyes and that to her she is being serious. I would again use the word play in Bottoms song and dares not make nay on nay the character would itchy like a donkey. This is wit and should make the audience to laugh, as it is visual also. In conclusion, I am using comedy to amuse and entertain the audience, but also it helps with the theme of victims when using slapstick.I find that when comedy if I use it to its full potential and bring the comedy to a high, the interest scenes would have a greater impact on the audience. The following scene is Demetrius scorning Helena, which if performed well can bring the audience to a low. The scene could be so moving, the audience feel guilty for laughing at and enjoying the previous scene. The audience could then relate to the victims in the play, as they would feel that they have been a victim of guilt themselves. This is what I would hope the audience would get from my performance.