ENGLISH THEATRE OF 19TH
AND 20TH CENTURIES GROUP A
SURNAME: Giarratana NAME: Melania
WILLIAM
SHAKESPEARE
SOMNI D’UNA
NIT D’ESTIU
Adapted by Eduardo Zamanillo
Directed by Antonio Dìaz Zamora
Performed by Teatre dels Navegants;
Centre Teatral Escalante, Valencia, Spain.
11/20/2005.
Cast
·
Borumballa: Rosa Barberà
·
Culera: Jerònimo Cornelles
·
Flauta: Pau
Cordellat
·
Lisandro:
Raùl Perez
·
Demetri: Hector Fuster
·
Hèrmia: Maribel Bayona
·
Hellena: Aina Pedròs
·
Oberòn: Rafa Miragall
·
Titania: Virginia Coquillat
·
Puck: Jorge Sanfélix
Artistic Company
Music: Pep Llopis
Stage/ Illumination:
Pedro Pablo Hernandez
Wardrobe: Miguel Crespi
Make up/ Hairdressing:
Julio Parrilla
Graphic Design: Enric Solbes
Photography: Maque Falgas
Co-director: Fabrizio Meschini
Technical Company
Language: Laura Useleti
Wardrobe Design: Miguel Crespi
Stage Design: Mediterraneo Multimedia
Music Recording: Pep Llopis/ L’Hort d’Ibor Estudis
Co-Production: Paula Ibor
Executive Producer: Fabrizio Meschini
This version of “A Mid-Summer Night Dream” by W. Shakespeare
was adapted and performed for children and adult, which helped us know from the
beginning that it would have been modified.
The characters wore fantasy clothes in order to look like cartoons. The
two couples wore the same clothes but in different colours, in order to be
easily recognised by the children: Hermia and Lisandro wore pink, while Hellena
and Demetri wore blue. The first couple behaved in a very sweet and lovely way,
while the other couple was made up of people that were more passionate. Demetri
was a tall, strong and gorgeous man who was in love with Hermia; Hellena was
taller than Hermia and was in love with Demetri. Hermia and Hellena were best
friends. Oberon was the king of the fairies and Titania was the Queen; they
often fought but Oberon liked to make jokes with Titania. The King wore red and
the Queen wore glitter white.
The stage was very simple and many times the characters used the stalls
as a stage.
When the King made Titania fall asleep through a spell, she remained on
a sort of swing that was put high on the stage for a long time; this was a
little bit ridiculous even if it was original. When Oberon or Puck (the elf who
followed Oberon’s orders) made the spells, they did not use their own
voices it was a recorded one; this was a real pity because the performance lost
naturalness. The acting was very rich in energy and movement, the love scenes
were passionate but never explicit and the funny moments of the story were well
performed even if sometimes they were brought to the exaggeration.
The language spoken was Valenciano, in fact it was almost impossible to
understand all the words; but the actors were so expressive that also a
non-native speaker could at least understand the general plot of the play, even
if there were not many of the original characters and the script of the
original play. Of course, it was a performance for children and the complete
fidelity to the original play could not be pretended.
The stalls were full of children and seemed to appreciate above all,
when the actors came near the audience running or when suddenly appeared from
the back of the stalls. I do not know if Shakespeare would have appreciated the
way in which his play has been upset, even if it was for such a noble purpose
as children’ entertainment is.
Auto-evaluation: Notable
Academic year 2005/2006
© a.r.e.a./Dr.Vicente Forés
López
© Melania Giarratana
megia@alumni.uv.es
Universitat de València
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