text:
In these lessons, students will learn how to respond to the play not just as a piece of writing, but as a piece of drama. Tasks include: a discussion about Shakespeare's inclusion of songs in A Midsummer Night's Dream and other plays; researching previous productions and adaptations to broaden an understanding of the text; and a list of practice exam questions with an emphasis on the text in performance.
In order to benefit fully from these lesson plans, we recommend you use them in the following order:
- Text in Performance
- Language
- Characters
- Themes
- Contexts
If you would like to teach the play in greater detail, use these advanced KS4/5 Lesson Plans. If students are new to the play, we suggest you start with the introductory KS3 Lesson Plans.
These lesson plans are available in the Downloads section at the bottom of this page. To download resources, you must be logged in. Sign up for free to access this and other exclusive features. Activities mentioned in these resources are available in a separate downloadable 'Student Booklet', also at the bottom of this page. The 'Teachers' Guide' download explains how best to use Teach Shakespeare and also contains a bibliography and appendices referencing the resources used throughout.
Key Questions for Students:
Can I ask questions to help me find out about the new Globe Theatre?
Can I research in detail one way in which the Globe Theatre incorporates original theatre practices in its work?
Key words: archive, authentic, costume, original practices, pronunciation, questions, research, sources, vision
Prologue: Opening Discussion
Students should look at the following four images which are included in the Student Booklet: Stephen Fry dressed as Malvolio, and Mark Rylance dressed as Olivia in the 2012 production of Twelfth Night; costumes being fitted backstage before a production of Twelfth Night in 2002; Mark Rylance applying make up backstage; musicians from the 2008 production of The Merry Wives of Windsor. Also show the following video, which is a speech from Richard II performed in Original Pronunciation by Ben Crystal.
Students should:
- describe what is contained in each image
- explain the connection between the images
The connection is 'original theatre practices'. Students could also be asked for their view on whether they feel the things that are pictured are relevant to modern theatre. This question should provoke and set up a debate that will be important to return to in the course of the activities that follow.
Enter the Players: Group Tasks
1) In the hotseat
Who was Sam Wanamaker? Why did he want to rebuild a Shakespearean theatre on Bankside? How long did the process take and what hurdles were encountered and overcome along the way? How similar is the new Globe to the original one (building methods, building materials, use of any modern technologies) and how much do we know for certain about the first Globe? Students are going to research Wanamaker and the building of the new Globe Theatre by interviewing 'Sam Wanamaker', who you are going to play. Support students in advance of the interview in their drafting of a variety of questions. The fact sheets on this website and books such as Barry Day's This Wooden 'O': Shakespeare's Globe Reborn are useful resources for the purposes of your research in preparation for this 'teacher in role' activity. Students can also access these fact sheets at home, via the Globe website.
2) Original practices
Show students the definition from the Globe glossary of 'Original Practices':
This is a term used to describe a production that explores methods used in Elizabethan or Jacobean theatre. Strictly speaking, the term Original Practices defines a particular approach used by the Globe when Mark Rylance was Artistic Director. Under Dominic's direction the Globe is continuing to explore some of these techniques.
Some Globe productions have actively sought to follow original Elizabethan and Jacobean theatre practices. These practices include:
- costume
- pronunciation
- use of authentic musical instruments and sound effects
- all-male companies
Students could choose one of these areas and research it. This research could be used in a class discussion about the value of such practices 400 years later, when language, technology and cultural attitudes are very different.
3) Adopt an Actor!
A Midsummer Night's Dream is a very popular play with audiences and has been staged several times at the new Globe, in 2002 (directed by Mike Alfreds), in 2008 (directed by Jonathan Munby), in 2012 (directed by Bill Buckhurst), in 2013 (directed by Dominic Dromgoole) and in 2016 (directed by Emma Rice). The 2013 version is available on a Shakespeare's Globe DVD and several video extracts from the 2012 version are included within these materials, as are stills from each of the productions. What can students find out about these different productions using production images, these resources, theatre reviews, the Adopt An Actor archive, etc.? Give students time to investigate this rich archive of actor interviews from past productions. Students could be given the name and headshot of a particular actor from one of the productions; they should then research that particular production, and how the actor prepared to play the character in question. N.B. There are cast lists for the 2002, 2008 and 2012 productions in the Globe Education Shakespeare for GCSE A Midsummer Night book, and in our Previous Productions archive.
Exeunt: Closing Questions for Students
What was Sam Wanamaker's vision in rebuilding the Globe?
To what extent do I think this has been achieved?
How can researching how Shakespeare was performed in the past be of use to actors today?
Suggested plenary activity…
Where would students prefer to see a production of Shakespeare? At the Globe or in a modern theatre? Outdoors? On screen? Why?
Asides: Further Resources
- What happened to the original Globe theatre? What steps have been taken in modern times to prevent history repeating itself? Students can read a factsheet about the new Globe here:
- Ben Crystal writes in Shakespeare on Toast (pp. 52-54) about the connection that can be achieved between the actors and the audience in the reconstructed Globe.
Epilogue: Teacher's Note
Students could listen to a passage from A Midsummer Night's Dream spoken by Oberon on this Original Pronunciation CD.
Key Questions for Students:
Can I evaluate the importance of movement work and choreography in productions of Shakespeare plays?
Can I develop my own ideas for music and choreography in a production of A Midsummer Night's Dream?
Key words: body language, character, choreography, combat, facial expressions, jig, movement, songs, stage directions, swordfighting
Prologue: Opening Discussion
Ask students to discuss the following two questions in pairs:
- How might the shape and layout of the Globe's stage make particular demands of actors?
- In which parts of the play do scenes take place that need carefully rehearsed movements, e.g. dancing, chasing, hiding, fighting?
Then watch this clip from Act 3 Scene 2 of A Midsummer Night's Dream. Students should jot down any examples of carefully choreographed moves from this clip, and share findings.
Enter the Players: Group Tasks
1) What does a choreographer do?
Students will find some interview questions and answers from a Globe choreographer at 2011.playingshakespeare.org/text-performance/choreography and from a Globe text and space coach at 2011.playingshakespeare.org/text-performance/text-work.
Now ask students to answer the following questions in as much detail as possible in the Student Booklet:
- Which other parts of A Midsummer Night's Dream might require careful choreography?
- Can you make notes about how you would stage one or more of these parts of the play?
2) Songs
The following activity works as a fun homework or alternative starter task. Students could be given the challenge of coming up with a playlist of ten pop songs that tell the story of A Midsummer Night's Dream. They should then share their ideas with the class, giving reasons for their choices.
Next, assign to groups of students one of the songs taken from A Midsummer Night's Dream, i.e. the 'roundel and fairy song' from Act 2 Scene 2, and Bottom's singing in Act 3 Scene 1. Activities linked to these songs could include:
- listening to them sung/watching them as part of a performance
- cloze or textual reconstruction activities
- clarifying obscure language or references
- explaining the context of the song within the play
- preparing and performing a choral reading of the song
- setting the song to music
Pairs of groups could feedback to each other about their respective songs. Students should then write a paragraph in the Student Booklet about how and why Shakespeare uses songs in A Midsummer Night's Dream. As an extension activity, students could also research Shakespeare's use of songs in other plays and reflect on who sings them, e.g. fairies, spirits, jesters/fools.
3) Over to you: marriage celebrations
Ask students to consider how they would use music and choreography to stage the marriage celebrations of Act 5 Scene 1, including the performance of 'Pyramus and Thisbe' by the Mechanicals. Students could work in pairs, recording their ideas on a storyboard sheet in the Student Booklet. You could also ask students to bring some of these images to life in their own tableaux and even take photographs to which captions/quotations could be added. Students could also research Elizabethan marriage celebrations in books and online (see 'Aside'). Encourage students to reflect on how many Shakespeare plays end with friendly and peaceful gatherings of people, and the celebration of at least one marriage. Also consider the role that music and dance play in these gatherings and celebrations.
Exeunt: Closing Questions for Students
How important are a character's movements in a play?
Should all movement on stage be planned and rehearsed? Why?
How can a character's movements affect our reactions to them?
What is signified to the audience by the use of music and dance at the end of a play?
Suggested plenary activity…
Ask students to find three stage directions from the play and to write in the Student Booklet some detailed notes about how that stage direction might be interpreted. This could be completed for homework.
Asides: Further Resources
- All performances of plays in Shakespeare's time would have ended with a dance or 'jig' involving the whole company of actors. This is a tradition that continues to this day at Shakespeare's Globe as you can see in the following clip, from a production of the Scottish Play. What is the effect of a jig coming after these dramatic scenes of fighting and death? How would this be different at the end of a comic play?
- Online sources of information about Elizabethan wedding customs include william-shakespeare.info/elizabethan-wedding-customs.htm, and elizabethan-era.org.uk/elizabethan-marriages-and-weddings.htm. Students could also research notable royal and aristocratic wedding ceremonies of the Elizabethan and Jacobeans periods. These include Elizabeth De Vere's marriage to the Earl of Derby in 1595, and Elizabeth Carey's marriage to Thomas, son of Lord Berkeley in 1596. Both of these have been suggested as the wedding at which A Midsummer Night's Dream was first performed.
- Weavers were associated with a liking for singing, and there are several references in the play to the range of Bottom's vocal skills as a singer and as an actor.
Epilogue: Teacher's Note
The final page of this learning sequence also takes the staging of Act 5 Scene 1 as its focus.
Key Questions for Students:
Can I notice and comment on how a particular setting is created and a particular mood evoked on the stage of the Globe?
Can I think like a stage manager and work out how to achieve certain effects on stage by coordinating a variety of different elements?
Key words: character, costume, director, entrance, exit, interpretation, magic, movement, prompt book, props, sound effects, stage manager, voice
Prologue: Opening Discussion
Before looking at the text, first develop students' ideas about the connotations and symbolism of the woods. Start a brainstorm with the following structure, in keeping with the idea of the woodland:
- A trunk (bearing the title: the woods)
- Branches (with headings)
- Leaves (with ideas written on them)
Students could think about a wide range of cultural references to inform their ideas, from myths and fairy tales to movies and tall tales.
Enter the Players: Group Tasks
1) Entering the wood
a) Show students stills of A Midsummer Night's Dream, taken from different productions. These are available in the Into the Woods PowerPoint at the bottom of this page. Students should make a note of every detail that is contributing towards creating a magical woodland setting on the stage.
b) Students should then watch a clip from the Globe's 2012 production of A Midsummer Night's Dream, taken from the beginning of Act 2 Scene 1. Students can now add to the list they began for the Prologue activity by writing down additional staging decisions that have given the setting a particular mood. These include music, sound effects and speech. This activity could be repeated for the same scene from the 2008 production (available on a Globe DVD).
c) Students should then discuss how they would create this setting on stage. Emphasise that they should think about what their woods 'stands for' in a symbolic sense, e.g. fairy magic, fear of the unknown, turning one's back on civilization?
2) Focus on stagecraft: stage manager
What does a stage manager do? By following this link - 2011.playingshakespeare.org/text-performance/stage-management.html - students can find about more about the stage manager's role, and about some of the terms they might use. In their notes and feedback, students should emphasise how the role of the stage manager involves a great deal of coordination of different artistic and technical inputs.
3) Over to you: Act 2 Scene 1
If students have completed the previous task, they will have found out more about what a 'prompt book' is. For this activity, students are going to be creating a prompt book version of Act 2 Scene 1 for the Student Booklet. The prompt book should include:
- any cuts that are being made to this scene
- notes about entrances and exits, and about positions (blocking)
- notes that have been agreed with the actors about important aspects of their performances (use of voice, body language)
- notes about costumes and props in this scene
Ensure that students relate their work on this task back to their ideas about what the woods in A Midsummer Night's Dream represent. How could the woods be staged in order to convey these ideas? How will this be achieved?
Exeunt: Closing Questions for Students
What different factors influence and inspire an actor's performance in a role?
What are some of the different ways in which the play's magical woodland setting has been created?
How would I approach the task of creating this setting on the Globe stage as director or stage manager?
Suggested plenary task…
Create a spider diagram to show the different kinds of creative input that contribute to a performance. This could include: the actor, fellow actors, Shakespeare, audience members, musicians, costume designer, prop maker, choreographer, composer, etc.
Asides: Further Resources
- This blog post about woods in Shakespeare's plays - including A Midsummer Night's Dream - makes interesting reading: woodlands.co.uk/blog/art-and-craft/woodlands-and-forests-in-shakespeares-plays/
- 'The forest in A Midsummer Night's Dream is said to be outside Athens, but it is really an English wood, like the forest of Arden Shakespeare knew so well. The play can be seen to be a hymn to England, full of magic, yet down-to-earth and real – a reminder, perhaps, to distant rulers of what really matters. The wild flowers…are those of an English wood, brought to life with a tenderness and knowledge of a writer who had walked those woods since childhood…The fogs and sodden fields and the tired ploughman that the queen of the fairies, Titania, describe are scenes from England, not from Athens, and the artisans who put on the play are as solidly English as one can imagine.' The Shakespeare Book, Stanley Wells et al.
Epilogue: Teacher's Note
The prompt book task could be used to assess reading, speaking and listening too. This would be particularly useful if students run through a rehearsal of the scene - or a part of the scene - in the roles of the actors, the director and members of the stage management team.
Key Questions for Students:
Can I develop fresh and original ideas about how this play could be staged?
Can I explain how my ideas are based on my interpretation of the text?
Key words: abridge, adapt, casting, director, effect, gender, interpretation, role, vision
Prologue: Opening Discussion
Display the following quotation by Paul Edmondson:
'We should ask ourselves whether the text has been abridged, expanded or manipulated in ways that affect interpretation. Are there any cross-gendered casting choices or meaningful doublings of roles, such as Cordelia and the Fool in King Lear, or Theseus and Oberon in A Midsummer Night's Dream? What age are the characters being played and what difference does this make (for example, an older Beatrice and Benedick or Romeo and Juliet?'
Ask students:
- What do you understand by 'abridged, expanded or manipulated in ways that affect interpretation'?
- What do you understand by 'cross-gendered casting choices'?
- What do you understand by 'meaningful doublings of roles'?
- How do you think the three different kinds of casting decision mentioned here could be used to create different effects in productions of A Midsummer Night's Dream?
Then ask students to look through cast lists that show the castings for three Globe productions of this play. These are available on the Previous Production pages, alongside an assortment of production photographs. Ask students to find at least one example of each of the casting decisions mentioned above. These include: 1) cross-gendered casting, 2) doubling of roles, and 3) interesting choices as regards the age of actors for particular parts. Students should share the findings with the rest of the class.
Enter the Players: Group Tasks
1) Through the centuries
Students should view an extensive slide show of images from past productions of A Midsummer Night's Dream. N.B. You could consult the extract from David Bevington's This Wide and Universal Theatre' (2007) that is featured below and in other materials, as a historical survey of the text in performance. The idea is that students can quickly sample and reflect on a wide range of approaches to imagining, casting and staging this play, e.g.
- David Garrick's operatic version of 1755 in which all but 600 lines of the original play were cut
- Lucia Vestris playing Oberon in 1840
- Robert Le Page's 1992 production at the National Theatre, set in a bog, with acrobat and contortionist Angela Laurier playing Puck
- Comedian Dawn French cast as Bottom in 2001
- The comic actor Mark Wootton cast as Bottom at the RSC in 2011
- The young Athenian characters in their school uniforms from the 2012 production at the Globe
- The cabaret artist Meow Meow playing Titania at the Globe in 2016
- The casting of a man as 'Helenus' in place of Helena at the Globe in 2016
- Students should write a short piece in the Student Booklet about one of the ideas that has particularly resonated with them as a way of interpreting the text, and why. Students should refer closely to the text in their answer
Extract from David Bevington's This Wide and Universal Theatre (2007):
'Post-Shakespearean productions, both onstage and on film, have often yielded to the temptation to show us viscerally what Shakespeare's theater invokes through suggestion. As early as 1692, at the Queen's Theatre, in a retitled version by Thomas Betterton called The Fairy Queen and with enchanting music by Henry Purcell, the play was transformed into an operatic extravaganza. A woodland scene in act 2 consisted of grottos, arches, and flower-adorned paths. In act 3 two great dragons fashioned themselves into a bridge overarching a river in which could be seen, at a distance, two swans transforming themselves into dancing fairies. In act 5, Juno entered a Chinese garden in a machine drawn by peacocks, while monkeys descended from the trees. David Garrick continued the musical tradition at the Theatre Royal, Drury Lane, in 1755, attributing the play, in a new prologue, to 'Signor Shakespearelli'. Garrick increased the twenty-eight songs of the 1692 production, based on lyrics by John Dryden, Edmund Waller, John Milton, and Shakespeare, to thirty-three songs in 1763. Frederic Reynolds, at the Theatre Royal in Covent Garden in 1816, adopted a musical score by the eighteenth-century English composer Thomas Arne. Felix Mendelssohn's well-known incidental music for the play was performed first in part in 1826 and then in its entirety in Potsdam, near Berlin, in 1843, for a stage production by Ludwig Tieck. This work was much admired by Hector Berlioz, who went on to compose a musical score based on Romeo and Juliet. In an 1840 production of Midsummer at Covent Garden, as the night in the forest drew to its close, the staging revealed a moon that sank gradually in the sky of the stage's back wall until its fading rays disappeared from the tops of the trees. Act 5 brought staircases and a hall of statues into view, with Parisian lanterns held by the fairies. The moon was a prominent feature of Samuel Phelps's production at the Sadler's Wells Theatre in 1853, shining first in the forest and then on Theseus's handsome palace in act 5. Charles Kean's set at the Princess's Theatre in 1856 conjured up the marble temples and theater of Bacchus in ancient Athens. Herbert Beerbohm Tree, as we have seen in chapter 1, brought this sumptuous tradition to a climax in 1900 at Her Majesty's Theatre and then in 1911 at His Majesty's with carpets of thyme and wildflowers, flickering lights held by gossamer-winged fairies, and scampering live rabbits.
We should not minimize the splendor and creativity of extravagant productions like these. Theater artists like Garrick and Kean explored new means, unavailable in Shakespeare's day, to visualize what the forest of Midsummer could be imagined to be like. These productions were not interested in the verisimilar; they recognized that fairies are creatures of the imagination. Nor has this stage tradition of ornate spectacle lost its appeal in the twentieth and early twenty-first centuries. Tyrone Guthrie's lavish production at the Old Vic in London, 1937-38, with Vivian Leigh as Titania, Robert Helpmann as Oberon, and Ralph Richardson as Bottom, devoted a lot of its energy to ballet sequences. Michael Benthall's production at Stratford-upon-Avon in 1949 outfitted the fairies in gauze dresses. A German-text version at Weimar in 1995 featured a rotating stage that successively brought into view every imaginable monstrosity of an enchanted forest. Titania's bower can seem like an inviting target for technical ingenuity, as at Court Theatre, Chicago, in 2001, when Titania and her lover were swung aloft in a contrivance that hung in suspension above the action for some time.'
2) 'It's time for a big adventure'
Students should read the interview by Lyn Gardner with the new Artistic Director of Shakespeare's Globe, Emma Rice: theguardian.com
They should then answer the accompanying questions in the Student Booklet. Ask students for their opinions on the issue of making radical changes to Shakespeare and some of the conventions of staging Shakespeare.
3) Over to you!
Students should now pick a character, a group of characters or a scene, and work in small groups to develop a fresh and original idea for interpreting the text in performance. Their ideas - which could be about setting, casting, cutting or revising the text, etc. - can be outlandish, but must connect to the text in a meaningful way! Students should then 'pitch' their idea to the class in the form of a presentation.
Exeunt: Closing Questions for Students
Should Shakespeare's plays be abridged, adapted and altered? To what extent?
What are the potential benefits and drawbacks?
Suggested plenary activity…
Students could give feedback to each other following their presentations.
Aside: Further Resource
- There were no female actors in Shakespeare's theatre, with women only appearing on the English stage after 1660. Instead, Shakespeare's company and all their rivals used boy actors to play most female roles, whilst some male actors specialised in playing older women. The boys were apprentices, learning their trade from the adult company members. Their female roles could be demanding, with many lines to learn and long speeches to deliver. Their characters were often involved in the most dramatic scenes in the play. When they got too old to play the women's roles, they usually became male actors in the company. Theatregoers at the time saw this as normal. Eyewitness accounts of Shakespeare's company performing simply describe the women characters as female, without mentioning that they were played by boys and men.
Epilogue: Teacher's Note
Students' presentations for Activity 3 could be assessed for speaking, listening and reading. There is space within the Student Booklet for students to collate their assessed work on this play in the section called 'My Revision Folio'.
Key Questions for Students:
Can I combine my ideas about performing A Midsummer Night's Dream?
Can I apply my ideas to a detailed description of how I would stage one key scene?
Key words: actor, character, comedy, context, cue script, dance, music, parody, performance, scene, stage directions, visual effects
Prologue: Opening Discussion
Watch a version of the play-within-a-play in Act 5 Scene 1 being performed. Lead a discussion with students in response to the question 'Who was Shakespeare making fun of?' Having brainstormed a few ideas, show students the following text:
In this scene, Shakespeare seems to be making fun of a number of targets. The Mechanicals' play allows him to make fun of amateur actors. In Bottom's desire to dominate everything, he may also be making fun of some of his fellow professionals. He could also be making fun of his aristocratic audiences. During the play Theseus, Hippolyta and the lovers often interrupt, sometimes clearly upsetting the actors. Perhaps Shakespeare and his fellow actors remembered rude audiences they had performed for when they were playing this scene.
Ask students to identify the different points this writer makes in answer to the question: 'Who was Shakespeare making fun of?' Are there any ideas presented here to add to the class brainstorm? What do students think of these ideas? Would students describe Shakespeare's 'making fun' as affectionate or cruel or somewhere in between? Students should be encouraged to justify answers with evidence.
1) Cue script
A cue script was an actor's 'part' with just his lines and his cue – the very last line before each of his speeches. Cue scripts for this scene are available online at: shakespearesglobe.com. Split the class into pairs, with one student playing Pyramus and the other Thisbe. Students should read through their lines and cues (without looking at the other characters' cue scripts). Once students feel acquainted with their lines and cues, they could:
- Read aloud in their pairs.
- Read aloud again, this time listening out for what they have to do. For example, when they enter, when they speak to the Court audience, when they speak to other characters, etc.
- Go through the cue script again, this time thinking about the emotions their character feels.
- With what they know now, perform the scene.
Students could then answer these questions in the Student Booklet:
- What do you think are the advantages of working with a cue script for an actor?
- What do you think are the disadvantages?
- What do you think might be the advantages and disadvantages of an actor having the whole script?
2) 10 steps to performance
In her book Creative Shakespeare, Fiona Banks describes 'a clear, straightforward way of creating a performance in a limited time frame'. Devised by Globe Education's Senior Practitioner Adam Coleman, it's an approach that's still evolving! Banks suggests that A Midsummer Night's Dream Act 5 Scene 1 lines 154-334 works well, though you may wish to cut the text according to the needs of their students.
Stage 1: Robot voice – enunciate every syllable in a calm expressionless way
Stage 2: Whispering – clearly, as if confiding a secret
Stage 3: Radio voice – count "3,2,1…on air" as if students are in a radio play
Stage 4: Theatre voice: actor and audience – position students around the space but ensure that when they speak their line(s) they are addressed to the right person(s), wherever they are
Stage 5: Overlapping - interrupting the line before yours
Stage 6: Hitting the paper – hitting their piece of paper whenever it feels appropriate, e.g. on important or interesting words – but don't overthink this!
Stage 7: Gesture – replacing the moments when they hit the paper with a gesture
Stage 8: Silent movie – using gesture only
Stage 9: Outward circle – speaking and gesturing with backs turned to each other
Stage 10: Performance!
3) Writing about this scene
Students should now plan and draft a piece of writing about how they would stage this final scene of the play. They can use the prompts in the Student Booklet to help them. As a form of differentiation, students could write about the whole scene, the extract from the scene, or a heavily abridged version of this extract.
Exeunt: Closing Questions for Students
What should be the effect of this final scene on the audience?
How would I achieve this?
Suggested plenary activity…
Ask students to present some of their ideas about staging this scene in the form of a talk. One should play the role of the 'director', and the others are the actors and crew members. Students in the roles of actors and crew can ask questions of the director in role.
Asides: Further Resources
- In this scene, Quince in the part of Prologue introduces the characters of Pyramus and Thisbe. He also tells the entire story of the play, even the ending! It was a famous story so the audience would have known it anyway. However, audiences in Elizabethan England seem not to have valued suspense in a story the way that we do. What they did enjoy was the particular way in which a play presented that story. A dumb show is the term for actors telling a story in mime. They go through all of the action of the play, but stay silent. That way, when the play really starts, the audience can concentrate on the poetry. This is probably what happened in A Midsummer Night's Dream. Bottom, Flute and the other Mechanicals performed their actions whilst Quince was talking.
- Another activity using cue scripts can be found here within the Key Stage 3 Characters Lesson Plans (The Mechanicals).
Epilogue: Teacher's Note
For more about the story of Pyramus and Thisbe, see Key Stage 4 Historical and Social Context Lesson Plans.
Key Questions for Students:
What are some of the different possibilities when producing A Midsummer Night's Dream on stage and on screen?
How varied are the versions of A Midsummer Night's Dream by different directors that I have researched?
Key words: adaptation, close up, colour, connotation, director, mise en scene, lighting, long shot, shot, still
Prologue: Opening Discussion
Distribute sets of cards, each providing the details of a different screen version of A Midsummer Night's Dream, or films loosely inspired by the play. You could also include film stills from those productions as well as the director, stars, date and other interesting facts. Students should match the film still to the film it is taken from:
- Charles Kent's silent movie version of A Midsummer Night's Dream (1909)
- Max Reinhardt's A Midsummer Night's Dream starring James Cagney, Mickey Rooney and Olivia de Haviland (1935)
- Smiles of a Summer Night (1955) directed by Ingmar Bergman
- Adrian Noble's A Midsummer Night's Dream (1996), a film of an RSC production starring Lindsay Duncan, Alex Jennings and Desmond Barrit
- A Midsummer Night's Dream starring Calista Flockhart, Michelle Pfeiffer and Kevin Kline, directed by Michael Hoffman (1999)
- Get Over It starring Kirsten Dunst and Ben Foster (2001)
- Julie Taymor's A Midsummer Night's Dream (2014) starring Kathryn Hunter and David Harewood
Take feedback, asking students to explain the process by which they matched film still to caption. For homework, students could find out more about one of these versions, e.g. Where was it filmed? Did it win any awards? How faithful to the original play is it? Students could also speculate about the performance history of this play on screen. A Midsummer Night's Dream was a popular work by Shakespeare, however, it has not been adapted for the big screen as many times as many other well-known works by the bard.
Enter the Players: Group Tasks
1) A Midsummer Night's Dream on screen
Now distribute larger versions of the four film stills from the starter activity, one per group. Students should analyse the still in detail, looking at such things as:
- what kind of shot it is (e.g, long shot, close up)
- lighting (e.g. light source, what's in shadow)
- use of colour (colour palette, contrasts, connotations and symbolism of colours)
- mise en scene (what's in the frame, how the frame is composed)
Through discussions, the class could build two brainstorms showing some of the different possibilities of Shakespeare on stage versus Shakespeare on screen.
2) 'Unfilmable'?
Julie Taymor's 2014 film A Midsummer Night's Dream is made up of footage from different performances of her famous stage production of the play. Taymor herself has called the play 'unfilmable'. Students could read the following extract from a piece in the New York Review of Books by Geoffrey O'Brien in order to explore this idea further:
Taymor's sense of the play's unfilmability—and neither of the versions I've seen, including the often gorgeous Max Reinhardt pageant, really suggests otherwise—has to do with Midsummer's essential theatricality. Cinematic art direction and special effects, however cunning, cannot adequately substitute for the very different kind of magic that actors can create out of the tension of being live on stage. Since the play—presumed to have been first performed as a masque for a marriage celebration—unfolds like a ritual, perhaps it demands a community of physically present onlookers for the ritual to be accomplished. The first word of Shakespeare's script is "now," and it feels like a signal for an action to be performed in real time.
The audience is part of the play, and our response to being surprised and played upon by the successive gags, spells, and metamorphoses an indispensable element of the proceedings. In live performance, no matter how amateurish the circumstances, I have never seen it fail to produce a sense of unexpected gratification at having emerged in one piece after being, like Bottom, "translated." Everything is restored, only curiously changed, shot through with a lingering strangeness: "Are you sure / That we are awake? It seems to me / That yet we sleep, we dream." Apprehended at second hand onscreen, the transubstantiation loses some of its force.
N.B. This is a challenging text and students may wish to read this piece two or three times, clarifying word meanings and syntax, before summing up what O'Brien is saying in their own words.
3) Assessment task
Individually, students choose one element of the play, either a character, an event or a scene. They should then prepare a slideshow presentation comparing and evaluating different interpretations (perhaps involving a timeline), expressing some personal opinions and preferences. Students should:
- make as many connections as they can to the text itself
- explore how Shakespeare's text has been interpreted in the various versions of the play they are examining
- and propose why (making points about the historical and social context of different interpretations in the process)
Exeunt: Closing Questions for Students
How has A Midsummer Night's Dream been interpreted in different ways on stage and on screen?
What is my personal response to some of these different portrayals and interpretations?
Which is my favourite and why?
Can there be such a thing as a definitive version?
Suggested plenary activity…
Students construct a complex sentence comparing one particular aspect in two different productions of A Midsummer Night's Dream.
Aside: Further Resource
- The BFI has produced materials about Film Language in general and about a number of examples of Shakespeare on film, including Olivier's 1944 Henry V and the 2010 version of Othello starring Christopher Eccleston as Iago.
Epilogue: Teacher's Note
As extension work, students could bring in research about other productions they have studied independently. The individual presentations can be assessed for speaking, listening and reading.
Key Questions for Students:
Can I demonstrate an awareness and understanding of A Midsummer Night's Dream as a text written for the theatre in my essays?
Can I write about the dramatic effects of Shakespeare's text on stage in an insightful way?
Key words: actor, director, drama, glossary, jargon, performance, script, stage directions, text, theatre, vocabulary
Prologue: Opening Discussion
Shows students the following sentence:
'He is going to be married soon. His wife will be the queen of the Amazons. They seem very happy in this first part.'
Ask them to work in pairs to find five ways to improve the language used so that it is:
- more clear in its meaning
- more fluent in its expression
- more precise in its use of the language of drama and theatre
- more appropriate for an essay.
One or two pairs could share with the group the improvements they made and why. As they feedback, show which of the four criteria for improvement can now be 'ticked' and why. What is the effect of their more precise and appropriate vocabulary choices on the reader?
Enter the Players: Group Tasks
1) Glossary
As a class, students compile a detailed glossary of drama and theatre terms, a template for which can be found in the Student Booklet.
2) Different ways of writing about the text in performance
Students might be asked to write about A Midsummer Night's Dream in performance in more than one way, e.g.
- a review of a production they have seen
- a commentary from the point of view of an actor in relation to a specific scene
- an interview with an actor or director
- advice from a director to an actor about playing a particular part
- a commentary to accompany a moodboard where the director is explaining their vision for a new production
- a comparison of different interpretations of A Midsummer Night's Dream on stage and on screen
- an essay focusing on the play in performance
Students could identify the Text type, Audience, Purpose and appropriate level of Formality for these different kinds of tasks.
3) Question bank: text in performance
The following tasks can be used in the modelling of planning and drafting written tasks, as well as for students' more independently produced work for assessment:
- Write a review of a production of A Midsummer Night's Dream you have seen.
- Explain to a group of actors, designers, etc. your vision as director for a new production of A Midsummer Night's Dream, aimed at attracting more teenagers to watch Shakespeare plays.
- What advice would you give to the actor playing Bottom in Act 1 Scene 2? Make reference to at least two other parts of the play within your answer.
- Re-read Act 1 Scene 1 lines 20-127. Describe in detail how you would stage this part of the scene and explain the reasons behind your decisions.
- Compare how the character of Puck is portrayed in three different stage or screen versions of the play. Refer extensively to the text in your answer.
- To what extent would you agree with Geoffrey O'Brien that A Midsummer Night's Dream is best performed 'live on stage'?
Exeunt: Closing Questions for Students
How can I demonstrate my understanding of A Midsummer Night's Dream as a work of drama to be performed?
To what extent should I write about performing the text when I'm writing about characters, language or themes for an essay?
Suggested plenary task…
Focus marking of work in progress against individual curricular targets.
Aside: Further Resource
- The tasks in the question banks can be used as the basis for devising further tasks to suit the needs of your own class, curriculum and syllabus.
Epilogue: Teacher's Note
For more detailed guidance on revising and writing about A Midsummer Night's Dream in exam conditions, see the materials in the Student Booklet.


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subset: commoncrawl


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Post 1988 Agricultural Land Classification (ALC) site survey data – scanned original paper maps and survey reports for individual sites surveyed in detail between 1989 and 1999 by the Ministry of Agriculture Fisheries and Food. Where Grade 3 is mapped this includes the subdivision of Grade 3 into subgrades 3a and 3b. Surveys use the current grading methodology as described in Agricultural Land Classification of England and Wales. Revised guidelines and criteria for grading the quality of agricultural land. Individual sites have been mapped at varying scales and level of detail from 1:5,000 to 1:50,000 (typically 1:10,000). Unedited sample point soils data and soil pit descriptions are also available for some surveys.
Agricultural Land Classification detailed Post 1988 ALC survey, Howden, Thorpe Road (Goole Hook LP Site 13) (ALCL03891)
Downloads available for this record
File | Uploaded |
ALC unedited sample point soils data (horizons) ALCL03891, CSV, 9.4 kB | 2016/04/22 |
ALC unedited sample point soils data (summary) ALCL03891, CSV, 3.4 kB | 2016/04/22 |
ALC survey map ALCL03891, PDF, 1.5 MB | 2016/04/22 |
ALC survey report ALCL03891, PDF, 281.0 kB | 2016/04/22 |
Related Access to Evidence records
Title |
ALC unedited sample point soils data: abbreviations and terms used (ALC012) |


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HAN Archive - Human Infections with Avian Influenza A (H7N9) Viruses
Health Alert Network (HAN). Provided by the Centers for Disease Control and Prevention (CDC).
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News of Texas Medicare Fraud
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text: We have a vast network of contacts throughout Australia, and as such, we pride ourselves on our ability to track down many of our customer's wants. Single item requests or large lists are most welcome. Foreign dealer enquiries are also welcome. We will generally reply within 48 hours. Please include as much information as possible such as Artist/Title/Format etc. Send want list: CLICK HERE.


text:
I have noticed two usages which, in England, seem familiar only to journalists. One was in a headline in the Mail today: "This port ain't big enough for the both of us". I have never heard "the both" uttered in BrE. The other is "You and me both".Starting with the both: I think of the AmE expression as 'this town ain't big enough for the two of us', and indeed two outnumbers both by about 17:4 in the context [adjective] enough for the ___ of [pronoun] in the Corpus of Contemporary AmE (COCA) (and there's exactly one of these things in British National Corpus [BNC], and it has two too).
The this town... line is usually associated with western films (a variation on it was said by a character named Duke in Bandits of the Badlands (1945)). But there are earlier occurrences (the oldest ones with two), and the earliest one I've found is in Anthony Trollope's The Vicar of Bullhampton (1870)--not a western, unless you count Wiltshire as 'the West' (and apparently some people do consider it to be part of the West Country). There, the eponymous character says: "Heytesbury isn't big enough for the two of us". There's also a 1903 "Ostrokov is not big enough to hold the two of us, and that consequently, while I am vicar here, you shall never be rabbi." in the American magazine The Living Age (though the quoted text clearly not set in America, and I don't know who the author is). So, today's stereotype-busting lesson: it's men of the cloth who deserve the reputation for saying such things, not cowboys or sheriffs.
Comparing just the both of [pronoun] (the both of us, the both of you, the both of them, plus some alternative forms of those pronouns) in the BNC and COCA is kind of interesting. That is, it had better be interesting because I just spent too much of my Friday night looking at it. (In parentheses are the hits when the is excluded. They're less reliable, since they include contexts with possessive pronouns.)
dialect | spoken | written |
AmE (COCA) | 10.8 (97) | 5.6 (141) |
BrE (BNC) | 12 (21) | 1.1(123) |
Since the both of occurs more in speech than in writing, it looks as though it's considered to be somewhat informal in both dialects, but more so in BrE. In BrE spoken, the the version is 57% of the total both of [pronoun] hits, versus AmE's 11%. The other way to use both with a pronoun would be [pronoun] both. There, we find 311 per 10m in BNC and 296 per 10m in COCA. This looks pretty similar. (I did find some strange codings in COCA--though not enough to make the figures very different. But since when is coffee a personal pronoun?)
Meanwhile, the two of [pronoun] is about twice as frequent in COCA than in the BNC. I haven't done further analysis of this because I can't seem to weed out the possessive pronouns (none occurred in the both data), but I can look more specifically at particular instantiations of this construction: the two of us and the two of you, and compare it to the equivalent [pronoun] two constructions. (Though, it must be said, this method can't sort out things like I want to give you two puppies. But we'll just have to assume that this kind of "noise" is constant across the dialects. It might not be.)
Instances per 10 million words
dialect | the two of us | we two + us two | the two of you | you two |
AmE (COCA) | 34 | 8.9 | 37.3 | 81.6 |
BrE (BNC) | 15.1 | 10.8 | 12.6 | 61.8 |
That COCA has 20% spoken data and BNC only 10% may go some way toward(s) explaining the differences, since you might need to specify the number of referents of a pronoun more often in a speech context. But I don't think that's the whole story--after all, the numbers have the two of you occurring about three times more often in AmE and just under half of the AmE instances are spoken. So, the two of [pronoun], like the both of [pronoun], seems more common in AmE than BrE, and BrE doesn't seem to be making up for it by using many more [pronoun] two or [pronoun] both. So, do Americans just specify numbers of pronoun referents more often than BrE speakers/writers do? Or have I left out another means of sticking a number "on" a pronoun? Probably we need a much more thorough analysis with more comparable corpora (the BNC is 20 years old) before we can tell.
Moving on to Jeremy's second item, [pronoun] and [pronoun] both is much more common in AmE (40 per million words) than BrE (0.26 pmw)--although AmE didn't invent it. The OED says:
Both may follow, instead of preceding (as in A. 1), the two words or phrases connected by and; now only in the case of two ns. (two pronouns, or n. and pronoun) subjects of the same plural verb, but formerly (and still dialectally) in all other cases. In this use both may often be replaced by too or also.They include the example:
1561 T. Hoby tr. B. Castiglione Courtyer (1577) P vij, It shalbe good for him and me both.I wrote this whole entry before remembering to look at John Algeo's British or American English? I approached it with contradictory wishes: (1) If he discusses all this, I'll have wasted hours of my Friday night. I hope he hasn't discussed it. (2) My corpus evidence is pretty shaky. I hope he discusses it. I got wish (1). Algeo does mention, however, that AmE prefers both of these [plural noun] whereas BrE prefers both those [plural noun]. Oddly, though, this preference does not extend to both (of) those, where both varieties prefer the of version.
And before I go:
Today (wait! it's not today anymore! help!) was my third Twitterversary. If you're not on Twitter, you probably have a rich and interesting life. But you're not on Twitter. And oh how much I've gained from Twitter! Forget LinkedIn--this is the way to network. While I have to be very careful about not following too many accounts or trying to read everything that's posted (I could easily make it my full-time job), I learn so so much through it every day. I was interviewed for a film about Twitter this week, and I kept coming back to a similar theme: Twitter helps me appreciate how complex the world is--from the macro level of international affairs to the micro level of people's daily triumphs and struggles. So, hurray for Twitter! And hurray for my followers there, who enrich my understanding of national varieties of English every day. If you'd like to meet me there, you can find me here.


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Calvinist Corner | www.mslick.com |
Esther 10 1 And the king Ahasuerus laid a tribute upon the land, and upon the isles of the sea. 2 And all the acts of his power and of his might, and the declaration of the greatness of Mordecai, whereunto the king advanced him, are they not written in the book of the chronicles of the kings of Media and Persia? 3 For Mordecai the Jew was next unto king Ahasuerus, and great among the Jews, and accepted of the multitude of his brethren, seeking the wealth of his people, and speaking peace to all his seed. Return to Bible Online Calvinist Corner |


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Beginning early 2014, a whole new range of new Top-Level Domain (TLD) extensions will be launched, with hundreds of extensions coming your way. The Internet now offers targeted extensions in a variety of categories such as Sports, Technology, Services or Hobbies. Now you can get a domain name that better desribes you and your business.
The exact launch timeline for each New gTLD is still uncertain. Hence, it is recommended that you create a New gTLD Wishlist with LovingName at this stage. LovingName will keep track of the launch plan for every New gTLD, and notify you via email when pre-registrations for the chosen TLDs start.
Create and Maintain a Wishlist Though SuperSite 2
Creating a Wishlist
Login to your Control Panel. See details
Click the button in the top right corner of the page.
Click the Go to Supersite » link in the top right corner of the page.
In the Menu, point to Domains and then click New Domain Extensions.
Mention the string or name of your choice in the search field and then click the Search button.
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Click the Notify Me button adjacent to the domain name of your choice. You can select multiple domain names here.
The selected domain names will now appear in the Notify me by email section.
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Specify the Customer Username and then click the Place your order button.
Click the Confirm Order button to add the domain names to your Wishlist.
Managing a Wishlist
Login to your Control Panel. See details
Next, click
For Resellers: Products -> Domain Registration -> New gTLD Wish-lists.
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This wiil list all the domain names in your Wishlist. You may further tweak these results by submitting one or more of the following parameters:
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Factory genuine original equipment manufacturer (OEM) Wacker Neuson part.
Shipping note: In order to serve you better, part/s are shipped directly from our warehouse and Wacker central part centers. We cannot stock all the parts. If the part/s that we don't have in stock will automatically drop shipped from our Wacker central warehouse. If part/s at central warehouse is back order. We will notify you within 1-2 days with the ETA so you can decide to wait or cancel the order. Additional shipping cost may apply if more than one brand on the same order. When placing part order, please let us know if you want to be shipped complete or partially. As always, we appreciate your business. Question about parts, you can always email us at: firstname.lastname@example.com or text us at 510-761-1112
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Condition | New |


text:
Thai Brass Seated Earth Touching Laotian Buddha Statue with Large Finial 26"
- Calculate Shipping Rates Worldwide
- The Laotian style Buddha is in the bhumisparsha or earth touching gesture with his right hand extended towards the ground and his right hand resting in his lap in the dhyana mudra of meditation
- He is seated in the ardhapadmasana or half lotus pose with his right leg over his left with a serene, blissful expression and a slight smile on his lips
- The Buddha has a beautiful antique green patina and a classic, simple, yet elegant feel
You just know when you find the right piece to bring into your home and into your heart. - Kyle Tortora, Founder of Lotus Sculpture
~ Buddha~
The Buddha was a son of the rulers Sakyas. He was married at the age of 16 and lived in luxury and comfort sheltered from the harsh realities of life. When he was 29 he realized that men are subject to old age, sickness and death. He became aware of the suffering inherent in existence. He resolved to give up princely life and become a wandering ascetic (samana) in search for the Truth.
With the two of samanas he attained mystical states of elevated consciousness but he failed to find the Truth. He continued his search and was joined by five ascetics in a grove near Uruvela, where he practiced sever austerities and self-mortification for six years. When he fainted away in weakness, he abandoned ascetic practices to seek his own path to Enlightenment. Discarding the teachings of his contemporaries, through meditation he achieved Enlightenment, or ultimate understanding. There after the Buddha instructed his followers in the dharma (truth) and the "Middle Way" a path between worldly life and extremes of self-denial.
The essence of the Buddha's early preaching was said to be the four Noble truths: 1) life is fundamentally disappointment and suffering. 2) suffering is a result of one's desires for pleasure, power, and continued existence; 3) to stop disappointment and suffering on must stop desiring; and 4) the way to stop desiring and thus suffering is the Noble eight fold path - right views, right intention, right speech, right action, right livelihood, right effort, right awareness and right concentration. The realization of the truth of anatman (no eternal self) was taught as essential for the indescribable state of release called nirvana.
Brass statues from Thailand do not need much maintenance. The best way to maintain the statue is to simply dust the piece periodically to keep any dirt from accumulating. They can be used for both indoor and outdoor use.
You can use soap, warm water and a cotton cloth to periodically go over the statue to remove any dust or dirt buildup. If you are really interested in making the statue shine you can use some natural oil, like coconut oil or olive oil, and a cotton rag to wipe down the metal portions of the piece. You can use a toothbrush as well to get into the small crevices of the statue like the hands and hair.
Thai brass's durability makes it perfect for cold winters and hot summers of any climate. The metal can stand up to the harshest conditions of heat and bitter cold. We suggest you bathe the sculpture every couple of months so that dirt does not collect on the sculpture and then use a cotton cloth with some natural oil to give the statue a shine.
If you have any questions concerning your brass statue please email us at [email protected] or call us at 1(760) 994-4455.
USA Shipping
This sculpture is in our Oceanside, California store and ready for immediate shipping. The shipping charge is automatically calculated by UPS for shipping within the United States. Each sculpture is usually shipped within 24 hours of the order with the exception of the weekend.
You can obtain a shipping quote for any statue by clicking the link, Calculate Shipping beneath to the Add To Cart button on every statues' page. Besides the shipping price, the results will also display the date the statue will arrive at your home. Lotus Sculpture uses Instapak foam injection packing system or bubble wrap and recycled peanuts to ensure that all our pieces arrive undamaged. Click here to learn more about Lotus Sculptures packing.
International Shipping
This sculpture is in our Oceanside, California store and ready for immediate shipping to anywhere in the world. International shipping charges will be calculated automatically upon checkout.
You can obtain a shipping quote for any statue by clicking the link, Calculate Shipping beneath to the Add To Cart button on every statues' page. Or you can email [email protected] or call us 760-994-4455 to receive a shipping quote. Please include the item number of the statue you are interested in purchasing as well as your country and postal code. Lotus Sculpture uses Instapak foam injection packing system or bubble wrap and recycled peanuts to ensure that all our pieces arrive undamaged. Click here to learn more about Lotus Sculptures packing.


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Suggestions for learning
Suggestions for learning
We are always looking for ideas about how we can help our community to develop in their professional careers while advancing the quality of patient care we can provide collectively. Please take a moment to let us know what topics you think we should cover.
Posted by Leeann Yao, 6 Feb 2024, 0 comments


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Heel spurs are the result of calcium deposits that cause bony protrusions on the underside of the heel. Heel spurs are usually painless, but they have the potential to cause heel pain. Heel spurs tend to be associated with plantar fasciitis, which is a condition that causes inflammation of the band of connective tissue that runs along the bottom of the foot. They most often occur to athletes whose sports involve a lot of running and jumping.
Some risk factors for developing heel spurs include running and jogging on hard surfaces, being obese, wearing poorly fitting shoes, or having walking gait abnormalities.
It is possible to have a heel spur without showing signs of any symptoms. However, if inflammation develops at the point of the spur's formation, you may have pain while walking or running. In terms of diagnosis, sometimes all a doctor needs to know is that the patient is experiencing a sharp pain localized to the heel to diagnose a heel spur. Other times, an x-ray may be needed to confirm the presence of a heel spur.
Heel spurs can be prevented by wearing well-fitting shoes that have shock-absorbent soles. You should also be sure that you are choosing the right shoe for the activity you want to partake in; for example, do not wear walking shoes when you want to go on a run. Additionally, maintaining a healthy weight can be beneficial toward preventing heel spurs, as it will prevent an excess amount of pressure being placed on the ligaments.
There are a variety of treatment options for people with heel spurs. Some of these include stretching exercises, physical therapy, shoe inserts, or taping and strapping to rest stressed muscles and tendons. If you have heel pain that lasts longer than a month, don't hesitate to seek help from a podiatrist. Your doctor can help you determine which treatment option is best for you.


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Color × Quantity 單色 × 2個
Price guide
The discount is calculated/compared between the Standard Price for Vendor to Sell Overseas and the Discounted price
Standard Price for Vendor to Sell Overseas
The price is the standard price that Vendors set up for overseas selling to Taiwan customers
Discounted Price
Special offer
Free delivery
for orders over $690 (Delivery fee: $195)
Delivery, CVS pick up available
Limited quantity
You can buy up to 2 items per person.
[Low in stock]
Only 3 left
Vendor: Coupang Corp.
This is a Rocket Overseas item directly delivered by Republic of Korea
- All product information listed herein is provided by the offshore vendors and the translation herein is for reference only; please refer to the product label for details.
- All pictures shown herein are provided by the offshore vendors for reference only (actual products may vary due to the time when the pictures were taken or otherwise).


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Compaq Presario 4712 Specifications
The specs for Presario 4712 comes in these configurations with a retail price tag. The configuration Compaq provides comes with a 166MHz Intel Pentium n/a IDE PCI/ISA
This Compaq Computer can take up to 128 MB ram, with a fixed amount of 8 MB (non-removable) + 8, 16, 24 MB (removable) installed Although it is physically possible to install more memory, the system will recognize only 128MB maximum..
This full-featured mainstream Computer enhances the previous generation Compaq models with the chipsets and new levels of customization. Get the best experience on your Compaq Presario 4712 Computer with improved performance, make it easy to create a home network and share all of your favorite items.
The specs of Computer shows full configuration information. The Presario 4712 is designed for users who require maximum performance in a mainstream Computer. Even with its form factor design, the Presario 4712 doesn't skimp on performance offering the ideal blend of power and efficiency. The Presario 4712 is sure to leave a lasting impression with its easy to use and slim design. Located on the side of the unit, the modular bay's innovative latch is designed for easy insertion and removal of the various module options.
The Presario 4712 Computer only supports 166MHz Intel Pentium. The Presario 4712 features two on-board data caches for transferring information to and from the processor. These caches are known as the L1 and L2 caches. The Presario 4712 L1 cache is 64 kilobytes in size, while its L2 cache is rated at either one or two megabytes.
When you have a clear idea of which Computer best suits your needs, check for its specifications. As the Presario 4712 is supported by Compaq, check if the Computer has full support and warranties by its manufacturer, like Presario 4712 specs you will have lots of options from the Computer manufacturer to choose from, like the Computer processor, Computer RAM, its graphics capacity, Computer display options and specs, and other features that the Computer provides. You should have an idea on what specs you want from your Computer and what specs you do not want on your Computer, deciding on Computer specs may be difficult task to do but like the Presario 4712 specs have, it's essential to selecting a Computer you need at a price tag that it deserves and that you can afford.
Here is a sample Presario 4712 Computer specification if you want an initial guide to buy a Computer. More or else, these are the specs factors often that you should take into consideration before you purchase a particular type of Computer.
To help you navigate around the hassles of buying a Computer, we have the standard specifications for most home and small business users.


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