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Watching a play is completely different than watching a movie. When watching a movie there are two options, either watching it at home on the couch with a bag of chips, or going to a movie theatre with a bucket of popcorn. Why do we even waste two hours of our time to sit and watch a movie? Primarily, we do watch movies to waste time. When people get bored, we watch movies to pass the time. Well, before they could make movies, people would go watch a play which is an entirely different experience than going to a movie. Many of these plays that people went to watch were written by a man named Shakespeare. William Shakespeare is probably the greatest play write of all time. Two of his plays, Much Ado about Nothing and King Lear, are both wonderful plays with different, but similar narrative structure, or plots. Much Ado about Nothing is a story about Hero and how the love of her life Claudio is planning on marrying her, however a few envious people try to ruin everything which lead to Hero faking her death and Claudio thinking Hero was unfaithful and then passing away. Yet, by the end of the play, Hero reveals herself; Claudio realized that people were lying and that Hero was being faithful and the play ends with a double wedding. In King Lear, two different families are being betrayed and two different fathers make bad decisions about their children that eventually lead to one man being blind and the other father’s demise. Yet, this isn’t all of the play according to Arthur Rosenblatt, “Besides, the plot line, involving two older men and their respective family problems, is only a small part of the play.” (Rosenblatt, Arthur S.). In Shakespeare’s plays King Lear and Much Ado about Nothing, their narrative structures have similar qu...
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...aos reigns.” (Boston, Gabriella) as well as Edgar’s trick he played on his father in King Lear by having him fall of an imaginary cliff. This play does have some similarities, but overall the plot development is different.
Works Cited
Bennett, Ray. "'Much Ado About Nothing'." Hollywood Reporter. 28 Dec. 2007: 25. eLibrary. Web. 19 Jan. 2014.
Boston, Gabriella. "Review of Much Ado about Nothing.." Washington Times (16 Nov. 2002): D2. Rpt. in Shakespearean Criticism. Ed. Michelle Lee. Vol. 88. Detroit: Gale, 2005. Literature Resource Center. Web. 19 Jan. 2014.
Heath, Sue.. "RSC: Much Ado About Nothing, Northern Stage, Newcastle." Northern Echo. 02 Nov. 2006: 13. eLibrary. Web. 19 Jan. 2014.
Igleheart, Erin "King Lear." Hutchinson Encyclopedia. 2011. eLibrary. Web. 19 Jan. 2014.
Rosenblatt, Arthur S.. King Lear. Barron's, 2004. eLibrary. Web. 19 Jan. 2014.
“And when I lived, I was your other wife, And when you loved, you were my other husband(Shakespeare 60).” In the beginning of the play it was overwhelming, steeped in love at first sight between Hero and Claudio, until Don John’s evil-manner took a role in ruining the love between them. And because of this a conflict developed between them, but was resolved when their vigorous love for one another overcame the conflict. In Much Ado About Nothing by William Shakespeare, Hero serves as the foil character of Claudio because of Hero’s dignified, well-mannered, eminent reputation is illuminated through Claudio’s insecure, accusing, and doubtful weakness; thereby, interminably influencing the conflict in the plot.
William Shakespeare is known for his use of dramatic irony and complicated story lines. In Much Ado About Nothing, he also adds in the element of disguise to what the characters know, or what they think they know. There are multiple characters trying to ensnare others in different facades, whether it be for better or for worse. The deception and illusion in the play can either assist the characters or completely shatter the situation, but in both cases, Shakespeare advises us to infer about what we hear or see before we jump to conclusions.
Transformations inherently contain traces of the author’s social and cultural context. Much of the same can be applied to “Much ado about nothing”. It incorporates comical features, yet retains the sense of tragedy which is attached to almost all of Shakespeare’s plays. Brain Percival’s role as a director, was determining, understanding and distinguishing the social norms and the social structure of the society, and how the themes represented in the play can be transformed into a modern text. The Elizabethan society was typically a patriarchal society. Percival has used as well as transformed certain themes and textual features to ensure, that the film is more appealing and assessable to the critical modern audience.
William Shakespeare's Much Ado About Nothing is a play involving by deception, disloyalty, trickery, eavesdropping, and hearsay. The play contains numerous examples of schemes that are used to manipulate the thoughts of other characters; it is the major theme that resonates throughout the play. Ironically, it is one of these themes that bring serenity to the chaos that encompasses most of the play.
"Much Ado About Nothing: Entire Play." Much Ado About Nothing: Entire Play. N.p., n.d. Web. 29 Mar. 2014. .
The modernization of nearly outdated and cliché settings typically used for Shakespearian plays such as Much Ado helps enforce Whedon's attempt to make the film and play familiar, as well as creates accessibility for the audience regardless of how well they may understand Shakespeare's language. Both the ensemble and individual cast members assist in achieving Whedon's vision by creating an atmosphere that seems familiar if only that it could be our own family and friends throwing that same banter back and forth between each other. Their playful and occasionally raw performances combine with a spectacular setting to help make Whedon's Much Ado About Nothing a stellar film that is a nearly perfect modern translation of a classic, centuries old
Shakespeare, William, and David L. Stevenson. Much Ado about Nothing. New York: Signet Classic, 1998.
Barton, Anne. Introduction. Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 361-365.
In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play.
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
With its entangled double plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ...
Much Ado About Nothing Movie Review Cast: Kenneth Branagh, Emma Thompson, Denzel Washington, Keanu Reeves, Robert Sean Leonard, Kate Beckinsale, Richard Briers, Brian Blessed, Michael Keaton, Ben Elton Running Time: 1hr 5mins Introduction = == == == ==
Shakespeare, William; Much Ado About Nothing; Washington Square Press; New York, NY; New Folger Edition May 1995
Shakespeare uses subplots to dramatize the action of the play and give spark on the contrast for the themes in King Lear. Sub plots usually improve the effect of dramatic irony and suspense. The latter, which is used in King Lear, gives us the understanding of the emotions of the characters in the play. This follows the parallelism between Gloucester and King Lear.
Much Ado About Nothing. The Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398.