KEY

Historical Context- BLACK WRITING

Character Research- BLUE WRITING

CHARACTER RESEARCH- Evaluation of our performance (Brighton)

I felt much more relaxed going into our performance in Brighton than I did going into the one at the new theatre. This was probably due to the fact that we had done 2 performances now, which we were able to learn a lot from. Our biggest challenge this time round would not be nerves, it would be our change in venue. We would be competing with a cafe and a park full of people, walkers by, other street performers, cars, the elements, everything would be battling to be heard- we just had the job of fighting the hardest. 

When people try and tell you that you will need to project louder than you ever have before because of the noise you are competing with, your reaction is 'I'm sure it's not that bad,' Oh how wrong we were. We arrived to a park that was filling slowly but surely up for lunchtime, an opera singer on the road just beyond, a rock band and about every other noise you can think of that would appear in the soundscape for a park/high street/road/cafe. Needless to say, when I say I projected, it felt like shouting. Although I hope I wasn't shouting, it felt that way. All those times I've been told to speak from my stomach and use your diaphragm came flooding back as I battled with an opera singer already winning half the battle due to her luxury of a microphone. The new theatre seemed a fond memory of the times when the surrounding area in the theatre was silent. It felt like a power struggle to be heard. It was mad. This has taught me so much and is a valuable lesson before we go to Stratford. Without volume there is no words, without words there is no story, without a story there is no play and no play means no audience. To keep bums in seats we have to be heard, a lesson learnt quickly when in Brighton. 

Apart from the looming problem of projection, Brighton was one my best performances. The response from the cast at Brighton was really mixed, with some hating, some loving, some falling in between. I didn't expect it to feel as it did. I think because we didn't feel the pressure of a traditional theatre space, we relaxed, meaning we delivered a more confident well rounded performance. I wasn't nervous to be bold and brave which is something I've struggled with before. Aside from the fact that I'm not sure if the audience could hear what was on stage, I felt at home on the stage, using the props, the set and playing off my fellow actors. It was like a comfortable pair of boots instead of a comfortable, yet shaky pair of stilettos (for want of a better simile.) 

The one thing I would like to improve isn't something drastic, but a finishing touch that would polish the piece perfectly. At the very end when Benedick and Beatrice embrace, myself and Jack were unsure whether to spin, hug, do a dance or what and I think if we agree on a few things to do in that time frame it will put us in much better stead, completing the performance in a confident manner. 

Overall I am very pleased with my performance at Brighton because I finally felt like I was having fun. I felt like the words and the actions on stage weren't being recited but lived, which freed up a whole new dimension in which I was free to play. And on top of all of that, a wonderful surprise that on the whole, we kept bums in seats. 

CHARACTER RESEARCH- Evaluation of our performance (New Theatre)

After nearly 10 weeks of rehearsal, show day had come around. This was the first and last time some audience members might see it, so it was these 2 performances that had to count. Throughout the day we had our 4:30 performance and our 7:00 show, which I will be evaluating individually, noticing their different successes and improvements. 

Round 1- 4:30
One of the first things to note about this show was our audience. Reflecting on the 2 performances now, it is quite clear that our first audience were more vocal when it came to laughing and cheering. Why? Quite simple- we had a lot of friends in the crowds meaning we could take one step onto stage and people enjoyed it because they saw their friends at first, not our characters. I think having an audience like this first time round had its pros and cons. It gave us a wonderful start, filling us with momentum and confidence that we could deliver a strong piece that the audience were clearly enjoying. I think it was helpful in carrying away a lot of opening night nerves because we could tell even when performing that the response was positive. However looking at it now, I think the different audience to come at the 7:00, didn't react in the same way meaning our first performance got our hopes up. The whole cast was questioning themselves; why didn't they laugh? They laughed last time? I think our first audience gave us exactly what we wanted first time round, but by 7:00 perhaps the bar had been set too high. 

As I was in the second half of the show, I think evaluating the performance of the first half is very important and very well deserved. Call it nerves, adrenaline or divine intervention, but each and every person bought something to the stage that we hadn't seen before. Fuelled by the audiences reaction and the want to do just as well as the other 2 casts, the first half definitely set the show up. It was a moment of pride, realising that you have worked with these people for over 9 weeks and overcome a lot of barriers with them- this cast was a unit. We win together, lose together and it was wonderful to see the first half win. They had presence, timing and comradeship as a group that lifted the piece. 

When it came for the turn of the second half, we knew we had to meet, if not exceed the energy of the first half because it would take that much to carry it through. One thing that I believe went well in the 4:30 was that I was able to still play on stage within the world of the play. Every time you perform, in a different theatre, with a different prop, you can discover new things that help you deliver a fresh, vibrant performance. I think this, mixed with nerves, allowed us to carry a playful energy through the piece, which I hope did the playful  nature of the play justice. 

Something that needed to be improved from the first show to the second was my apprehension on stage. After doing a piece so many times, you know exactly what is coming; it is our job to know. However the trick is not letting the audience know and to keep living, breathing and speaking for the first time. When I came out the feedback I got was directed at my kiss with Benedick and it was a knock; you don't want any negative feedback. When people said that they wanted more, I felt slightly disheartened. After working with Jack to get our relationship as Beatrice and Benedick to reach a point in which we could access those deep rooted emotions meant hearing that it didn't necessarily translate to an audience, was hard to hear. However I realised that perhaps it wasn't the acting or the chemistry, it was the technicalities. We knew we had our peers watching and we all knew it was coming so you become nervous and apprehensive which causes you to lose the spark. We now had to make a concerted effort to piece together our intentions and our actions and I hoped to do so for the 7:00 show. 

Overall this show had the energy, but perhaps now needed a little refinement. We needed to push the energy still, but find a control with it and instead of getting caught in the playfulness on stage, be able to control and manipulate it, playing off each other in a supportive manner, both to one and other and the text. 

Round 2- 7:00
The hardest part of the second show was the transition. The effort it took to pick yourself up from that dip in energy and raise it high enough to pack a punch on stage was hard. It was almost like dragging a dead weight. It was a case of starting a fresh and not getting comfortable or complacent. If we did we would have failed before we even took a step out onto the stage. None of us are used to doing 2 shows and although that is how it may be in the professional world, I expect it is still difficult. I think what carried us through was the fact that both as a cast and personally, I felt I had something left to prove. 

In my evaluation of the first performance I referred to the difference in our audience the second time round. The difference was this; although there were still friends in the audience, they hadn't come in their numbers. Instead it was our parents and in general an older audience. This definitely had an impact on the response. Whereas we had laughs and cheers the first time, we had a quieter, reserved audience. I think this was due to the fact that people in the audience may not know the play as well as our other classmates and our parents are used to seeing us perform at this point, so the hilarity of just walking on stage is not as present. This dampened our moods a little, but it made us even more determined to go out and give everything we had. There was a mutual feeling of now or never. 

I think it is important for me to note my response to the 4:30 criticism about my relationship with Benedick. In the break between the shows, I sat down with Jack and discussed what it was we thought we were lacking on stage. Knowing each others response to that question can answer some of our own and we were able to work out different ways in which we could change our performance, pinpointing moments to push and moments to relax. I think in terms of the performance the response was better and I was able to contact Beatrice's emotions on stage, especially in my scenes with Benedick, which is something I lacked previously. I think our connection was more tender and understated than it was anything else so we had to heighten this so as to portray it to our second audience. 

One thing I want to take forward to Brighton and Stratford based on this performance is to embrace the slip ups. When we were on stage there were minor technicalities that would sometimes throw me. For example, during a quiet scene I stepped back onto one of the plastic cups which really shook me. I had that feeling in the pit of my stomach that said 'I've just ruined the whole play.' When I had got past the dramatics of the whole thing, I realised that it wasn't very important and when I pointed it out to audience members it hadn't resonated as a play destroying moment. However, although afterwards I was reassured, in that moment I stopped living as Beatrice and let my fear as Olivia take over which I can't afford to do. I need to put my faith in the play, the audience and myself and know that stepping on a cup isn't the end of the world. 

Final round- Overall reflection
I am very happy and very proud of the whole cast for our first 2 performances. I believe that we discovered, whether last minute or not, that when we work together, trusting not only our own instincts, but those of the others on stage, we can deliver a high energy, highly entertaining performance that we as a cast can be proud of. Going forward I can learn a lot from these shows: I can learn from Sam's stage presence, Michael's comedic timing and Kai's deep rooted character work. I can learn from my own mistakes, looking at why I messed up and assuring that my Brighton and Stratford audience never see them again. 

CHARACTER RESEARCH- Notes

These are the notes I got from Jack this week and how I intend to use them in the following rehearsals.

Find the colour- in the scene after Hero is disgraced Beatrice's emotions have hit the roof- she is all over the place. Up until now I have been interpreting this as anger- perhaps because I felt comfortable in this state because when you are this emotional this is normally your natural emotional state. However this scene, although powerful, is delicate. I need to focus on the words she is saying and the truthful vulnerable intentions you can often find behind them. When I am ranting it doesn't always have to be on an angry tone, it can be helplessness, desperation, fear, worry. Finding this colour will give the character more depth and allow the scene to come of the page. 

Inward and outward intentions- in the same scene Beatrice says a lot of things that portray her inward and outward intentions and emotions all in one sentence. When she confesses her love she does it in such a way that she drops her walls then puts them back up. Finding the moments and the intonations in the language to highlight this will help me get to grips with my character intentions. 

Be bold, be brave- we are now well and truly into our rehearsal process so this is the time to start making bold decisions, being braver than I was in previous weeks. This requires me to get over the problems Olivia has and focus on the problems Beatrice has. I need to get a grip on the fact that it's not Olivia and Jack, it's Beatrice and Benedick. There is no reason for me now not to invest fully in the play and that's what I intend to do. 

CHARACTER RESEARCH- the 90s influence

Setting our play in the 90s means I have to have an understanding of 90s culture and the influence it has on the setting, characters and story of the play.

Fashion
Beatrice's costume is very similar to the attached picture: a tied and cropped white top, long ripped denim shorts, fishnet tights, black doctor martins and a leather jacket. Her hair is half up half down and backcombed and her make-up is made up of red lipstick and black eyeliner. This outfit falls into the 90s category of grunge. 

Grunge coincided with the Seattle grunge music movement. It was all about rebelling against the 80s aesthetic of the previous decade. It was anti-conformity, going against the American norm of consumerism, buying from thrift stores, investing in durable clothing rather than flimsy, flash outfits. It's parallel with music is said to be rooted with Nirvana's front man Kurt Cobain with music journalist Charles R. Cross saying he was 'too lazy to shampoo.' The moral of grunge was that the less you spent on clothing, the more cool you were. 

Beatrice's outfit is a blatant comment on her character. In a strict Muslim society, recently westernised by the arrival of American and British troops, Beatrice expresses her feisty, rebellious self in the way she dresses. With Hero adopting the fashion from the 1995 film 'Clueless' Beatrice's costume sets her apart from her cousin showing the blatant difference in their values and spirits. This costume allows Beatrice to have a voice and presence in a room without opening her mouth. 

Music
Complimenting the style of Beatrice in the play, throughout the whole piece, grunge music from bands like Nirvana provide the accompanying soundtrack. When you type into google 1990s music, out of all the suggestions of tracks, Nirvana's 'Smells Like Teen Spirit' is the first to come up. Like the clothing, this style of music represented a rebellion from the previous decade. Even in the video for 'Smells Like Teen Spirit' you can see a weird clash of preppy American high school cheerleaders and grunge teenagers moshing around them. It was a decade in which the pattern of most decades before them appeared- the clear parallel between music and fashion.   

Setting the play to soundtracks such as the one above gives the mix of culture- a beautiful traditional house being taken by loud music and young people throwing themselves around holding red beer cups. It fits perfectly with the crazy structure of the play and really gives the character a new territory to play within. 

HISTORICAL CONTEXT- Research your own play 'Much Ado About Nothing.'

When performing any play you must have an understanding of the writer, your character, the plot and how it can be interpreted. With Shakespeare, you have the task of understanding how he himself wrote it and how it was performed to an audience in his lifetime and how that performance style differs now.

Then
'Much Ado About Nothing' was written at the very end of the 16th century first published in 1600 and then again in 1623. The first recorded performance was in 1613 for Princess Elizabeth, daughter of James I, for her marriage to Fredrick V. Shakespeare had many inspirations for his play one of them being from the poet Lodovico Ariosto with this section creating a basis for the marriage of Claudio and Hero and Don Johns plot to ruin it:

Credited as one of Shakespeare's best comedies, a perfect mix of comedy and tragedy with a heart warming resolution to end. The plot is as follows: after the war Don Pedro arrives to Messina and comes to Leonato's house, bringing with him Signor Benedick, Count Claudio, his traitor brother Don John and Dogberry and his watchmen.  Greeting the returning soldiers are Hero Leonato's daughter and Beatrice Leonato's niece. Beatrice and Benedick are in a long feud, the cause of which is hinted to be a love gone sour. Contrasting their spite is Hero and Claudio are have fallen deeply in love. In a bid to win Hero for Claudio, Don Pedro disguises himself at a masked dance and woos Hero in Claudio's name. Their marriage is announced soon after. In the meantime Don Pedro is determined to match Beatrice and Benedick and all the characters come together to help him carry out this plan. Whilst Beatrice and Benedick are being brought together, Don John has plans of his own; to disgrace Hero at the alter and split her and Claudio up. He does so by getting his right hand man Borachio to trick Hero's lady in waiting Margaret into meeting him at Hero's chamber window the night before the intended marriage. Upon seeing this, Claudio believes it to be Hero and vows to disgrace her at the alter. When she is jilted at the alter Hero's family decide to pretend she is dead so as to cover her shame and bring to light the true going ons of this whole family drama. It is soon discovered that Don John authored the whole plan and he flees. He is bought back to face trial but not before Claudio and Hero are reunited and married and Benedick proposes to Beatrice. All trickery is brought to light and justice and peace is restored.

Even writing this proves to me how complicated the play is and therefore would have made a great story for an audience to watch- indeed it still does. Full of twists and turns, trickery and tragedy it makes for a very entertaining play.

Now
There have been many contemporary productions of 'Much Ado About Nothing' and yet one the I believe is good to look at, especially looked at it alongside our own production is that of Josie Rourke staring David Tennant and Catherine Tate. Set in the 1980s in Gibraltar after the Falklands war it mirrors our setting- the 1990s in Kuwait after the Gulf war. This play gives a new contemporary setting, but still allows itself to play within this. This allowed the play to discover new potential in the text like Hero's hen party before her wedding. There was a new humour created from the old.

Setting the stage with beer cans and cigarettes, navy uniforms for the men and baggy jeans and tops for the women, the play seemed all too familiar. By the choice of setting and prop, the piece was already breaking the mould of the classical text.

Focussing particularly on Tate's portrayal of Beatrice gave me food for thought when trying to make Beatrice my own. Tate to me already had comedic timing and presence as a women on stage, so for me it was about seeing how she used her unique personality to break the confines I sometimes feel within a classical piece. How she did this- she didn't act Beatrice well, she was Beatrice well. She was so natural and spontaneous I couldn't tell whether what I was seeing on stage was rehearsed or improvised. The nature of Beatrice's sharp comebacks have to seem like they are naturally rolling off the tongue and Tate did that perfectly. A better suited actress to Beatrice may be hard to find now.

I think you can learn things from both the original portrayal of the play and the contemporary versions. I think many people revere Shakespeare too much, considering the text a sacred artefact that can not be changed. There is no problem with respecting the language, but when you start loosing creativity because of it, you start having a problem. Watching Rourke's production has really shown me what it is to find that balance and fun within such an old text.

 

CHARACTER RESEARCH- Interrogating My Relationships

BEATRICE

Family:

Leonato- my uncle and father figure. My parents are unknown and so Leonato has bought me up with as much care as his own daughter and for that I greatly love and respect him. 

Hero- my cousin, my sister, my friend. In the same way Leonato is my father figure, Hero is practically my sister and I care, love and protect her accordingly. 

Antonio- my uncle. I love him because family is important to me. 

Friends: 

Hero- as stated, Hero is my closest friend, in the same way that she is the closest thing I have to a sister. 

Ursula and Margaret- as my maids, they are a large part of my life and know many aspects of it, both private and personal and therefore I would consider them friends, even if by circumstance only.

Acquaintances: 

Don Pedro- I do not know him well enough for him to be called a friend (although his marriage proposal may tell a different story) yet I have respect for him as a gentlemen and a good man. 

Claudio- I know him first and foremost as my cousins lover and also as Benedick's dear friend. Like my maids, we are acquainted by circumstance, so I would not go so far as to call him a friend- especially when he hurts my cousin, in which case he falls into the below category. 

Enemies: 

Benedick- my conflict with Benedick makes him first and foremost my enemy. I profess to hate him publicly (whether or not that is true in private is another matter.)

Claudio- I declare Claudio my enemy very publicly, to the extent that I ask his best friend to kill him; there is no quicker way to become my enemy than to become the enemy of someone I love.

Who do I openly like?

Hero- my closest friend and cousin, I will openly love and defend my cousin and do the opposite to anyone who does not.

Who do I openly dislike?

Benedick- I spend most of time openly disliking Benedick- whether that is because of the betrayal from our improvisation or another reason, there is no one else I take that much enjoyment out of disliking.

Who do I secretly like?

Benedick- my open dislike for Benedick is a mask for a feeling that I've buried, but not killed. I never let go of the feelings I had for him although sometimes I wish I did. 

Who do I secretly dislike? 

Margaret- basing this relationship off our improvisation, my relationship with Margaret represents the phrase 'forgive but never forget.' After she betrayed me, to get by, I forgave her so I could move on, but I will never forget what she did to me. 

It is always important to know your character's relationships, but 'Much Ado About Nothing' is a play based on complicated relationships and how they change and interlink so I couldn't play my character if I didn't know the subtleties of some relationships and the blatant presence of others. Beatrice is a character who bases her actions and opinions on her relationships with others. Some of her relationships can be interpreted by individual actors and they have helped me cement the kind of Beatrice I want to be. 'Much Ado About Nothing' relies on my understanding of the above relationships. 

This photo represents the hierarchy within my relationships of the play. At the bottom are the maids Margaret and Ursula because socially their position in the household is the lowest. Next comes Hero; her position is debatable because she is Leonato's daughter and his only heir, meaning she technically has a higher position than Beatrice. However her weaker characteristics mean she came just below Beatrice. Next is Beatrice; although she is the same position as Hero, her parents are not around meaning her guardian, although her uncle, would not guarantee any inheritance. However her strong spirit put her above Hero on our hierarchy. On the same level is Friar or Imam. Although there is a power in nobility, there is a power in spirituality which wouldn't top Leonato, but definitely second Beatrice. At the top is Leonato, household leader and everyone else's host. If he said get out, they would. 

CHARACTER RESEARCH- notes on the Gulf War presentation

This research crosses over into historical context too- the historical context of our play's setting. Understanding the circumstances our characters are living in is very important when making informed choices throughout the rehearsal process. 

Notes

• The war was between Iran and Iraq spanning from 1980-88. Iran were Islamic Fundamentalists and Iraq was the Ba'ath party. 
• The USA funded Iraq in a bid to avoid Islamic Fundamentalism spreading. 
• SHIFT IN INTEREST: fall of the Berlin wall in 1989 and the fall of the Soviet Union 1991 means attentions move from Europe to the Middle East. 

Gulf War- August 1990- February 1991

• In the July of 1990 Saddam Hussein accuses Kuwait of stealing Iraq's oil demanding $2 Billion as repayment for the falling oil prices due to overproduction which had knock on effects in Iraq, something Hussein blamed Kuwait for- Kuwait refused. 
• After no support from the USA on the 2nd August 1990 Iraqi troops attacked Kuwait. 
• The UN demanded a full withdrawal from Kuwait- the USA however feared for their oil supply with Iraq holding 20% of the words oil. UN launched OPERATION DESERT SHIELD to be enforced if Kuwait was not left alone. 
• Desert Shield terms- 250000 US troops to be sent to Saudi Arabia if Iraq did not withdraw their troops. 
• OPERATION DESERT STORM- the forcible liberation of Kuwait- Egypt and Syria form coalition to fight Iraq, Britain send 45000 troops to support the USA, France and Germany not physically involved giving only financial aid.
• 16 January 1991- USA and coalition forces attack Iraq.
• HIGHWAY OF DEATH - Highway 80 only linking road from Iraq to Kuwait and was Iraq's road to invasion. The USA bombed the whole highway with many people on the road and 2000 vehicles being hit or abandoned. 
• President Bush states the Gulf War was about a 'new world order.'
• The UN investigates Hussein's possession of weapons of mass destruction. 
• OPERATION DESERT FOX- USA and UK plan to bomb their nuclear production points- this plan failed.  

Gulf War- 2003 Invasion of Iraq

• 9/11 sparked a worldwide attack on terror with the USA believing any actions against terror were necessary.
• OPERATION ENDURING FREEDOM- October 2001 the USA attack al-Qaeda's training camps without UN sanction claiming 'self defence' rather than 'aggression.'
• The Taliban regime was removed but Bin Laden was not captured- in 2004 the Taliban started re-gaining power.  
• March 2003- USA and Britain invade Iraq and in December capture Saddam Hussein. 
• USA arguably fell in to Bin Laden's trap of isolating Muslims internationally. 
• By 2004 the UN removed any sanctions on Iraq. 

By having this presentation we could all understand the world of the play better. It seemed to heighten everything: Leonato's house became a safe haven and the beginning scene holding more tension, the returning soldiers knew what they were returning from and therefore carried with them both the weight of war and the relief of safety. Understanding the social politics of a play is key to performing it with truth and credibility. 

HISTORICAL CONTEXT- Analyse contemporary Shakespeare productions with reference to live performances you may have seen or clips or footage available online.

There is a reason that Shakespeare has survived this long- his writings, characters and stories speak to people of any age or century, with his structure and style becoming the foundation for many modern stories that followed after him. We are allowed the luxury of technology which allows our audiences to go deeper than they ever could before into his stories, creating a new era of Shakespearian productions.

I recently went to see a production of 'As You Like It' at the National theatre. A space like the national is already a crossover between classical and contemporary. A curved three sided theatre with two tiers. No standing, but the seating banks almost in the style of a playhouse, but with the luxury of a theatre's roof. To me seeing a play supported with lighting and sound is normal but it was here that you could find the difference between the production I was about to watch and the playhouse productions of the 17th century.

I walked into to a play set in an office with its workers performing their task with sudden sharp movements; almost like a choreographed dance. Again this setting is different due to its modern connotations and the detail on stage which would have lacked back in the 17th century. I think the use of such experimental styles compliments the work of Shakespeare perfectly. Shakespeare is by no means naturalistic; in fact his bold characters and deep story lines, if anything, were almost melodramatic. Therefore the colour and vibrancy of the original productions can be channelled into the modern day, moulding and shaping it into new forms, but keeping the unique individuality it always had.

The biggest part of the play was the change in scenery- we went from our office to a wondrous forest built from the tables and chairs of the previous scene. The strip lightings of the office lamps provided a glinting sky which could only be described as breath taking. This is a perfect presentation of how much modern productions are enhanced by modern inventions. So swiftly and elegantly moving one set up in the air to create a beautiful landscape of something polar opposite, is a sight Shakespearian audiences would not have experienced. This production was all about the set, Shakespeare productions were not. This is spectacle is in no way Shakespearean, but it enhanced one of his plays ten fold.

The most obvious difference between this production and a Shakespearean play is the presence of woman, one of whom was our protagonist. This is due to the modern acceptance of females in headlining roles, including one such as Rosalind, an independent, spirited young women who is not way afraid to speak her mind.

At the end of the play there was a Shakespearean dance and song (heard in the attached trailer) performed by the actors on stage. I think this was a lovely touch. It created a perfect balance of modern spectacle and classic simplicity. It was a beautiful piece informed by the original staging and yet making bold choices to inspire modern audiences imaginations.

Plays like this allow me to appreciate the timeless language Shakespeare gives us by telling the story in a new refreshing light. A barrier that faced those watching Shakespeare decades ago was that they didn't always understand the plot, as they can indeed be hard to follow. Now there are new ways to present his plays to a wider audience which can allow them access his works.

I think it is also worth noting that Shakespeare's productions have spread wide, touching genres such as art, music and dance. I watched this video from the Royal Opera celebrating the influence that Shakespeare can have on dance, opera and a wide range of art forms.

I think contemporary art forms all have their place in many different cultures around the world, so the key to everyone accessing the works of Shakespeare is by interpreting it in ways that aren't just a play in a theatre. The dramatic style of Shakespeare's work allow people so much to work with, inspiring their creativity in many different ways. Dance and song are already rooted in Shakespeare's original works so why not develop that even further?

CHARACTER RESEARCH- The 9 Questions

Going even deeper into my character, requires asking myself questions by putting myself in their shoes. Only then can I understand the link between their intentions and mine, their actions and mine and their thoughts and mine. 

1. Who am I?

From this diary entry, I will pick a moment that highlights the duality of Beatrice's character. A moment in which she has acted on her outward emotions and suffered because of her inward. The moment below, I believe, highlights this perfectly:

Dear Diary, 

Today Don Pedro proposed. To me, Beatrice, the one women who would turn down such a man. I cannot tell who was more embarrassed when I refused his offer, him or me. You would probably expect the answer to be him, but the deep shame I felt at being faced with my true character, the women I really am, was humiliating. Everyone makes jokes at my expense: Beatrice can't love, she won't love, maybe she can't love and for so long I've fuelled their humours because it was just as amusing for me to witness as it was for them to experience. I didn't care. And that's where I was wrong; I do care. So very much. 

On the outside I am cold, calculating, sarcastic, witty- perfect example of a bitch in all honesty. I am not a lady like my cousin, nor am I obedient, or kind, or lovely, I am none of those things. I thought I didn't want to be. I wanted people to think I didn't want to be, but maybe I do. 

Deep down perhaps all I want is love. I had it once. Not so long ago. After that I vowed I would never be so weak as to let something so trivial hurt me again and yet the lack of love's presence in my life seems to be hurting me more. Seeing everyone so happy is infuriating because I know I cannot have it. I've lived without it for too long. I fear letting it back in would be deadly for both me and those around me. 

So I shall live alone, sharpening my wits and closing myself off slowly yet surely from everyone and everything. And when the day comes that I am no longer troubled by love, that is the day I will need it most. 

Over and out

Beatrice 

Next I will go through each scene I'm in and discover the answer they hold to the next 8 questions. Those questions are: 

2. What time is it?

3. Where am I?

4. What surrounds me?

5. What is my relationship?

6. What's just happened before the scene starts?

7. Objective?

8. Obstacle?

9. Action?

Scene 1- The morning of Hero's wedding

It is morning, the air is hot in the middle of Messina's summer, but there is a breeze entering hero's chambers as the sun hasn't reached it's peak- the perfect setting for a wedding. I am in the bedroom of Hero, her private chambers. I am surrounded by the belongings of a young lady, a dressing table with bottles full of oils and perfumes, a hairbrush set, with the mirror in Hero's hands. A screen is draped with a veil and jewellery that will be added on to the bride to be before she enters the church. My relationship with Hero is that of a sister, comforting her before one of the biggest moments of her life. Before the scene started I had been moping in my chambers, crying into a handkerchief, not because I was said, but because I do not know how to process the feelings I am having for Benedick. My objective is to disguise my inward emotions from all present and focus on what my cousin needs me to do and be today. My obstacle is that Hero and Margaret insist on dragging the subject farther, teasing and joking which stops me from putting the matter out of my mind. My action is one I am all too comfortable with- joke and tease back until they grow tired of retaliating. 

Scene 2- The wedding pt.1 

Not long after the scene in Hero's bedroom, the day is warmer and the breeze has stopped as we travel through midday. I am in the church in which Hero is to be wed to Claudio. It has been tastefully decorated by the Imam and my Uncle, a collection of drapes, vines and flowers, billowing from the roof and a carpet of white velvet on which the couple stand together. The fountain is flowing and the sunlight glints of my cousins dress. My relationship is joyous- even if there are people in the room I do not like- in this moment I am happy because my cousin is. Before the scene started I was making the finishing touches to my cousin's gown, hugging her close and telling her that there was nothing to worry about, expressing my joy at how wonderful this day would be for us all. My objective is to be happy for my cousin. My obstacle is Benedick's face looming behind Claudio's shoulder which I can't help but glance at, taking my mind from the matter at hand. My action is to interact with my family as much as I can, taking pride in the company I am a part of. 

Scene 3- The wedding pt.2 

Question 2,3 and 4 remain the same but my relationship has changed dramatically. My cousin has been refused at the alter, humiliated and disgraced. Everyone on the other side of the church is now my enemy. The way they judge my cousin; I will not stand for it. Before this the wedding was going according to plan and then Claudio pushed my cousin away demanding my uncle to take her back. My objective is to comfort my cousin and assure her all will be fine. My obstacle is the fact that underneath it all, I am worried at what might happen and know all may not be okay. My action is to focus my mind only on making Hero feel okay, prioritising that above anything else. 

Scene 4- Benedick and Beatrice pt.1 

Again, question 2, 3 and 4 remain the same, but my relationship is all over the place. I am battling once again my inward and outward relationships. Although Benedick is the only one in the room, I am focused on my relationship with Hero, Claudio and Leonato, causing me to be frenzied and unpredictable in any current relationship with Benedick. My relationship with him takes a turn, becoming emotional and honest for the first time in the play. Before the scene started I stayed strong as my cousin was taken into solitude and presently took my anger out in the presence of Benedick. My objective is to get Benedick to kill Claudio. My obstacle is that Benedick happens to be Claudio's best friend. My action is to make Benedick choose- my love or Claudio's and I think I know which one is more persuasive at this moment in time. 

Scene 5- Benedick and Beatrice pt.2 

It is now the evening, still warm but the sun is going down, the view of which from a balcony is indeed beautiful. I am surrounded by nature: I look out to a vast landscape, a few palm trees, a trickling fountain and a couple of red cups and beer bottles litter my traditional family home. My relationship is again with Benedick, playful and calm, with an underlying note of the seriousness of the previous scene. Before this scene I was in my chambers ready to retire for the evening, but when my maid Margaret called for me, I knew who it would be waiting for me on the balcony. My objective is to discover the true findings of Benedick's encounter with Claudio. My obstacle is that Benedick's mind is less with Claudio and more with me. My action is to play to his current weakness and use it for my own gain. 

Scene 6- The happily ever after

It is the next morning, the weather as fine as it always is. I am in the same church in which my cousin was first disgraced. The decorations of the first marriage have remained. My relationship is one of forgiveness, for Claudio and happiness at the resolution of all my families troubles. My relationship with Benedick takes a new literal turn as he proposes and I, in my own sarcastic way, accept his offer. Before this scene my whole family carried out the plan to reveal Hero to Claudio and see her happily wed, a plan which worked out exceptionally well. My objective is to finally give in to happiness. My obstacle is that my nature seems to want to ruin that. My action is to accept both- my wit and sarcasm can coincide with my true feelings so long as I make the effort.

HISTORICAL CONTEXT- What were the theatres or 'playhouses' of Shakespeare's time like and how were plays staged in them? & Who were the actors of Shakespeare's plays and how did the experience of being an actor differ from the experience today?

Theatre and Playhouses
The plays performed in Shakespeare's time had to be adaptable to many different spaces; they toured from venues varying from palaces to inns, outdoors and indoors, with each space presenting different challenges for the productions. This meant staging was simplistic and the dialogue was what really painted the picture for the audience- that and the varying settings whether it was richly furnished or dark and dank, the venue of these plays had a huge impact on the experience.

In 1576  one of the first playhouses was built just outside London by the Burbage family; the first since Roman times. It's design and that of playhouses to come was as follows; a multi-sided building with several tiers of sheltered seating, a open air yard and a stage. Shakespeare's theatre company the Lord Chamberlain's Men performed here in 1594. However the Burbage family lost their lease of the site so set out to build a bigger and better playhouse- the Globe. To pay for it they took on 5 sharers, one of whom was Shakespeare.

There were 2 Globes- the first built in 1599, was where most of Shakespeare's productions were first put on, but after a fire in 1613 they had to quickly build a new Globe that was finished in 1614.

So what was the difference between playhouses and theatres? Playhouses such as the Globe are still open today attracting large crowds and accommodating some wonderful productions. However due to their open air nature, they are best in good weather whereas indoor theatres can work with any conditions, making them sometimes more practical. Shakespeare's company always wanted an indoor theatre and so in 1609 took over London Blackfriars theatre. Moreover city officials believed that playhouses were rowdy and common so a lot of playhouses were built outside the city limits. There was a definite divide in class with the playhouses being for the lower class and the theatres being for upper as they afforded their visitors with luxuries like candlelit performances and shelter which came at a higher price.

Actors
One of the first things of note about Shakespeare's actors is that they complied with one of the social standards of the time- they were all men. Boys would play female characters and men would play either characters of their own sex or older female characters. You could join a theatre company as a young boy and train under the guidance of the more experienced actors as their apprentice. These men had to be tremendously talented to perform- if there was a duel on stage, they had to know how to fight, if there was a song or piece of music to be performed, they would have to do so note perfect and any dancing would be performed faultlessly, which of course also required them to be in peak physical condition. They would perform in lavish costumes, often second hand gowns taken from real nobles.

An actor would earn less than the sharers in the company and their wage would also depend on where they were performing. If you were performing in London you may earn 10 shillings a week, but in the country you would only earn 5. This meant actors worked on several plays at once, playing many different roles. This meant rehearsal time was small, with perhaps a rehearsal in the morning and a performance in the afternoon, the prime time for performances due to the lighting needed in the open air playhouses.

There were many notable actors including Richard Burbage, Nathan Field and William Kemp who our much beloved Dogberry from our play 'Much Ado About Nothing' was written for due to his speciality in physical humour.

What I have learnt from this is that the life of the actor has always been quite similar. Unless you are high up in the world of acting, you will be working several jobs at once, dedicating all available time to your craft. The theatres are still here today, the Globe still being one of the most revered spaces to perform in for an actor. Our spaces have not changed and our acting routine hasn't.

Contrastingly women are now coming to the forefront of the artistic world, with one of our shows being an all female production of 'Titus Andronicus' which you would have certainly not have seen back in the 16th and 17th century. Our flexibility with how we set, stage and dress our plays has moved with the times, but we must take into consideration that the representation in Shakespeare's time was modern to them. I believe that the social and political changes in the 400 centuries since Shakespeare worked, has changed the style of performance, but not the principals of being a performer; many of those values still remain.

CHARACTER RESEARCH- Improvised Back Story

Dear Diary, 

I suppose this is exactly what I deserve; give someone my heart twice over means they can never match it. Although, I think, I really did love him. He was everything, I thought,  I wanted, but you know what they say about something that perfect... 

He is about to go off to war and I never wanted to part with bad blood between us- I wanted him to able to come back to someone who had awaited his return the moment he left the gates, who had worried, making herself sick, hoping, praying that he was safe. And now what will he have to return to? I don't really know that answer, but it most certainly won't be me. 

I had intended to go and visit him before he left tomorrow morning, to wish him well and ask him to wear my necklace as good luck because yes, I am a sentimental fool. Seeing his room is quicker to get to if you cut through the servants quarters, I took that route and found myself walking past Margaret's room and guess what I see- her placing her own necklace round his neck and then the two of them sharing a kiss! I cannot believe that of all people, my own maid, someone who is there with me at the most private times, high, lows, secret, public; this isn't a random betrayal, this is personal. 

And there I was standing like a stupid idiot, at the door: jaw dropped, eyes welling up with tears, my whole body stiff with shock and they look up and she covers her mouth and he says the one thing I really, REALLY didn't want to hear...

"This isn't what it looks like..."

WELL THEN EXCUSE ME! IT ALL MAKES SENSE NOW! IT'S ALL OKAY NOW THAT IT ISN'T WHAT IT BLATANTLY SEEMS TO BE! So I run of crying, in no uncertain terms telling him to save his breath and perhaps save the oxygen he is using to do just that.

Back I go to my room, slamming the door, all very dramatic and Shakespearean and he is outside, firstly begging me to open the door so we can talk, then telling me he's sorry, then telling me that it wasn't his fault, then telling me it was my fault and then leaving with a lovely speech about me being a stupid, naive, little girl. 

So yes, I've had a great day. I will not be going to see him off. I will never speak a civil word to that bitch again and I will resolve to being my old, cold self- just like the good days. 

Alone again.
Naturally.

Over and out. 

Beatrice  

We decided between us that this would be an interesting explanation to the dynamic between Beatrice and Benedick, but also the relationship they both have with Margaret. It is very clear in the first half of our play (as it is arguably a relationship that makes the plot what it is) that Beatrice and Benedick do not like each other; in fact I believe that hate may be a better word. They cannot stand the site of one another, to be in the same room in fact and they must always have the last say. We decided that this hatred must come from a deeper source of pain, which we concluded occurred when the two ex lovers parted the first time- it was a very bad break-up, comparable even to a Taylor Swift song.

But who, what, where, when? What could have happened that justified such discontent. It then occurred to us that the attention Margaret gains when the soldiers return home and the cold, sarcastic tone Beatrice takes with her could be the perfect explanation. Therefore we decided that the back story was as described in the above diary entry. Benedick cheated on Beatrice with not just anyone, her maid, her confidant, her friend- a betrayal so deep and personal that the scars have not healed over night and on seeing Benedick return these wounds open, sparking Beatrice's reaction to both Benedick and Margaret.

CHARACTER RESEARCH- Interrogating the text

Looking into the text and having a solid understanding of your character is the foundations on which a good process is built. Especially with such a complex character and story such one as 'Much Ado About Nothing', there is a particular need to do some analytical work with 'Much Ado About Nothing' so as to start as strong as I hope to finish.

What are my given circumstances? 
I start the play in a bombed out stately home turn army base, awaiting news from the front line. The arrival of this news is conflicting- I hope they are safe and well and yet worry at the prospect of facing my old lover Benedick. I have backed herself into a corner- burying my feelings for Benedick means I must keep up the facade at all costs, even in a time of worry and stress. The stakes are high- if the news is good, I have personal troubles to resolve, if it is bad... that could equal worse troubles for my whole family; the only family I have left. I arrive in the world of the play in a tense atmosphere of apprehension and fear.

When I arrives in the second half, my character is still conflicted- my cousin's wedding should be a moment of joy and yet I am filled with worry and confusion at the prospect of Benedick's love. I am a character constantly battling with my outward and inward emotional state.

What do people say about my character?
My character may be controversial, but there is one thing everyone is in agreement on- I am not a marrying women. My cousin says it, my uncle says it, every man I meet gets that impression, it is a universally known and discussed part of my character. People even go as far as saying they believe I cannot love. Whether that is true or not is besides the point, in general terms I am cold, spiteful, defiant young women.

What do I say about myself?
What others say about me and what I say about myself are one in the same as I have no pretences- I am not afraid to speak my mind. I will tell any man who asks that I will not marry even when they insist I do or even ask for my hand. However because my character is so conflicted, one must understand that what I say may not be the truth, even if the truth is something I myself do not know yet.

What is my journey through the play?
My journey through the play is created mainly by my character opening herself to the prospect of love that for so long she has shut herself off to. At the start we meet this women, hiding the scars of what she sees as her own foolishness, covering them with sarcasm and wit. We soon see that she is not what we may see at face value- I have deep rooted emotions that are only dug up when I  start trusting again- a journey which is painful for me and causes me both ecstatic joy and suffering.

HISTORICAL CONTEXT- What was London like in Elizabethan times and who were the people attending the theatre?

London Life
I have already recorded that Shakespeare spent most of his working life in London and it is quite obvious why. London was buzzing with life- as the capital people came to sell and trade, it was home to royalty and nobility and it was where the new theatre mania would start. By 1600 the amount of theatre attendees number approximately 20000 per week. This was partly due to the amount of wealthy people living in London who could afford to go to the theatre. This type of setting made it the perfect backdrop for Shakespeare to build his career on.

The geography of London at the time was as follows: a thriving city growing each day due to migration from the countryside causing most of the land in London to be taken up by new constructions to accommodate the increasing population, with the city slowing spreading out into the countryside. The streets were hard to navigate, gloomy mazes full to the brim with hurried people, attracting crime and disease. Although London was prospering, full of excitement, there was an underlying presence of danger.

Shakespeare worked in different locations during his time in London: first, St Helen's a London church situated near the theatre and playhouses, then moving on to the Paris Gardens situated near the Globe, finally moving to Silver Street with Shakespeare renting from a French family who were in the business of making fine hats.

Audiences
Attending the theatre was the new trend- anyone and everyone was going. People of all class were welcome, although their position within the theatre may be separate, with the standing area being normally reserved for the working class who paid 1 penny to stand and watch and the higher galleries being reserved for the gentry with prices starting at 6 pence. There was an in-between- for 2 pennies you could on a bench in the lower galleries and for 3 pennies you could be seated on a cushion. Although the standing 'groundlings', as they were known, were watching in worse conditions than the rest, the conditions outside on the streets on which they lived were arguably worse anyway. The low cost of theatre was the reason it grew in popularity so much. The everyday man and women were often attendees of the performances, but so were royalty who, although not in public theatres, would have performances for them privately at court.

The theatre could be quite a rowdy experience. The audiences weren't afraid to speak their minds by clapping the heroes, booing the villains and showing their opinion of a play by claps and cheers at the end or throwing food and litter at the stage. Music was banned at the end of productions due to the dancing being described as outrageous.

What I learnt from this is that although our experience at the theatre may  be described as more civilised and London more modernised, reading this information has made me question- has it really changed that much? London is still a vibrant city, changing daily, brimming with life and colour and yet their is still a sense of keeping ones wits about them whilst out. And as for the theatre, although we may not receive a pelting of orange peel if we perform badly, the audience reaction can make or break a show. The theatre industry in such a city as London is as unpredictable as it ever was.

CHARACTER RESEARCH- The role of women in Kuwait

Women of Kuwait

The link above is to a website about organisations helping women in Kuwait. I thought it was important to do some research into women's role in Kuwait and how that has changed over time. This research is adding more and more layers to my particular interpretation of Beatrice and will help create a accurate character taking into consideration all the factors affecting our piece. 

I decided to focus on the period the play is specifically set in- the 1990s (the website however has some other interesting information about other periods.) 

• After the Gulf war there were 2 major developments: 1. most women's organisations were now focused on helping the community and 2. The Federation of the Kuwaiti Women's Associations was made representative of Kuwaiti women's associations outside of Kuwait. 
• Sheikha Latifa, chairwomen of the Islamic Care Society and the Volunteer Women's Associations for Community Services, was made head of the FKWA giving women full control over women's groups and the right to speak on behalf of Kuwaiti women. 
• Post war the situation for Kuwaiti women married to non-Kuwaitis became very difficult as they were denied any support from the state. Any government support is paid or given directly to Kuwaiti men as the head of the household so if your husband was not Kuwaiti you were not liable to this help. These women sought help from the Women's Cultural and Social Society who demanded that Kuwaiti women could pass citizenship on to their children in the same way that Kuwaiti men do. 

After the war women clearly faced a lot of troubles from the political and social backlash of the war. In this unstable time for women, a character such as Beatrice is unusual and it has helped me understand that her situation is very privileged. After reading this I can see Beatrice as a Kuwaiti feminist, defiant against the more conservative values of society. Her voice must speak above a crowd that would wish to silence her and in these times of uncertainty for many Kuwaiti women, there was a lot to say. 

HISTORICAL CONTEXT- Shakespeare's life and biography

Early Life

You may say the most obvious place to start this research is with Shakespeare's date of birth and yet this basic fact is unknown- to this day we can only guess. We know he was baptised on the 26th April 1564 so we assume he was born only a few days prior. He was born in Stratford Upon Avon a market town with a population of approximately 1000 people. He was born to John and Mary Shakespeare as the son of a glove maker and wool trader and their oldest surviving child as both their previous daughters died as infants. Although William became the first child to survive he was lucky to do so; the year he was born plague hit Stratford killing 200 of the town's population. William had been born into a world of danger and uncertainty.

Education

Helped by his father's station as town mayor, William attended King Edward VI grammar school being schooled in Latin, both reading, writing and speaking the language and was also taught an extensive historical syllabus. He would have most likely attended school from age 7-15. His education would stand him in good stead for his later career as a playwright, possibly gaining his love for classical plays, so often reflected in his own works, during the 9 years he attended school. 

Marriage and Children

Shakespeare married Anne Hathaway the daughter of a local farmer in 1582. She was 26 and he 18 when they married, being so eager to be wed due to the fact that Anne was already 3 months pregnant with Shakespeare's first of 3 children, Susanna. Shakespeare went on to have 2 more children; twins, Hamnet and Judith. Hamnet died at age 11, Susanna married a John Hall a doctor and had Shakespeare first grandchild, Elizabeth and Judith married just before his death in 1616 to Thomas Quiney a wine merchant. The family eventually died out, leaving no direct descendants of Shakespeare. His family life was almost non-existent as he lived most of his life in London due to work, leaving his family back home in Stratford. 

Career

Shakespeare time in London spanned from roughly 1590-1613. He had made his name as an actor by 1592 the same year his play Henry VI was performed at the Rose theatre after which he went on to write or co-write 40 plays. On top of this he was a keen poet publishing a book 154 sonnets in 1609. He co-owned The Lord Chamberlain's Men theatre company and in 1599 became the co-owner of the Globe theatre. For about 20 years he made all of his money in the arts: writing, performing and running theatres. 

Death

Shakespeare's death is shrouded in nearly as much mystery as his birth with its cause being unknown but the date, 23rd April 1616 being known. He is buried in Holy Trinity Church and he left this curse on his grave:

The bust there in his memory is meant to be the best replica of Shakespeare as it was commissioned by those who knew him personally. 

I have learnt from this that Shakespeare's life must have had a great impact on his works. Throughout his life he lived polar opposites: he knew luxury from birth and throughout his successful career and yet also knew tragedy from the loss of his son. He knew what it was to be part of a family and yet made the choice perhaps more out of duty than love and spent most of his life away from them. He had a life that can only be described as 'experienced' and I suspect this lifestyle is why his plays and sonnets were and are so powerful- Shakespeare had definitely lived a life.

HISTORICAL CONTEXT- What sense do you get of what life was like in Elizabethan England?

Under the rule of Queen Elizabeth I, Elizabethan England was an era of discovery, political and religious changes and the introduction and shift of many key points of traditional English society.

Queen Elizabeth I
Daughter of Henry VIII, Elizabeth succeeded the throne after the death of her sister Mary in 1558. Although she has many suitors, Elizabeth never married, instead proclaiming that she was married to her country. Her defeat of the Spanish Armada and her harmonious solution to the Catholic vs Protestant war has put her down in history as a wise and just leader. She ruled for a total of 44 years.

Protestant vs Catholic
Elizabeth's predecessor, her sister Mary, had earned the nickname Bloody Mary due to her execution of many Protestants; a consequence of her strong Catholic preference. Historically the reigning monarch dictated the official religion that would be taught in school and carry with it severe punishment if not practised. However Elizabeth brought a peaceful outlook to the Protestant vs Catholic debate. Although a Protestant herself and reinstating Protestantism as the official religion, she believed Catholics should be free to practise their religion with no threat of repercussions. Of course there were radical Catholics who plotted against Elizabeth, hoping to replace her with the Catholic Mary Queen of Scots.

Martin Luther and those who shared his beliefs, formed the Protestant religion, with them gaining their name after 'protesting' against the traditional Catholic teachings and traditions. The differences between the two religions were as follows: Catholics believed the Bible should stay in Latin, whereas the Protestants thought modern English could make it accessible to the people. Catholic priests were the people's link to God whereas Protestant followers could access God without a priest. In the Catholic church, priests could forgive sins if suitable payment was given, whereas in the Protestant church they believed only God could forgive sins. Catholic churches were ornate and grand compared to the plainer Protestant churches.

Superstitions
Superstitions from this era date back to beliefs in the magical qualities held in herbs and animals. Other superstitions within words, omens, names and numbers date back to as early as the Greek's, with the connotations arising from their Gods and Goddesses. There is also a strong religious link to the superstitions, with God fearing people cautious that some actions would lead the wrath of God in all its glory.

One of the biggest superstitions in Elizabethan England, was the belief that some women had magical powers, known commonly as witches. Out of the 270 Elizabethan witch trials, 247 were women and 23 were men. Unexplained illness, unfruitful harvests and mystery fires were all blamed on witches. Some of the other suspicions related to witches were:

• Witches could fly, vanishing after the scene of a crime, with the image of a broomstick appearing due to it being a commonly used household object by women at the time. 
• Witches were painted as old hags, with old women, especially widows, often being accused as they had no man to defend them. 
• Witches had animal companions. 
• Witches lived alone, in hovels in the woods.  
• Witches had an extensive knowledge of plants and herbs. 

Other superstitions included:

• Saying bless you, as opening your mouth leaves room for the devil to enter you. 
• Pinning bay leaves to your pillow on the eve of St Valentine's day allowed you dream of your future husband. 
• Touching wood to ward of bad luck, dating back to the Celtic superstition that trees held magical powers. 
• Spilling salt and pepper was bad luck, as it was very expensive.

Jobs

There were many different jobs in Elizabethan England many of them being occupations still around today. Some of the most interesting were:

Watchmen- the name is rather self explanatory; a group of men who watched over the city. I think this is an interesting job to record due to their appearance in our play- these comedic figures would've been actual men.

Minstrel- minstrel's were a big part of Elizabethan entertainment, especially at court. They sang and played musical instruments, mainly about grand adventures and heroic quests.

Keeper of the Wardrobe- the Keeper of the Wardrobe was in charge of everything within the wardrobe room; tailors, dressmakers, laundresses, anyone and everyone that were part of making and maintaining the clothes in the wardrobe room.

Apothecary- this was someone who made and gave out herbal and plant based remedies and medicines. Priests or monks often held this post. As doctors were very expensive, this was the last resort for the sick and poor.

What I have observed by the above research is the obvious observation- how different our lives are when compared to that of those living in Elizabethan England. Their beliefs and customs seem almost alien and yet are the foundations of the society we know. It was a richly cultured place and an extreme turning point in both English and worldwide history, both politically and socially: on one hand you had a new, female queen on the throne bringing a relaxation of the tensions between Catholics and Protestants and travels to new, exciting worlds and yet you still had a country based on values, superstitions, almost afraid to move with the times. I perceive it to be a place of two extremes; a changing world, morphing into a place that leaves a mark on the world we know and a place of traditional, harsh belief that was not changing any time soon.

Notes from 'What was life really like for the poor in the countryside of Elizabethan England?' 

• Although Elizabethan England was controlled by the rich, they were the minority, with most people being very poor. 
• The poor led a hard life, living mostly in woodland areas such as moors, hills and wastelands. Although this may seem a scenic location, woods, without roads, were very dangerous places to be. 
• They lived in thatched cottages: a one room home, with an earth floor, a fire in the middle, some pots, some utensils, a basket and if you were lucky a thin straw mattress. There is a small hole in the roof to stop you from suffocating. The whole room would be filled with smoke and be very dark. Candles were expensive so natural light was the only option. However windows remained small so as to not let the heat out. Therefore you would wake and go to sleep in darkness. However the cottage would only be used for sleeping, with you spending most of the daylight hours outside. In such a place your senses are heightened; you can hear the fire, the rain and wind and every sound those around you make. Such a home sometimes fit 7-8 people. 
• There were 3 types of workers: Yeoman who owned or rented land and employed people to work on it, Husbandman who rented the land and worked on it and Labourers who worked on other people's farms. 
• When it came to looking for work, most people went from farm to farm asking for work. If you were lucky you were able to be employed on a casual basis and live in the barn. The work was very hard, starting at dawn and ending after the sun has set. You were paid 1 groat/fourpence which could buy you: a loaf of bread, a bit of butter and cheese each day or 4 small pieces of meat and 3 pieces of fish per week and some ale (water was polluted.) This approximated 6000 calories per day which a husband and wife could live on, but it left no money for anything or anyone else, making raising a family considerably harder.

CHARACTER RESEARCH- First Impressions

The Play
After reading the play for the first time these are some of my observations and reactions. The play could not be more complicated, with one person fooling another, who is already being tricked, who isn't meant to be because they are masked as someone else. There couldn't be more twists and turns or switches in the story lines. The play sits on the extremes, not on the borders, not in the middle, but in the extreme: you are either in love or shunned, married or refused at the alter. Until the very end, I thought the resolution would never come- there just seemed to be too many problems. 

However, as a Shakespearean comedy I see a lot of potential. In characters such as Dogberry and the Watchmen you find your comic relief from the tragedy of Hero and Claudio. The play doesn't take you on a linear journey, it instead dips in and out, picking out things here and there that come together to formulate one plot and about 100 other sub plots.

I suspect a play like this will need a lot of character research; I am slowly starting to realise what people may mean when they tell me that this blog is the biggest of them all. When you add on the context of the piece, in reference to both Shakespeare and the Gulf War, the characters and their ever changing relationships and the unpredictable plot of the piece, the research both in the rehearsal room and in my own time, I'm sure will amount to a lot.

Beatrice
How do I describe my first impressions of Beatrice- a force to be reckoned with. I think she is a representation of the opinionated, forceful witty voice that is inside all of us but is often suppressed by etiquette and social airs and graces. She is a feminist, who will not give herself to a man or indeed anyone, just because that is what a proper 'lady' would do. Her fire and passion throughout the play is something I am immensely looking forward to playing. As a women I think it will be a wonderful experience to play such a strong character even in a classical form. She has a lot to say and I see it as my job to let her say it.