My spirit agrees not to give soveregnity. (Scene I, Act I, lines 79-82) This discourse is a significant point at the content in light of the fact that Hermia clarifies her goals to maintain a strategic distance from union with Demetrius. It is an emotional, touchy piece. This discourse ought to be conveyed with force, to pass on to the group of spectators the profundity of Hermia's affections for Lysander. The presentation ought to incorporate some paralinguistic highlights, for example, moving around the stage, outward appearances and hand developments to express her sentiments outwardly. (549 words) My comprehension of Theseus is that he is an intricate character – there is clashing proof in the content as to his actual nature. There is one expression in the content that raises questions with respect to his actual nature, when he is conversing with Hippolyta and he says that: Hippolyta, I charmed thee with my sword, Furthermore, won thy love doing thee wounds; In any case, I will marry thee in another key: (Scene I, Act I, lines 16-18) My elucidation of this line is that Theseus assaulted Hippolyta. The ramifications of this as far as how the character ought to be performed are immense. In a significant part of the content, Theseus is spoken to as a contemplative, insightful man. He benevolently encourages Hermia to "Set aside effort to stop… " (Scene I, Act I, line 83) when examining the circumstance with her dad Egeus. This scene presents him as balanced and compassionate. The proposal of assault in line 16 makes the line profoundly significant, the recommendation I might want to pass on to the crowd is the possibility that Theseus is cautioning Hippolyta. In carrying the issue of the assault to the cutting edge, he is helping her to remember the power balance in their relationship. There is likewise conceivably some contrition in this confirmation. This could be imparted to the group of spectators using certain vocal characteristics, mien and stage space. I might want Theseus' feeling of capacity to be passed on to the group of spectators in a visual manner, so he would convey this discourse standing, and strolling around, while the character of Hippolyta would plunk down. The disparity in their statures would be a visual portrayal of the pecking order, which would further merge what Theseus was stating. This is such a male centric strategic maneuver, that props could be utilized to speak to a feeling of phallocentricity –, for example, a staff – a great and phallic image. The utilization of this prop could pass on to the group of spectators my elucidation of Theseus similar to the male centric and prevailing power in the opening of the play. His kingdom is kept running on a lot of inflexible standards – for instance, Egeus conjuring the antiquated law of Athens as Hermia needs to wed Lysander. This is as a glaring difference to the timberland – the puzzling, ladylike field which is the twofold inverse of Athens. As far as manner, Theseus ought to be quiet, and considered in his developments. I might want his ensemble to be of dull hues, and of perfect, clean lines. This works rather than Hermia's outfit – the white of her ensemble is an image of honesty while the dim of Theseus' outfit is lined up with the clouded side he alludes to in this discourse.>