'Ye Letter to the Editor' Feedback: Jasmine Dolisen

          The creative font Jasmine chose was very effective and I like how she included a picture of the title page for A Midsummer Night's Dream at the beginning of her letter. The Shakespearean insults she came up with were brilliant and the purpose she chose for a play within a play was very convincing. The only thing I would suggest is to cut out some information as she was at 491 words when the assignment was instructed to have 200-300. Nevertheless, Jasmine did a great job!

'Ye Letter to the Editor' Feedback: Krizzel Grace Manalang

          I really like the font Krizzel chose for her letter since it made it very realistic. The Shakespearean insults she used were thought out very well and allow the reader to interpret William Shakespeare's thoughts toward Mr. Cavendish. Her impressive reasons for the existence of a play within a play were a joy to read. Overall, Krizzel did an amazing job!

‘Ye Letter to the Editor’ Feedback: Catalina Acevedo

          Catalina used the Shakespearean insults very effectively in her letter towards Mr. Cavendish, which helped get her argument across. Her choice of words really had me believe that her letter was written by William Shakespeare himself. I would suggest for her to change the font and layout of her letter to make it more realistic. Overall, Catalina's reasons to have a play within a play were extremely convincing. She did an excellent job!

"A Midsummer Night's Dream": Letter

July 17, 1600 

London Post 

1 Broadway, Westminster
London, England SW1H 0AX, UK

Holla Smedley Cavendish,

          I strongly disagreeth with thee that the play within a play hast nay purpose. Thou artless,clay-brained, barnacle is unable to grasp the true meaning behind mine own genius. Therefore, alloweth me to inform thee ofsuch importance.

          Thou warped, half-faced, pignut only considered the comic relief provided by the play’s ‘tragical mirth’,rather than questioning the nature of creativity and loveth within. Towards the audience, Puck claims,“If we shadows have offended,” in order to portray the actors shadows those gents may have envisioned upon a slumber. Similar to the theme regarding dreams and visions in A Midsummer Night’s Dream, Plato’s Allegory of the Cave suggests that individuals unable to perceive reality can beest compared to prisoners chained in a cave. Furthermore, St. Paul’s Letter to the Corinthians declares that our vision is of a dim mirror until our liberation from Earth, at which our vision becomes cleareth. The mechanicals who perform before Theseus, Hippolyta, and the nobles reflect upon the difficulties of seeing reality through shadows of the truth since they believe the audience shall not beest able to recognize fiction from reality. Satirically, Pyramus and Thisbe are lovers facing parental opposition who runneth away together, much like Hermia and Lysander. This fact results in the audience’s realization of the Athenian’s absurdity, while Theseus and the lovers maketh excitement of the ridiculous performance. Oberon and Puck manipulate the Athenians thoughts,resulting in their loss of the real world. Due to the constant speak of dreams and visions, the entire audience may only see a glimpse,“no more yielding but a dream”(419).

          I desire thou vain, flap-mouthed, boar-pig to understand mine own pointeth of view and stand ho with thy villainous, fool-born remarks.

Sinc’rely,

William Shakespeare

          I chose the insult, “Thou artless, clay-brained, barnacle,” because Smedley Cavendish was unable to see the true art behind the play within a play. Another insult I chose was, “Thou warped, half-faced, pignut,” since Cavendish was not able to see Shakespeare’s intentions for A Midsummer Night’s Dream, only half of it. “Thou vain, flap-mouthed, boar-pig,” was chosen because Cavendish expressed his opinion in a rude manner and deserved to be insulted. Lastly, I chose, “thy villainous, fool-born remarks,” due to the hurtful and foolish comments Cavendish directed to Shakespeare.

Image Cluster Feedback: Jeeyun Han

          The emotional responses Jeeyun chose regarding sight are very creative and original. I really like how she included a real picture in her organizer. However, she could have provided a brief explanation under each picture to explain the meaning behind it. Everyone interprets photos differently, which is why a description is needed. Overall, she did a great job!

Image Cluster Feedback: Catalina Acevedo

          Even though I chose a different image cluster than Catalina, I still agree that images of light and darkness are extremely prominent throughout A Midsummer Night's Dream. The audience's emotional responses she came up with to the images she chose were very well thought out and I agree with them completely. However, Catalina left the "Picture" column blank, which prevented her from getting her entire point across. Nevertheless, she did a very good job!

"A Midsummer Night's Dream": Nature Imagery

In this scene, the repeated images of nature have an incredible effect on the audience since they are able to appeal to them using the five senses. Readers are allowed to experience the play through what they see, hear, feel, smell, and taste. These senses result in a more realistic description of each scene. In order to resonate several different emotions within the mind of a reader, Shakespeare uses nature imagery to connect to situations individuals experience in their everyday lives. Overall, these images are necessary in order for the audience to visually interpret A Midsummer Night’s Dream.

	Lines in 3.2.	Picture	Appeals to Senses	Creates Emotional Response
1	“An adder did it, for with doubler tongue/Than thine, thou serpent, never adder stung.” (Shakespeare 3.2.73-74)	A snake could kill Lysander just as easily as Demetrius could. No snake has ever had more of a forked tongue full of lies than Demetrius.	Sight/Touch	Audience is shocked by Hermia’s comparison of Demetrius to a killer snake. Sight suggests the killing; touch suggests the forked tongue full of lies.
2	“Oh, when she’s angry, she is keen and shrewd! She was a vixen when she went to school. And though she be but little, she is fierce.” (3.2.333-335)	Hermia acted like a female fox when she got angry at school. She may be little, but she is a fierce fighter.	Sight/Touch	Audience is surprised that Hermia is a fierce fighter because she is very short. Sight suggests Hermia’s height and her appearance as a female fox; touch suggests her fighting.
3	“As wild geese that the creeping fowler eye,/Or russet-pated choughs, many in sort,/Rising and cawing at the gun’s report,/Sever themselves and madly sweep the sky – So at his sight away his fellows fly.” (3.2.20-24)	Bottom’s friends act like ducks scattering from the sound of a hunter’s gunshot when they see his donkey head.	Sight/Sound	Audience is confused as Bottom develops the head of a donkey and his friends run away from him, losing all common sense. Sight suggests ducks flying away; sound suggests the hunter’s gunshot.
4	“When in that moment so it came to pass, Titania waked and straightway loved an ass.” (3.2.34)	Titania wakes up and immediately falls in love with a donkey (Bottom).	Sight/Touch	Audience is full of bewilderment as the queen of fairies falls in love with an ugly animal. Sight suggests the donkey; touch suggests the love that immediately touches Titania’s heart.
5	“The sun was not so true unto the day/As he to me.” (3.2.50-51)	Hermia claims that Lysander was more faithful to her than the sun is to daytime.	Sight/Touch	Audience is feeling sorry for Hermia and hoping Demetrius did not kill her true love. Sight suggests the sun in the daytime; touch suggests the way Lysander touched Hermia’s heart more powerfully than the sun’s rays in the daytime.
6	“I’ll believe as soon/This whole Earth may be bored, and that the moon/May through the center creep and so displease.” (3.2.52-54)	Hermia will believe Demetrius when she believes that the Moon has passed through a hole in the center of the Earth.	Sight/Touch	Audience is realizing that Hermia will never believe Demetrius, unless the impossible happens. Sight suggests the Moon passing through the Earth; touch suggests Demetrius’ lies passing through Hermia’s soul.
7	“Thy lips, those kissing cherries, tempting grow!” (3.2.143)	Demetrius wakes up and describes Helena’s lips as a pair of ripe cherries touching each other.	Sight/Touch/Taste	Audience is full of suspense since the spell is forcing Demetrius to flatter Helena with loving comments. Sight suggests a pair of ripe cherries; touch suggests the cherries touching each other; taste suggests the sweetness of the cherries.
8	“Hang off, thou cat, thou burr! Vile thing, let loose/Or I will shake thee from me like a serpent.” (3.2.266-267)	Lysander tells Hermia to stop hanging on to him like a cat or a thorn. Otherwise, he will shake her off like a snake.	Sight/Touch	Audience is upset because Lysander is being rude to Hermia when he should be deeply in love with her. Sight refers to Hermia as a cat or a thorn and Lysander as a snake; touch refers to Hermia hanging on and Lysander violently shaking her off.
9	“Get you gone, you dwarf,/You minimus of hindering knotgrass made,/You bead, you acorn!” (3.2.339-340)	Lysander tells Hermia to get lost since she is as small as a dwarf and as unimportant as a tiny weed, scrap, or acorn.	Sight/Touch	Audience is angry at Lysander’s attitude towards Hermia and is full of suspense regarding his next interaction with her. Sight refers to Hermia as a small dwarf, tiny weed, scrap, or acorn; touch suggests the betrayal piercing Hermia’s heart and the hatred beaming out of Lysander’s.

"A Midsummer Night's Dream": The Director's Cut Critique

A Midsummer Night's Dream - Act 1, Scene 2

          This performance of Act 1, Scene 2 compares to the suggestions I made in my Director’s Cut organizer since all of the characters acted in the way I interpreted them to. Peter Quince was definitely a major character that spoke a majority of the scene with a strong tone of voice and several gestures. Nick Bottom was also a major character since he acted like he was better than everybody else. He was a handsome man who moved continuously across the stage, talking and gesturing towards his cast members. Francis Flute gestured multiple times when arguing with Quince. Robin Starveling and Tom Snout remained minor in this performance, just as I had suggested. Lastly, the comic scenes came across funny, and not rude. However, in contrast, the cast interacted with each other more than I predicted. Francis Flute did not act as disappointed as I thought he would when he found out he had to play the role of a woman. Also, Snug did not gesture shyly towards his cast members while barely moving across the stage.

          The positive aspects of this performance are when Flute lied on the ground under Bottom’s foot while he showed off his acting skills, highlighting Bottom's importance. It was effective when the entire cast clapped for Bottom’s performance and laughed when he imitated a woman’s voice, truly showing his prominence in the scene. I also enjoyed when the entire cast ran off the stage in a clumsy manor at the end of the play to show their excitement.

          This performance could have been improved if Flute acted more disappointed when he was given the role of Thisbe. This would have created more of an importance for him, which would have allowed him to effectively argue with Quince. If Snug had gestured shyly towards his cast members, his significance would have been more prominent. The cast could have gestured towards the audience more frequently to create suspense within certain scenes. All in all, this performance correlated with my suggestions very well, with almost no contrasts.

The Director's Cut Feedback: Jeeyun Han

          Regarding Jeeyun's organizer, I thought it was very well done. However, I would suggest for her to complete the assignment effectively by filling in the required information rather than leaving it blank. I enjoyed her critique on her last page since the stage directions she came up with were extremely clever. But again, they should have been included within the chart and not below it. Overall, she did a great job!

The Director's Cut Feedback: Catalina Acevedo

          Catalina's approach to this scene is very unique! I would have never thought of the stage suggestions she came up with because they are so original. My favourite is when she stated that the cast could use their different jobs and skills and put them to good use by building a unique stage for their play. Overall, she did an amazing job!

The Director's Cut Feedback: Jasmine Dolisen

          I liked the quotes Jasmine used because they supported her suggestions for acting very well. Her chart was very organized and I like how she split up the tone of voice and gestures into different subheadings. I can tell she took her time to find all necessary information since she was very specific in her responses. Overall, she had a great approach to the scene!

A Midsummer Night's Dream - William Shakespeare

"A Midsummer Night's Dream": The Director's Cut Organizer

Questions	Important Lines (Evidence)	Suggestions for Acting (gesture, movement, stage business, tone of voice)
Who are these characters? Peter Quince: the carpenter Snug: the joiner Nick Bottom: the weaver Francis Flute: the bellows-mender Tom Snout: the tinker Robin Starveling: the tailor	- “…Nick Bottom, the weaver?” (Shakespeare 1.2.7) - “Francis Flute, the bellows-mender?” (1.2.14) - “Robin Starveling, the tailor?” (1.2.24) - “…Tom Snout, the tinker?” (1.2.26) - “…Snug the joiner,” (1.2.28)	Peter Quince: major character, speaks a lot, presents the actors their roles, strong tone of voice, gestures to each actor when telling them their role, tough and does not let actors choose their roles, very informative Snug: minor character, nervous tone of voice, scared to memorize his lines, moves around unconfidently, seeking attention and importance Nick Bottom: major character, most important, orders others around, strong tone of voice, in control, thinks he is better than everyone else, self-absorbent, handsome, moves continuously and has many gestures towards the cast, talks a lot Francis Flute: somewhat major character, seeks importance, argues about playing the role of a woman, loses the argument, upset and disappointed tone of voice, gestures several times to cast members while arguing Tom Snout: minor character, speaks very little, does not argue, does not have a lot of stage business, normal tone of voice
What are they doing? The characters in this scene all meet together at Peter Quince’s house to figure out what roles they have been cast in and to rehearse for the play, The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe. Quince reads from a list of all the men in Athens that are capable of acting in the play they plan to perform for Theseus and Hippolyta on their wedding night.	- “Is all our company here?” (1.2.1) - “Here is the scroll of every man’s name which is thought fit, through all Athens, to play in our interlude before the duke and the duchess, on his wedding night.” (1.2.3) - “Marry, our play is The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe.” (1.2.5) - “…Now, good Peter Quince, call forth your actors by the scroll – Masters, spread yourselves.” (1.2.6)	- All unite together at Quince’s house - Act excited to see one another - Quince must read the roles very loudly and confidently - Make it clear this play is to be performed in front of Theseus and Hippolyta - Make sure each actor knows their role - Several different reactions to the roles given must be expressed, such as disappointed or happiness
Do these characters know each other well or are they strangers?  These characters do know each other well because they all meet within the house of Quince. They all seem rather comfortable with each other since they continuously argue about who fits certain roles best. They also feel comfortable enough to speak rudely towards one another, which is not an interaction strangers would commonly act upon.	- “Is all our company here?” (1.2.1) - “Nay, faith, let me not play a woman. I have a beard coming.” (1.2.19) - “No, no. You must play Pyramus – And Flut, you Thisbe.” (1.2.22) - “…and so grow to a point.” (1.2.4)	- Must act like they have known each other for a long time - Be comfortable around each other - Bring up information they know about one another - Gesture towards one another in a friendly way - Move around the stage in a friendly manor - Joke around with each other
Who is the most important person on stage in this dramatic unit or scene?  The most important person on stage in this dramatic scene is Bottom because he bosses Quince around by telling him the order in which he should present the information. Also, Bottom constantly states that he has the capability of playing every single role. However, Quince would not allow him to play each part since he believes that the role of Pyramus suits him the best. The reason for this is because Pyramus is thought to be a very handsome man, which Bottom is. Bottom also acts like he is in charge of the other actors and is very controlling towards them.	- “First, good Peter Quince, say what the play treats on, then read the names of the actors, and so grow to a point.” (1.2.4) - “An I may hide my face, let me play Thisbe too!” (1.2.21) - “Let me play the lion too. I will roar, that I will do any man’s heart good to hear me.” (1.2.31) - “You can play no part but Pyramus. For Pyramus is a sweet-faced man, a proper man as one shall see in a summer’s day, a most lovely, gentlemanlike man. Therefore you must needs play Pyramus.” (1.2.35) - “Enough. Hold, or cut bowstrings.” (1.2.42)	- Must be very strong in his voice when ordering Quince around - Act like he is better than everyone else - Act self-absorbent - Move around continuously - Gesture towards his cast members while talking to them - Make sure he is always in control
What other characters – if any – are attempting to establish their importance?  Are they successful? Flute establishes his own importance when he argues with Quince about being cast as Thisbe, Pyramus’ lover. Flute does not want to play the role of a woman, but would much rather play the role of a knight on a quest. Unfortunately, he loses his argument with Quince and remains cast as Thisbe. Snug establishes his own importance since he asks for his script early because it takes him a long time to memorize information. Snug sets himself apart from the rest of the cast to create a sense of importance.	- “What is Thisbe? A wandering knight?” (1.2.17) - “Nay, faith, let me not play a woman. I have a beard coming.” (1.2.19) - “That’s all one. You shall play it in a mask, and you may speak as small as you will.” (1.2.20) - “Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study.” (1.2.29)	- Flute must act upset when he finds out he has to play the role of a woman - Must use an angry tone of voice in order to get his point across - Must use several different gestures while arguing - Snug must act nervous when he finds out he has to memorize lines - Must come across as an unconfident individual who is not comfortable with acting - Shyly gesture towards his cast members and barely move across the stage
What are the other characters in the scene like?  The other characters in this scene are very minor due to the fact that they receive their role and accept it. They do not argue or make accommodations with Quince like Bottom, Flute, or Snug did.	- “Here, Peter Quince.” (1.2.25-27) - “Robin Starveling, you must play Thisbe’s mother.” (1.2.26) - “You, Pyramus’ father…Snug the joiner, you, the lion’s part.” (1.2.28)	- Barely gesture - Barely move across the stage - Say about one line - Do not attract attention - Stay quiet behind the scenes - Do not take attention away from the major characters - Normal tone of voice
What are the comic (or sad, tragic, suspenseful, etc) moments in this scene?  The comic moments in this scene are when they say they will scare the ladies when the lion roars and when Snug asks for his lines when he is playing a lion that does not speak. A suspenseful moment is when Bottom says he will make his performance so believable that the entire audience will cry.	- “An you should do it too terribly, you would fright the duchess and the ladies, that they would shriek. And that were enough to hang us all.” (1.2.32) - “…But I will aggravate my voice so that I will roar you as gently as any sucking dove. I will roar you an ‘twere any nightingale.” (1.2.34) - “Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study.” (1.2.29) - “That will ask some tears in the true performing of it…I will move storms. I will condole in some measure.” (1.2.12)	- Make sure the comic scene comes across funny, and not rude - Smile during the comic scene - Gesture towards the audience when making a joke as a cue for them to laugh - Humorous tone of voice - Make sure the suspenseful scene remains serious - Gesture towards cast members and audience to create suspense - Serious tone of voice