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A b s t r A c tIn A Midsummer Night's Dream (1594-1595, Shakespeare introduces elements borrowed from court masques, mainly music and dance. After a brief exploration of critical arguments claiming that Shakespeare's play is the model for musical versions produced during and after the Restoration, this essay investigates the negotiations and shifts of meaning in the homonymous Brazilian adaptation (2006), staged by Cia. Rústica and directed by Patrícia Fagundes. The intermedial processes, articulated in the transposition from page to stage, will be analyzed in the light of contemporary theoretical perspectives.

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RESUMO: Para descrever as relações dialógicas entremídias diversas, o discurso teórico pós-estruturalista apropriou-se do conceito de intermidialidade que substitui e inclui os termos adaptação e tradução intersemiótica. Partindo da premissa de que todo processo tradutório pressupõe procedimentoscomoamediação, interpretação e representação, este ensaio discute duas adaptações fílmicas de Sonho de uma noite de verão, objetivando explorar as transações intermidiáticas que gerammudanças de significado na travessia do texto shakespeariano para a grande tela. PALAVRAS-CHAVE: Shakespeare, Sonho de uma noite de verão, intermidialidade, intertextualidade, adaptação. ABSTRACT: To describe the dialogical relations among different media, poststructuralist discourse has appropriated the concept of intermediality, which substitutes and includes the terms adaptation and intersemiotic translation. Starting from the premise that every translation process involves acts of mediation, interpretation and representation, this essay discusses two film adaptations of A Midsummer Night’s Dream, mainly in relation to the intermedial transactions that generate shifts of meaning in the transposition of the Shakespearean text to the big screen. KEYWORDS: Shakespeare, A Midsummer Night’s Dream, intermediality, intertextuality, adaptation.

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