Classical Theatre Performance Assignment –
‘Much Ado About Nothing’
Tuesday 20th – Friday 23rd October
2015
Performance Layout
Continuing into the rehearsal process of
our ‘Much Ado About Nothing’ performance assignment, our main focus this week
was to observe the stage and shows layout.
Particularly, what scenes we were using to give a rough idea of what the
pacing of the production would be? How
we would physically present this play on stage?
Plus, how could we incorporate
other theatrical aspects to the play to increase the entertainment value of the
performance?
Firstly, what scenes had we chosen from
‘Much Ado About Nothing’?
1)
Act 1, Scene 1 – We focus on the first half of this
scene as it is an introduction to the lead characters and the setting of the
play.
2)
Act 2, Scene 1 – The first half of this scene
develops Beatrice’s character and her relationship to Benedick plus it shows
Leonato’s love for his family, all taking place before the mask parade (in our
modernised interpretation it would be a house party).
3)
Act 2, Scene 2 – This scene shows both Don John
and Borachio plotting to stop Claudio and Hero’s wedding, this scene shows more
major plot elements and shows the deceiving character of Don John.
4)
Act 2, Scene 3 – In this scene we see Benedick
recovering the mask parade (party), but sooner hides from his friends as they
trick him into believing that Beatrice is in love with him, the scene ends with
Benedick falling in love with Beatrice.
5)
Act 3, Scene 1 – Similarly to Act 2, Scene 3, this
scene shows Beatrice recovering from the party when she too is tricked by her
friends into believing that Benedick is in love with her, this results in a
similar ending as Beatrice falls in love with Benedick.
6)
Act 4, Scene 1 – For our final scene we focus on
the final lines in Act 4, Scene 1, in this scene Beatrice and Benedick finally
confess their love for each other and together plot to try and make amends with
Hero by Beatrice getting revenge on Claudio.
This scene is comedic, romantic, and tense, ending our interpretation of
‘Much Ado’ on a high note.
Secondly, what was our staging plan for
our interpretation of ‘Much Ado About Nothing’?
·
Setting/Location – For our modernised interpretation
of the play, we decided to set the performance in the year 2015, and it’s main
setting is at a music festival. We all
agreed that this would be an appropriate adaptation of Don Pedro’s gang;
transferring from the Royal army to a successful folk band performing at the
festival. Not only that but the plot
element of Don John being alienated from Don Pedro’s gang would be reminiscent
of the successful band ‘Take That’ as their fellow band member Robbie Williams
decided to go solo, which is what we hope to give homage to with Don John’s
exclusion from the others. To give a
physical image of inspiration for our music festival setting here is a few
images that supported my understanding of what our festival is to look like:
·
What’s on Stage? – We decided that our staging of
the performance should be very basic in order to leave more to the imagination
for the audience. But through our uses
of boxes and bunting we should add a little vision to the factor of where our
interpretation is set. Here is some
photographic evidence of what our staging is to be:
Plus
with audience seating similarly to a seating arrangement for an Proscenium
stage, it would allow the audience to engage and embrace the performance and
its characters to level of pure intrigue.
·
Use of Props – Similarly to the staging of our performance
our props list is limited, but enough to enhance the setting image of a music
festival. Uses of alcoholic bottles,
musical instruments and equipment (like guitars and drum sticks), and boxes all
show the little details for our characters.
Like what are their characteristics like, what they do in the band, and
do they enjoy themselves in this play?
Plus our uses of the boxes give off multiple uses; with their lids it
gives us the opportunity to turn them into physical suit cases and stools. Not only that but when stacked and used by
Benedick in Act 2, Scene 3, I found, it gives a reflection to the pillars used
in ‘the Globe Theatre’, as they would’ve been used in this play as a way for
Benedick to hide from his friends. While
in our interpretation it is used to a more comedic value and the boxes are
removed and it becomes increasingly difficult for Benedick to hide. All adding homage and increasing the
entertainment value to the original text.
Here are some photographic samples of ‘the Globe Theatre’ pillars and
our use of the boxes:
Movement Sequence
As we drew nearer to the climax of
rehearsals, it was time we devised some extended sequences to fill in the
missing scenes. While our six chosen
scenes are essential, plot wise, there are still multiple unanswered questions
for a casual theatre goer who’s never seen ‘Much Ado’. Therefore we took it upon ourselves to devise
movement sequences to answer these questions and fill in more major plot
moments.
Firstly, what did we have to devise into
the movement sequences?
1)
Act 2, Scene 1 – The second half of this scene takes
place at a masked ball and the scene climaxes with Claudio and Hero announcing
their marriage. Our task was to
modernise the scene to a modern house party and show Claudio proposing to
Hero. This movement sequence would take
place after our first half of Act 2, Scene 1 and before our Act 2, Scene 2.
2)
Act 3, Scene 2 & Act 4, Scene 1
– In Act 3, Scene 2
Don John shows Claudio and Don Pedro a false Hero bedding with Borachio. While Act 4, Scene 1 takes place at the
wedding and Claudio accuses Hero of being a liar and a cheat. This movement sequence would take place after
our Act 3, Scene 1 and before our second half of Act 4, Scene 1.
Secondly, how were we going to present
these movement sequences?
Adding more of a vision to our setting of
a music festival we would make them literal dance montages, like you would see
at music festivals. Using movement
choreographed to embrace the madness that would’ve occurred with these
characters at such a festival. Our
movements would work in four beats to show:
·
Dancing
·
Drinking
·
Smoking
·
and
Taking a Selfie
All adding a modern twist to a party, all
the while upholding a music festival vibe and keeping a sense of realism to the
modern audience.
We would incorporate similar movements for
the second sequence, just devising newer movements to reflect the step up into
the plot and show the tragedy that would later occur with Don John breaking
Claudio and Hero apart. Plus we would
include modern club music to reflect the chaotic theme that could be seen in a
house party and music festival, as well as reflect the characters/plots
progression from comedy to a hint of tragedy.
Our music list included:
Thirdly, what was my input to the movement
sequences?
In the first movement montage I took it
upon myself to reflect the fun, down-to-Earth, characterisation of Don
Pedro. Answering the question, what
would he do in this kind of house party?
Although an input I suggested was purely
to show the aggression and the tragedy of the wedding scene. One movement piece that I was very fond of,
and inspired me to show rejection within movement was to opening to this
movement piece:
With flowing and elegant movement,
presented to a similar degree from this piece, the performer could have shown
the doubt and aggression Claudio is feeling towards Hero. Plus, I adored, the harsh tap on the head to
show complete objection to the other figure.
I personally felt that this kind of movement would’ve added more depth
and meaning to Claudio’s actions and make the audience side with Hero all the
more as she truly suffers in this scene.
Observational Feedback
To conclude the week we were tasked to
watch, what we had achieved so far in, the performance and give observational
feedback to our fellow cast mates.
I was tasked to give feedback to two of my
fellow performers, both performing as Beatrice.
I did notice a similarity in their flaws. A new aim of ours was to establish our
characters objectives in each line; answering why are they saying that? Therefore I noted to them that they needed to
establish why Beatrice is saying that and what she plans to do in her future.
But what observational feedback did I
receive?
·
Work
on vocal emphasis (emphasis on “all”; “hath invited you all”).
·
Understand
a chosen voice tone (make sure that I do not sound rehearsed).
·
Take
time with my lines (pacing).
All these feedback notes were extremely
handy. They establish my flaws, so I can
easily rectify them in time for the main performance.
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