Drama Dream Scene

Having a dream and living with passion is very important because I believe living without passion is like being dead. Someone like Tony Hawk could agree. Tony Hawk has been a professional skateboarder for over 24 years. However, he did not receive that title overnight; Tony got his first skateboard when he was only 9 years old. Since then, Tony worked extremely hard and put a lot of his focus on skateboarding. He did it because that was his Dream. Tony’s Dream was frowned upon by many of his teachers and adults alike. One of his teachers even told him that he “would never make it in the workplace if he didn’t follow directions exactly” (Hawk), but he never gave up his Dream. He kept working hard and eventually became a pro at the young age of 15.

William Shakespeare is a successful playwright as he uses the style of history, tragedy and comedy which is an entertaining aspect that is in all his plays.

The "Gutterballs" dream sequence from The Big Lebowski incorporates images that stem from experiences earlier in the movie: each image is a memory from The Dude 's real life. The dream strips the dream-thoughts of their high intensity and transfers them to these images that, due to overdetermination, have intensity values higher than what they originally were: "a transference and displacement of physical intensities occurs… and it is as a result that the difference between the text of the dream-content and that of the dream-thoughts comes about" (Freud 820). The dream, through the process of condensation, compresses all meaning from the unconscious mind into the images shown (Freud 819) and links them together in an attempt to convey the dream-wish that lies at the centre of the dream-thoughts. By unravelling the dream-thoughts, the viewer is able to recognize that Maude represents women in Gutterballs and The Dude 's desire for comfortableness with the reality of female genitalia, but remains inaccessible due the fear of castration that comes with the confrontation of a woman 's lack of a phallus. Thus, The Dude requires the fetishizing of bowling in order to access Maude and her symbolic meaning.

Hermia’s speech in Act 2, Scene 2, of Shakespeare 's A Midsummer Night’s Dream, contains an abundance of dream imagery. She has awoken from a terrible dream after falling asleep in the forest with Lysander. They were lost and tired so they decided to rest. Lysander wanted to sleep beside her but, she refused since they are not yet married and while they slept Puck applied a love potion on Lysander’s eyes thinking he was Demetrius. Lysander wakes and is repulsed by the sight of Hermia and never wants to see her again because he is now in love with Helena. Hermia awakes from her terrible dream and retells it thinking that Lysander is nearby listening. Then she realizes that he is not there and she does not see him anywhere. Hermia expresses the sentiment that she will find Lysander or she will surely die. She stated,

William Shakespeare starts with a seemingly unresolvable conflict in A Midsummer Night’s Dream. The main characters are lovers who are either unrequited in their love or hassled by the love of another. These lovers are inevitably paired. How does Shakespeare make this happen? He creates many subplots that, before long, are all snarled up into a chaotic knot. So, what actions does Shakespeare take to resolve these new quandaries? He ends up trusting a single key entity with his comedy. It’s only then that he introduces a special character into his world: a mischievous fairy whom is known by the name of Puck. Puck is the catalyst for all these subplots and, indeed, for the entirety of Shakespeare’s A Midsummer Night’s Dream. Try to take Puck

The family stays put, however, and Mom and Dad buy a shack on the top of a hill for the family to live in. The structure is decrepit; it has no indoor plumping or central heating and has a leaking roof. Dad's drinking gets worse and the kids are often hungry. As Jeannette enters adolescence she contemplates more and more her parents' choices and rails against them for being irresponsible parents. She and her older sister Lori hatch an escape plan: Lori will move to New York City when she graduates and Jeannette will follow her there. And, despite some setbacks, the girls accomplish this dream.

As Iago outlines his plans to engineer the officers’ brawl in Act 2 Scene 3 of the play, he refers to it as a “dream”, which will allow his “boat” to sail “freely, both with wind and stream” (2.3.46-47). Nuri Fainuddin discussing about this very dream in her journal Jealous Murderers as Reflected in Shakespeare’s Othello: A Psychoanalytic Study says that the imagery, “speaks of a desire to proceed smoothly onwards and upwards in society, dependant on his [Iago] skill to navigate opportunity, rather than be thwarted by the ‘glass ceiling’ of class” (54). It becomes apparent that Iago uses to his own ends the idea that dreams display a reality kept otherwise hidden. He also reports to Othello of Cassio supposedly revealing his lust for Desdemona while in his sleep. Despite the lack of rational evidence, Othello seems willing to accept the account from Iago as “proof” that Desdemona is cheating. However, Iago also describes almost a sexual moment he has allegedly shared with Cassio when he states that Cassio, “grew upon my lips; then laid his leg / O’er my thigh, and sighed, and kissed” (3.3.480-481). Originally, the description of the dream was supposed to be about Desdemona and Cassio, but it becomes less important than the extensive vivid imagery of what allegedly happens between Cassio and Iago. It can be reasonably inferred that Iago’s obsession with destroying Othello seems to be inspired partly by an unusual love/hate relationship. In the case of the dream, Iago hints

People can become jealous by wanting something that someone else has. Overzealous jealousy leads to desperation in which people act irrationally to obtain the object of their desire. With irrational actions, people can ruin their relationships to ensure that they will never get what they want; however, other factors could intervene to help them get it. William Shakespeare explores these ideas in his play, A Midsummer Night’s Dream. Two characters that he uses to show these qualities are Oberon and Helena. According to Shakespeare in A Midsummer Night’s Dream, jealousy turns people to take desperate measures to get what they want, and they may need intervention to obtain what they desire.

Shakespeare’s usage of metaphor and simile in A Midsummer Night’s Dream is best understood as an attempt to provide some useful context for relationships and emotions, most often love and friendship, or the lack thereof. One example of such a usage is in Act 3, Scene 2 of the play. Here, the two Athenian couples wake up in the forest and fall under the effects of the flower, thus confusing the romantic relationships between them. Hermia comes to find her Lysander has fallen for Helena. Hermia suspects that the two have both conspired against her in some cruel joke, and begins lashing out against Helena. She says “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both one sampler sitting on one cushion, / Both warbling of one song, both in one key; / As if our hands, our sides, voices, and minds, / Had been incorporate. So we grew together, / Like a double cherry, seeming parted; / But yet a union in partition / Two lovely berries moulded on one stem: / So, with two seeming bodies, but one heart; / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest.” (Shakespeare 2.3.206-13). Shakespeare writes this list of vibrant metaphors to establish the prior relationship between these two characters and to make it evident how affected Helena is by this unexpected turn of events, as well as to add a greater range of emotion to the comedy, thereby lending it more literary and popular appeal.

Oprah Winfrey once said, “The best thing about dreams is that fleeting moment, when you are between asleep and awake, when you don't know the difference between reality and fantasy, when for just that one moment you feel with your entire soul that the dream is reality, and it really happened.” But, what actually is a dream and what do dreams really have to do with one’s everyday life? In essence, a dream is a series of mental images and emotions occurring during slumber. Dreams can also deal with one’s personal aspirations, goals, ambitions, and even one’s emotions, such as love and hardship. However, dreams can also give rise to uneasy and terrible emotions; these dreams are essentially known as nightmares. In today’s society, the concept

A Midsummer Night's Dream is a play about four Athenian lovers. Theseus listens to both Hermia and her father’s request and he tells her to bend to her father’s will or die due to the old Athenian law. Hermia and Lysander flee Athens, into the domain of the fairy kingdom. At this time, Oberon is in a fight with Titania. This fight is over a human child of Titania’s friend. Oberon tells Puck, one of his loyal servants, to get a flower hit by Cupid’s arrow, and drop the oil into Demetrius’s and Titania’s eyes. However, Puck drops the oil into Lysander’s eyes due to Oberon’s vague description, making him fall in love with Helena and despise Hermia. Titania falls in love Bottom, who has the head of an ass, after Oberon places the oil

Within my first professional placement I was provided with many opportunities to engage students using technology. Year 8 was studying Shakespeare for the first time; examining Midsummers Night Dream (MSND). To assist students in understanding the complex plot I used collaborative learning allowing each student to become experts on one scene of the play to share with their peers; students were encouraged to do this both verbally and visually through the creation of comic strips. This style of learning environment adheres to Vygotsky’s theory that learning is heightened through the sharing of information; therefore learning within the Zone of Proximal Development (ZPD) (learning-theories.com, 2016) as creating an in-depth outline of the entire

When the first transition emerged itself, the audience did not acknowledge it as much as the prior scene. The images repeated itself, and the effect was caused by the pictures being on a spinning wheel and the presence of a shining light from inside the wheel. These moving images were put in the background to help to establish that the character is moving form one area to another. A later scene used the same basic concept. The unicorn was smoking, which lead literal smog appearing in her lungs. The pictures of the sickly smoke was shifted rapidly, causing it to move. This motion generated groans of disgust, though it was mostly targeting at the green gas. Other form of usage for the moving images surfaced at the climax of the performance, as ‘baby viruses’ spiraling down the unicorn horn. This started off being the focal point for the shot, but then the infants gradually fade in to the background. The crowd cheered at first when the viruses began to decent and seized a while later as the focus

representations, which leads to imagination. The dream script is created by “both migrants and host societies” who dream of having a better life, or providing a better life for immigrants. This dream script is the essence of the “what if?” game. In the dream script, Orgad highlights how celebrities are used to help us to imagine how one could “make it” too. One example Orgad uses is Shakira. The Colombian musician is the ideal when it comes to immigrants searching for a better life. She is popular, talented and famous, but did not have to “give up” her cultural background. “This dialectic construction of Shakira- the migrant who transcends identity boundaries and at the same time reproduces those boundaries- contributes to her

I jolted awake in fear. I had a dream. A weird dream. A vivid dream. It was full of people shouting and bright flashes of light. It was confusing yet clear, like some part of me understood it. I didn’t know it would be important then but now I know. How? Well, it happened like this…