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.