...in the night; imagining some fear; How easy is a bush supposed a bear!With all the dark undercurrents of the traditional fairytale; Shakespeare weaves farce; slapstick; romance and revelry to create what is perhaps his most joyous play. Primary Classics; produced by the National Theatres Discover programme; aims to introduce children aged 7 to 11 to Shakespeare. This version of A Midsummer Nights Dream; adapted and originally directed by Carl Heap; preserves the core of Shakespeares plot; retains the original langauge; yet is presented very much with the target age group in mind. Carl Heaps introduction will help readers; teachers and practitioners alike to imagine or produce their own version.
#3254509 in eBooks 2001-02-08 2001-02-08File Name: B00AO3T2G6
Review
1 of 1 people found the following review helpful. Fundamental study in dance philosophyBy K.N.Beautifully woven philosophical text with insights into dance aesthetics from the dancers point of view; also moving to the audience position; and the choreographers. This book is foundational in the philosophy of dance and widely quoted.3 of 5 people found the following review helpful. Not using for my Dance Aesthetics ClassBy The Thinking BodyIf only she had stopped writing after six chapters! The initial premise is good - examine dance informed by existentialism and phenomenology - something that; as a dance artist/educator; I have been yearning for. Writings in Aesthetics about Dance are rare and very few writings from any standpoint that deal with the embodied experience of dancing are rarer still; so the initial premise of the book is very welcome. I was disappointed that she was excluding dance as recreation or ritual and only focusing the theatrical use of dance (and; more specifically; Modern concert dance); but I was willing to accept that limitation.The decision to not use Philosophical "jargon" seems; at first; an attempt to make the book more accessible to undergraduate students and other dance enthusiasts but it ultimately undermines the authority of the author as someone who has a serious grasp of philosophical dialogue. She provides out of context; partial quotes that dont fully delve into the original meaning of the words. This is reinforced when; discussing Heidegger; she points to his habit of turning nouns into verbs as his "dancing" with words; without acknowledging that the English translation she quotes is; indeed; a translation of the original text. This displays the authors intellectual dishonesty or her rather superficial understanding of philosophy - either way this undermines every other conclusion she makes about the central thrust of various philosophers writings.The book goes completely off the tracks when she delves into Eastern religion and philosophy with a bunch of newage; muckity-muck poesy that is; unfortunately common to our profession. Yes we; as dancers; know that what we do is sacred centeredness but that kind of mysticism really doesnt fly with logocentric academia. She needed to stick with her initial thrust.Following chapters continue to wander further from the books intent. Her concluding statements after a chapter analyzing different relational tensions that could be an extension of Humphreys The Art of Making Dances demonstrate that even the author was aware of her tangent. The final chapter analyzing famous Modern dances directly contradicts her initial conviction that dance should be seen as subjectobject as one by looking at the movements of these dances as Object in a very traditional analysis. Her statements claiming that Sokolow works as a director more than a choreographer betrays a very traditional way of defining what makes dance; dance - which is especially odd when one considers the original premise of the book that dance is thinking/feeling/movement by a subject not separated into an object.Lastly - Duchamps first name is Marcel. While it may have just been an oversight; she named him Reneacute;. This mistake again tends to undercut her authority.