What is love?

“Love is so delicious epidemic disease, which affects all objects, without exception and without it will not continue life on any planet.”

Introduction

Virtually all major choreographed on Shakespeare's "Midsummer Night's Dream" is based on the music of Felix Mendelssohn Bartholdy. Overture, "Midsummer Night's Dream" and music written by Mendelssohn to the dramatic performance of the same name used by Marius Petipa (St. Petersburg, 1877), George Balanchine (New York City Ballet, 1962), Frederick Ashton (Royal Ballet, 1964 city), John Neumeier (Hamburg Ballet, 1977) and other choreographers.

In the world of dance music, everything is determined. In the statement, devoid of Shakespearian words, you can easily destroy the magic of the play, however, Neumeier managed to create a "readable" work, passing it the atmosphere. That music is the tool that allowed him to isolate and divide the "three worlds" (as defined by Neumeier), which exist in Shakespeare's play: this aristocratic world of Duke Theseus and his court; fairy world of Oberon, Titania and Puck, and the world of craftsmen - Fundamentals and his friends. To display these "three worlds" John Neumeier chose three different styles of music. Music composed by Mendelssohn for the first German staging the play, as well as other works of this composer is characterized in the ballet "real" world, time and location - the aristocratic court of Theseus, electronic and "ephemeral" works of Hungarian composer Derdya Leggett (known to most of the soundtrack to the film Stanley Kubrick's "Space Odyssey") formed the basis for the action that takes place in a fairy forest in the world of elves. To emphasize the difference between fabulous and real worlds, mythological beings were dressed in brilliant costumes, and endowed with its styling and dance movements. At the same time weaver base and his friends are artisans who prepare Nemudrenye amateur performance, got his music - the so-called "traditional mechanical", ie hurdy-gurdy music, as well as their costumes and movements that have become characteristic of them.

Through this approach, the interaction of the "three worlds", they mix it came out very clear visually and acoustically: if someone from the characters are lost in an alien world, he began to dance, as though "under someone else's tune, is not peculiar to him under the music. These three world once divided are joined together. Firstly, thanks to a framing effect - the wedding of Theseus and Hippolyta, the upcoming early and ongoing at the end (it is likely that Shakespeare wrote a play for the wedding of William Stanley, Earl of Derby and Elizabeth Vere).

Another important thread is the role of Puck, who moves through all the worlds, first Vse and all mixed up and then restoring order. But most important is the common, unifying theme, the foundation of all actions which, albeit in different ways, demonstrated at all three levels - the magic of human love in thousands of variants - exciting, erotic and comic. John Neumeier admitted that he once even wanted to call the ballet "A Midsummer Night, or Variations on a Theme of Love." 

Before starting with my explanations, this analysis takes a little time ...