Rehearsal Process Week 02 - Shakespeare

Classical Theatre Performance Assignment –

‘Much Ado About Nothing’

Tuesday 22nd – Friday 25th September 2015

Characters

     Assigned to perform/interpret various selected scenes from ‘Much Ado About Nothing’, and having the casting process completed, we began this week by looking into our given characters and scenes.  I was cast to play Don Pedro in Act 1 Scene 1. 

     Now from my early understanding of the play/text, I knew the purpose of this scene was to introduce the setting and the characters.  Beginning the play.  In my observations of the David Tennent and Catherine Tate production of the play, I saw the character of Don Pedro as a fun, energised, and optimistic Prince.  Previously I found original interpretations, such as Kenneth Branagh’s movie interpretation, portrayed Don Pedro as a calm, collective, and well-spoken Prince.  I found that to suit the character, especially considering the character back in the Elizabethan era would have been a respected upper class master.  While in David Tennant and Catherine Tate’s modernised interpretation the character seemed to be more down to Earth, relaxed, and fun.  This interpretation I preferred.

     It was quite a relief to know that we would be modernising our interpretation of the scenes.  Because this would give me no restrictions when interpreting the character.  I would’ve felt somewhat abolished to make the character a traditional, well-mannered, Elizabethan Prince, had our assigned been set as performing original text in original style.  Seen as our interpretation will be modernised I feel the need to ensure that the character is down to Earth, and more importantly three dimensional.  Thereby adding layers of emotion and likability to the character, plus showing off an entertaining character to open the entire play.

     I thereby have made it a goal of mine to portray this character to huge and likable standard, in both my physical and verbal performance.

     To get a better understanding of the significant differences between the original and modern interpretations of the characters; here are two photographic examples of the same character in different interpretations:

Understanding the Text

     While I know the plays storyline, and the characters progressions within the story, I do not always understand the written language.  It is a well-known issue with actors, if they do not understand the script it is going to be a dull and meaningless story to tell.  Therefore it is extremely essential for Shakespearean actors to learn and understand their lines.  Because it brings the stories to life, plus it gives true meaning and understanding to a modern audience’s perspective.  Therefore our next goal was to understand what our characters were saying.

     An extremely handy resource is ‘No Fear Shakespeare’ (http://nfs.sparknotes.com/), in this website you can look up all of Shakespeare’s texts/plays and the website translates the text into modern text.  This was my key resource to understanding my text.

     Prior to this research I knew a fair amount of what Don Pedro was saying to his fellow characters.  Three lines in particular stood out to me and this is what I initially believed he was saying:

1)      “Good Signor Leonato, are you come to meet your trouble?” – My good friend Leonato, how are you?

2)      “You have it full, Benedick” – He’s got you there Benedick!

3)      “That is the sum of all, Leonato.” – That pretty much covers it, Leonato.

     These three lines in particular stood out to me because it somewhat reflects Don Pedro’s likability and charisma amongst his old friend Leonato, his banter between Benedick, and his planning for future events with Leonato.  That is what I believed the original text meant, but ‘No Fear Shakespeare’ says differently:

1)      “Good Signor Leonato, are you come to meet your trouble?  The fashion of the world is to avoid cost, and you encounter it.” – My dear Signor Leonato, hosting my whole army is such a huge burden, but you accept it – and me – with open arms.  Most people choose to avoid trouble, but you run to it.

2)      “You have it full, Benedick” – Ah, he got you back, Benedick!

3)      “That is the sum of all, Leonato.” – And that’s everything, Leonato.

     In comparison to what I initially believed the text to be, I wasn’t far off to ‘No Fear Shakespeare’.  I also found the modernised text stated the obvious, and that’s Don Pedro is a likable character.  He is energised, charismatic, and down to Earth, and has really good chemistry between his friends.

     I took note of the entire scenes modernised text.  My goal for future rehearsal work is to memorise the modernised meaning and embrace the characters objectives and progressions in this scene to bring Don Pedro to life in a great manner.

Plan of Progression

     This week ended with myself and my fellow cast members understanding a whole lot more about our scenes, our characters, and our lines.  The plan of progression came to a rehearsal schedule meaning we could show off all our research and skills, put into this performance, and bring the characters and story to life with good, accurate and entertaining intentions.



Rehearsal Process Week 01 - Shakespeare

Classical Theatre Performance Assignment –

‘Much Ado About Nothing’

Tuesday 14th – Friday 18th September 2015

Introduction

     For our first performance assignment, of our second year, I was thrilled to know that we would be performing selected scenes from William Shakespeare’s comedy ‘Much Ado About Nothing’.  ‘Much Ado About Nothing’ tells the story of a rich family, Leonato’s family, hosting a gathering for Don Pedro, their Prince, whom has returned from the war.  It is in this gathering that personalities clash, marriages are made, and rivalries and friendships are put to the test.  The result is an extremely entertaining character and dialogue driven play. 

     Before we began the casting process we had to get a decent understanding of the plot and the characters.  Our introduction to the play was through Digital Theatre’s recording of Josie Rourke’s interpretation of the play.  This interpretation stars David Tennant and Catherine Tate, as Benedick and Beatrice, and was, in my eyes, fun and informative. 

     Fun based on its loyal, modernised, interpretation of the comedy. 

     Also informative based on its modernisation of the play.  It was set in the 1980s, and used modern props and scenery.  It was a fascinating introduction to the play, as it showed us how we may be interpreting the piece. 

     From past experiences I knew a fair few info about the play, but after seeing this interpretation I was eager to begin this assignment and analyse the play too see how we could bring a new twist to interpreting the text.

Casting

     As we began the casting process I was eager for two reasons: firstly, I wanted to audition for the part of Benedick, as he his one character I aspire to perform, one day, plus I can’t help but relate to him with some of the plays scenarios.  Secondly, I wanted to express my interest in Shakespearean text and adapt my abilities to perform all different kind of roles.  When performing scene extracts from the text, I felt the need to express the comedic inception within each characters lines and personalities.  

     I did so, and I was pleased to have received the role of Don Pedro for Act 1, Scene 1.

Beginning

     Now the roles were cast, and the selected scenes had been chosen, it was time to begin the assignment process.  Officially beginning next week, we would be analysing our lines, to truly understand what our characters are saying.  Looking to how we could modernise the setting, yet keep a strong connection to the text.  Plus developing our characters to begin rehearsals.

Classical Theatre Research Blog 3 - Shakespeare

Classical Theatre Research – Comparison

     Through my research I have discovered many fascinating contextual facts concerning William Shakespeare’s classical stage layout, actor’s performances, and actor’s speeches.  In this research blog I will share all my research and understanding of William Shakespeare’s impact, socially, culturally, and politically, on classic and modern theatre.  As well as looking at the essential impacts to modern theatre, with his hit play ‘Much Ado About Nothing’.

 

‘Much Ado About Nothing’ Comparison

     ‘Much Ado About Nothing’ is one of Shakespeare’s key plays that has, particularly, stood the test of time.  Throughout its time many professionals have given their interpretation of the text and have succeeded in upholding it’s comedy value. 

     The play tells a story of a rich family, Leonato’s family, hosting a gathering for Don Pedro, their Prince, whom has returned from the war.  It is in this gathering that personalities clash, marriges are made, and rivalries and friendships are put to the test.  The result is an entertaining character driven story.

     In this post I will be making comparisons between the original production of ‘Much Ado About Nothing’ and see how well it holds up with a modern interpretation of the same play.  Plus I will give my personal opinion and highlight certain scenes and see which is the better version.

 

‘Much Ado About Nothing’ Comparison
	Original	Modern (Josie Rourke’s)	Modern (Shakespeare Retold)
Setting	In present time, in the case of Shakespeare; 1500s.	1980s	2000s
Locations	Set in Leonato’s household in Messina, Venice.	Josie Rourke’s interpretation set in Gibraltar.	Shakespeare Retold takes us through many cities in the UK, but is mainly set in Essex, London.
Character Statuses	Don Pedro & Don John – the Prince and his Bastard brother. Benedick & Claudio – Companions to Don Pedro. Leonato – Governor of Messina and Loyal Friend to Don Pedro. Beatrice – Leonato’s orphan niece. Hero – Leonato’s daughter. Borachio & Conrade – Don John’s companions. Margaret & Ursula – Hero’s maids and friends.	Don Pedro & Don John – Royal Navy Commanders. Benedick & Claudio – Royal Navy Officers to Don Pedro. Leonato – Landlord to the settings estate. Beatrice – Leonato’s orphan niece. Hero – Leonato’s daughter. Borachio & Conrade – Don John’s colleagues. Margaret & Ursula – Hero’s close friends.	Don Pedro – Professional Television Producer. Don John – News set manager and social outcast. Benedick & Claudio – Co-Anchor-men and close friends. Leonato – Director of the News show. Beatrice – News Lead-Anchor. Hero – Leonato’s daughter and Weather-Girl.
Act II, Scene I	Set at a Masked Ball – This setting reflects the upper class, rich, status of the characters and their well-being.  It adds some humour when Beatrice insults Benedick in front of him: “That I was disdainful, and that I had my good wit out of the ‘Hundred Merry Tales’ – well, this was Signor Benedick that said so.” – Beatrice Act II, Scene I.  Plus it gives a perspective, within Kenneth Branagh’s version, to show modern audiences what a gathering/party was like back in the Elizabethan era.  Plus ‘the Globe’s’ stage spaces around the pillars and behind the main wall, enhanced the environment and showed a consistency with the scenes/parties pacing.	A Fancy-Dress Disco – Setting this scene within the houses main hall to host a fancy-dress party incorporates a sense of realism, down to Earth, and fun.  Through the audience’s perspectives it becomes relatable, see these characters intrigues the audience to want to have fun.  Not only that, but the hilarious costumes used by the actors, makes it all the more laughable, but not too much to the extent where might miss key plot details.  Also Benedick’s use of a mask adds homage to the original.	A Fancy-Dress House Party – Much like Josie Rourke’s interpretation setting this version in a fancy-dress disco added a relatable sense for modern audiences and made sense from their perspectives.  Comedy elements, such as huge and ridiculous costumes, were added for, what seemed to be, comic relief.  But as the scene progressed it all came together and had a clear reflection of the originals.
Hero’s Fate	Lies - Taking a step away from the comedy, there is a theme of tragedy in Act IV, Scene I, where Hero and Claudio’s wedding takes place and ends suddenly when Claudio believes Hero is a liar and a cheat.  The scene climaxes with the friar conducting a plot to which they falsify Hero to be dead.  The plan states that Hero died of heart ache from this tragic event, therefore Claudio must marry another within Leonato’s family.  This would also result in Claudio seeing the true villain behind making Hero the enemy.  Then the whole scene would end with Claudio and Hero becoming true lovers and being married.	False Accusations – Sticking closely to the original, this interpretation has the same scenario and execution.  Although the manners within the characters seem somewhat restrained.  Claudio does not which to heart Hero physically.  Leonato knows he cannot harm his daughter.  Plus Benedick hides his concern for Hero until both Claudio and Don Pedro are absent.	Humiliation – In this modernised interpretation, Don John convinces Claudio that Hero has strong feelings for him not Claudio the night before the wedding.  Taking place in a real church, Claudio accuses Hero of lying and cheating in front of everyone and Hero runs away from the alter.  Convinced Hero is innocent Beatrice asks Benedick to “kill Claudio”.  But Benedick refuses and find Claudio drinking his pains away.  But Hero is hugely frustrated with Don John and attacks him.  This results in Hero receiving a serious head injury that causes Claudio to panic.  At first believing she is going to die, Claudio apologises to her sleeping body.  But to only find she is awake and no serious damage was made.
Claudio’s Response	Guilty – In the original text it depicts Claudio feeling extremely guilty, once he learns Don John plotted against their marriage.  He weeps and trembles in fear as to who he will marry instead.  But once revealed to him that Hero is alive and still wishes to be married to Claudio, he apologises to her and Leonato and they marry.  Giving a tradition happy ending to Shakespeare’s comedies.	Suicidal – One element used in this interpretation, which I found extremely effective was a funeral scene.  Hero is given a fake funeral to really hit Claudio in the teeth.  But as the funeral comes to an end we see Claudio wonder in guilt and pain.  He constantly drinks from his flask/champagne bottle.  He even attempts suicide.  Showing a deeper meaning to the character.  But once revealed to be alive, much like the original, Claudio apologises and he and Hero marry.	Separation – This interpretation added are modern sense of realism.  In truth nobody would take it well when being convicted of cheating at the altar.  Nor lead to believing your former lover had died, to only be alive the next day and expect instant marriage.  Therefore once Hero awakens in hospital, Claudio feels extremely guilty and want to marry her, as a way of making it up to her.  But Hero is still, somewhat, furious with him, therefore dumps him and keeps him as a work colleague and old friend.  While this interpretation ends hinting they might get back together again, the ambiguous ending adds relatable and realism to the classic text.
Opinion (Which do I think is the better interpretation?)	Classic – As a Shakespearean comedy goes, this is hands down my favourite.  But as an interpretation of the piece, it is somewhat exaggerated and a tad unrealistic.  Even though it is a fantasy and was made for Elizabethan England, I personally can’t quite relate to it.  However as a classical interpretation, Kenneth Branagh’s motion picture is, visually reflective and meaningful in showing today’s audience what it would have been like in it’s prime.  Plus theatrically speaking, this is a great production for ‘the Globe Theatre’.  Uses of the stage and interactions with the audience make grand entertainment and pure comedy.	Mix – In truth, this is my favourite interpretation of them all.  It’s fast, funny, and in a way genius.  It adds a sense of naturalism and realism through the staging and the acting.  Plus likability through the characters interactions, actions, and progressions.  It uphold references to the original and to a modern audiences response, particularly when it comes to Benedick and Beatrice’s relationship and, especially, Claudio’s suicide attempt.  I think it is a grand treat for all modern audiences because it shows them how fun, funny, intriguing, and energising Shakespeare plays can be.	Modern – I think the main element about this interpretation that will appeal to a modern audience is the change in the language.  Much like the website No Fear Shakespeare (nfs.sparknotes.com) it shows the Elizabethan text in modern spoken English.  Thereby making more sense to a modern audience and being more realistic when it came to plot elements like Hero’s fate.  I personally loved this interpretation as I made me see the play from another perspective and widened my view of Shakespeare’s production universe.  A grand interpretation that can be seen by all and enjoyed by all.  Especially first timers being introduced to Shakespeare.

 

 

Key research link:

Kenneth Branagh’s Interpretation –

http://www.imdb.com/title/tt0107616/ 

 

Josie Rourke’s Interpretation –

http://www.digitaltheatre.com/production/details/much-ado-about-nothing-tennant-tate/play

 

‘Much Ado About Nothing’ Review –

http://www.theguardian.com/stage/2014/apr/17/best-shakespeare-productions-much-ado-about-nothing