al of Titania in Act 2 Scene 1, and Act 3 Scene 1 will be discussed.
             Both directors chose to keep the original Shakespearean language giving their productions a sense of authenticity; the respective audiences expect to see a Shakespearean production and so feel satisfied when they hear Shakespearean language. However, both directors have heavily edited the scenes.
             During the English Renaissance, Greek mythology played a bigger part in English culture than it does today, the references to Corin, Phillidia, Aegles, Aridaine and Antiopa in Act 2 Scene 1, would have clarified the accusations the fairy royals were making. However, in the 20th century, literature's frames of reference have changed, therefore, to avoid confusing the audience, both the RSC and Hoffman chose to remove those references.
             Hoffman chooses to omit lines 93-115 of Titania's forgeries of jealousy speech in Act 2 Scene 1; he may have felt that the intensity of imagery would have overwhelmed some cinema audiences. Although this detracts from Shakespeare's effective "pictuarisation" (David P.Young Pictuarisation and Panorama), the increased pace of the dialogue decreases the likelihood that the audience will loose interest, the cutting of lines also enable Hoffman to keep his film within the two hour limit which Hollywood seems to believe is appropriate for the majority of cinema films.
             Titania, a character that Shakespeare seems to have taken from Ovid's Metamorphoses, is the Queen of the Fairies, wife to Oberon, and a central character in the sub-plot co
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