The fairies in this scene should also be wearing clothing that catch the natural light in the theatre, but should not be wearing clothes as beautiful or as colorful as Titania’s, again to create the image of different power levels.
As a contrast, Bottom must be wholly different to the others around him as he is a mortal. And I think should sit where I have positioned him, so that the groundlings can almost see him as if he were there among them. Simply having an unusually long grey goatee and ears should portray him as an ass and whilst saying the lines “I am marvelous hairy about the face” he will be able to play with his facial hair to bring humor into the scene.
I also feel that in lines 10-32 Bottom should really project his voice and accent his poor use of French. This I feel will effectively portray the contrast between Bottoms ‘common’ prose and Titania’s Iambic Pentameter- “Or say, sweet love, what thou desir’st to eat?” (Titania, IV.i.28)
During the point after Titania asks “wilt thou hear some music”, music should play throughout the theatre in areas hidden from the audience, to imply that the music is playing as if by magic.
At line 38, the fairies should leave skipping on tiptoes through separate doors at the rear of the stage, leaving Bottom and Titania to sleep peacefully. Puck should also leave his high-rise position at this time, ready to enter via the trap door.
Now, Puck should climb up through the trapdoor to be met by Oberon on his horse. By climbing up through the trap door he will have to look up to Oberon, who I think should be on a horse to portray his authority over the others. Oberon must be dressed in dark clothing covering most of his body and should have long dark hair like that of his horse. He should advance, on his horse, right up to sleeping Titania and Bottom and after the line, “Now, my Titania; wake you, my sweet queen” Titania should wake instantly with Bottom still asleep “upon this flowery bed,”(Titania, IV.i.1). He says this now because I imagine he either feels pity for Titania or feel that she has been successfully punished.
At this point the relationship between Titania and Oberon is beginning to resolve and this is symbolized by rhyming couplets. Especially when the rhyming of words split between the royal couple such as “Now, my Titania, wake you, my sweet Queen!” and “My Oberon, what visions have I seen!”. (Oberon & Titania, IV.i.72-73)
When Oberon orders, “Robin, take of this head” puck should walk in front of Bottom removing his beard and ears. After this, music should begin to play once again.
Titania mounting Oberon’s horse to reveal their newfound unity should follow “Come, my queen, take hands with me,” Then, as they ride off the stage passing through the back door, Titania must hold Oberon’s hips to evoke an impression of their relationships reconciliation.
After this section of the scene, Titania and Oberon will be on top of one of the pillars, which should now be decorated with pastel coloured flowers to symbolize their reconciled relationship.
Now is the time for the more important mortals to enter, but with Bottom sleeping un-noticeably in one of the corners at the front of the stage. I think it would be suitable for them to come on up the steps from one side of the stage to portray the fact that they are human, coming in from the world where the audiences have come.
Theseus and the other high powered mortals on the stage at this time should be dressed in the typical royal dress code, to allow the audience to relate to them.
The huntsmen that wake them with their horns should be shown on one side of the stage. The lovers’ attention is caught instantly by them but still remain “Half sleep, half waking” and confused due to Cupids flower displayed prominently on stage. I believe that the flower symbolizes love-in-idleness because of the fact it has been struck by one of Cupids arrows. Cupid is blind and so doesn’t know which two people he is going to make fall in love when he strikes them and so this image again wonderfully illustrates the influence of the fairy world on the mortals lives. Their clothes should be somewhat creased as they have been sleeping on the ground in the wood to escape the Athenian Law.
Egeus starts off in an angry disposition towards Theseus and therefore should be wearing tones of red to illustrate his fury. As a contrast to this, green would be a suitable colour for Theseus to exemplify his relaxed and understanding approach since the renewed relationship of Titania and Oberon.
It is very important at this time that Oberon and Titania are portrayed as very close and in love. Hopefully the audience will understand the idea that the spirit world has an effect on the natural world, with both worlds showing similar reconciliation towards the end of this scene. They should also be able to recognize how the conflicts in the spirit world earlier in the play caused the problems between Theseus and the lovers, and how they were all resolved as Theseus became more understanding when Oberon and Titania’s relationship was renewed. This idea is confirmed by Titania’s extensive speech earlier in the play (II.i.81-117); it is in this speech that Titania says that the dispute with Oberon has changed the natural patterns of the climate and the seasons, “… though this distemperature we see The seasons alter…” (II.i.106-107).
As soon as the three older powers exeunt, the remaining lovers should instantaneously show a less formal and more tranquil manner before they too leave the stage via the steps at one side of the stage.
It is now time for Bottom to awake, say his lines to the groundlings and then leave the stage.
1215 WORD COUNT (Including quotes and scene references)