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By Mark Thornton Burnett (auth.)

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Underlining the relationship between Much Ado About Nothing and A Midsummer Night's Dream are the ways in which auteurship is specifically gendered. Interestingly, the plays provide the relevant prompt, being preoccupied with the ways in which the articulation of authentic identity for women is invariably compromised. 9] reduces her to the status of silenced representation); likewise, in A Midsummer Night's Dream, Hermia's verbal opposition is countered by Theseus' assigning her to a barren fate in a convent.

43 In other words, Berke's meditation on Shakespeare allows the film to suggest that the Bard enjoys a demotic, even noninstitutional quality as well as possessing a popular and still current educational appeal. 'You can't just change four-hundred-year old literature', Striker angrily protests, but the argument of Get Over lt is that Shakespeare can and should be altered. Moreover, such reinvention, the film suggests, banishes the charge of elitism and ensures that Shakespeare's work is no longer tainted with a national and therefore inhibiting identification.

Central to the enterprise is the transformation of Mark from director to actor, his participation signifying the emergence of a deeper collaboration; in the wake of the company's triumph, a dance ensues and new couples form, testimony to the mood of romantic concord that the performance has engendered. In a turnaround that takes us back to the concerns of The Tempest, moreover, the endeavour as a whole receives a blessing. The fact that the production develops around a public fountain suggests baptism, while the reappearance (with money) of Mark's father Scrcellillg the Stage 21 (Toby Salaman) points to a Ceres- or Iris-like divine approval.

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