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Film Versus Theatre Presentations of William Shakespeare's Much Ado About Nothing Shakespeare's comedy Much Ado About Nothing is a witty play that is interpreted in many different ways for many different audiences. Branaugh's movie rendition, compared to the Shenandoah Shakespeare Company's play, have many separately emphasized points. If we look at elements such as use of space, costuming, and love relationships we find that Kenneth Branaugh emphasizes the separation of the military from the domestic which eventually heads down to the separation of men and women, while in the stage production, the director emphasizes the relationship and friendship between Claudio, Benedict, and Don Pedro. In Branaugh's movie version of Much Ado About Nothing there is much emphasis placed visually upon the military and the domestic atmosphere. From the beginning of Branaugh's interpretation the clear distinction between the two groups is visually portrayed. The movie begins with Emma Thompson, Beatrice, reading aloud to her friends and family in a relaxed laid back setting. The first domestic scenes lay out the tranquility of Leonato's home compared to the rough and public military scenes. The first military scene shows Don Pedro and his comrades riding up to Leonato's house. The scene is visually pleasing with the soldiers striding up to the house on horses with their arms raised in the air in slow motion. A strong sense of military valor is established through the soldier's actions, and the movie has already established a sense of military and domestic space, which the play did not capture. The Shenandoah Shakespeare Company's version of the play began very differently. There was no domestic or military atmosphere at all and the ... ... middle of paper ... ...oin the domestic group, but Don Pedro and Don John are not as faded out. Don Pedro is present in the end, however, he is not a main part of the action. All of the characters were present most of the time either sitting on stage or standing which made the two groups seem not as separate as in Branaugh's movie. Branaugh and the company director both made many choices, which influenced their performances. I enjoyed the movie more the play because it was not only full of funny lines and puns, but the actors and the setting were amazing. They movie seemed to flow more for me and I enjoyed being able to see the characters in a serene setting without having to visualize it all. Shakespeare's play Much Ado About Nothing can be interpreted, acted, read, and visualized in different ways, but I thought that Kenneth Branaugh brought together an amazing cast and performance.
“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.
Comparing Two Film Versions of A Midsummer Night's Dream by William Shakespeare Introduction The two films we have been asked to compare are both different versions of 'A Midsummer Night's Dream'. The first was a big screen movie, by Michael Hoffman and made in 1998. This film was set in the 19th Century in the fictional city of Monte Athena and starred major actors and actresses such as Sophie Marceau, Kelvin Klein, Rupert Everett and Calista Flockhart. The second was a budget film made for channel 4 by Royal Shakespeare Company. Adrian Noble was the producer
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.
Set in the sixteenth century, Much Ado About Nothing is revolved around the thought of love and marriage. Primarily, this is prevalent in the two main characters, Beatrice and Benedick. They have once been courted which suggests more maturity than the majority of couples in Shakespeare’s various plays. In the duration of the play, the violent language between Benedick and Beatrice is most evident through their ridicule. Both characters always speak critically regardless of whether they are talking to each other or out loud about one another. This is highlighted when Beatrice exclaims, “What should I do with him—dress him in my apparel / and make him my waiting gentlewoman? He that hath a / beard is more than / a youth, and he that hath no beard is less than a/ man; and he that is more than a youth is not for me, and he that is less than a/ man, I am not for him...
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
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.
nature of engaging in spectatorship: it can easily go wrong. The nature of a character’s
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 unforgettable characters and witty charm, this Much Ado entertains the masses and at the same time reveals the troubles and adversity of love and mistrust. Kenneth Branagh creates his own individualistic adaptation of this classic through the use of visual imagery, characterization, and setting. Branagh cut many lines and speeches from the text to better support his interpretation of a more open and informal society of warm-hearted, affectionate characters. Though Shakespeare's mood is more formal, Branagh remains true to the essence of the play as all of the same characters and most of the dialogue are justly included in the film. Although distinct differences can be made between Branagh’s film and Shakespeare’s written work, they both share a common denominator of good old-fashioned entertainment; and in the world of theater, nothing else really matters.
=== If you're studying the Shakespeare play, Much Ado About Nothing, be sure to watch Kenneth Branagh's interpretation of this play. This film will provide you with an enhanced understanding of the play. Although, it is misleading at times, this version of the play will keep you fully entertained for the full 111 minutes and provide you with extra knowledge of the play. Casting The majority of the cast was well selected, and the actors lived up to expectations.
William Shakespeare's Much Ado About Nothing Much Ado About Nothing is clearly a classic comedy; lots of wit, puns, a group of stupid characters (Dogberry and the Watch) and although there are complications during the middle Acts, everything turns out right in the end. The first scene contains a lot of witty jokes and uses puns to show that right from the start of the play it is a comedy. Messenger: 'And a good soldier too, lady. ' Beatrice: 'And a good soldier to a lady. ' Beatrice and Benedick appear to have a 'teasing relationship'.
In conclusion, Shakespeare's play "Much Ado about Nothing" intertwines two love stories in Renaissance Italy. Through its characters, it portrays the political and household lifestyles of the Renaissance times.
Shakespeare’s influence continues even in the world of film, not invented until several hundreds of years after his death in 1616. As well as the inevitable BBC remakes of most of his plays, newer adaptation such as Kenneth Branagh’s ‘Much Ado About Nothing’ (starring Keanu Reeves and Denzel Washington) and Baz Luhrmann’s ‘Romeo and Juliet’ (featuring Claire Danes and Leonardo DiCaprio) have met critical acclaim and can be credited with bringing Shakespeare to a new generation not inclined to visiting theatres.