Classical Theatre Performance Assignment –
‘Much Ado About Nothing’
Tuesday 6th – Friday 9th October
2015
Rehearsal Development
Previously focusing on my characterisation
and Shakespearean performance techniques/strategies, I wanted to make this week
a main focus in my vocalisation of the character. During rehearsals we began to notice in my
performance that I wasn’t pacing myself.
Nor putting enough detail within my spoken lines. Here is an example of what I was projecting
in the earlier weeks of rehearsals:
It became apparent to me that many of my
spoken words were “slurring”, not enough detail that would make the audience
question what I was saying. Not only
that, but I wasn’t taking in enough air to support my delivery. This brought in more and more pressure with
my larynx and vocal folds. With a lack
of air comes a lack of clarity and power within your speaking. These were all error within my performance
that needed to be rectified.
We established a method to which I can
give a better performance and better vocal delivery and this is what I
achieved:
This new style/method I undertook to make
my performance better was simply pacing.
Similarly to the Shakespeare language technique Iambic Pentameter, it
was all about breaking my lines apart and establishing the big words. In my first line we established that key
words were: “Signor”, “Leonato”, “trouble”, “world”, “avoid”, “yet” and
“encounter”. What I needed to do was
inhale just before I spoke those words and put emphasis within my pronunciation
of those particular words. Giving more
meaning to the sentence and putting less pressure on my physical being.
I used this method for all of my lines for
this scene. I was instantly clear to me
that pacing is essential for all performances, to give clarity to what my
character is saying and why they are saying it, put emphasising the theme of
the scene.
My next goal was to practice this method,
alongside projection, to ensure that I will give a decent performance for the
show week.
Execution
How do we intend to execute this
performance? While we are only
performing selected scenes from ‘Much Ado About Nothing’, we are intending to
execute our performances in such a way that it would seem we are doing a
full-length performance. Plus we had to
establish a performance style. A style
which is to be reflected within our performance’s setting, costumes, and
performance styles.
Setting wise, we are setting our
interpretation in modern times at a music festival.
Costume wise, we are basing our wardrobe
on what our characters would wear if they went to, or took part in, a festival.
Performance style wise, we are truly
reflecting upon traditional Shakespearean actor’s performances. Giving a naturalistic and realistic flow to
our lines, while physically and mentally emphasising to a degree of pure
entertainment value.
Interpretation Comparison
In comparison to two modernised
interpretations we observed (David Tennent and Catherine Tate’s Interpretation
and the BBC’s TV Film starring Damian Lewis) we set ourselves a comparison
plot, to make our interpretation similar but equally original.
Firstly, how did these interpretation
portray the plot of ‘Much Ado About Nothing’?
David Tennant and Catherine Tate’s
Interpretation
·
The
play was set in 1980s Spain.
·
Don
Pedro’s gang has now become the Royal Navy.
·
Use
of modernised props, such as golf carts, guns, and music players.
·
All
giving homage to the traditional/original storytelling of the play.
BBC’s TV Film Interpretation
·
The
film was set in modern day (2000s) London.
·
Character’s
statuses changed from royalists to television news anchors.
·
The
spoken language was modernised.
·
Modern
responses were added to give a realistic feel to the classic plot (for example
Hero doesn’t respond well to Claudio humiliating her at the alter).
(For my
full comparison of the different interpretations: http://sdcperformancefh.blogspot.co.uk/2015/10/classical-theatre-research-blog-3.html)
Our Interpretation
·
Our
play will be set in modern times (2015) at a music festival in the country
side.
·
Don
Pedro’s gang is now a folk band performing at the festival, hosted by Leonato,
and they attend as somewhat royal guests.
·
Don
John is literally an outcast as he was a member of Don Pedro’s band but decided
to go solo.
·
Uses
of props, such as walky-talky’s and clipboards are used to convey messages
(Leonato learning that Don Pedro is attending the festival; “I learn in this,
that Don Pedro of Arrogon is returning” – Leonato, Act 1 Scene 1).
·
Use
of modern music will be used to emphasis the larger scope of the play. Movement montages will be used to pass over
plot points like Claudio proposing to Hero and their wedding gone wrong).
Our interpretation will give homage to the
original and, the mentioned, modernised interpretation, all the while upholding
a humorous and energising new vision of the classic play.
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