As level critical analysis coursework - Much Ado about Nothing

This is the transcript I wrote for my critical analysis coursework of Much Ado about Nothing.
Got top marks, so enjoy! 

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Preview of As level critical analysis coursework - Much Ado about Nothing

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Eleanor Marshall
Interviewer: I'll be talking to Amelia Brown, makeup artist and costume adviser for the latest
portrayal of 'Much Ado about Nothing', finishing this weekend at her Majesty's Theatre.
So Amelia, what drew you to audition for the job?
Amelia Brown: I've always loved a challenge, and a chance to stretch my creativity, and this
just seemed like the perfect opportunity!
I: Why is that?
AB: A lot of thought goes into how an actor will be made up according to their character. It
depends on how the director or the playwright wants the character to be portrayed. Jane
Langley, the director, allowed me to have a lot of creative freedom. I had to go away, study
the play, and really think about how I would present the different personalities of the
characters through their clothes and makeup.
I: Could you give us an example of how you achieved this character presentation?
AB: Beatrice, for example, evolves massively throughout the play. In the very first scene she
is crude, harsh and insulting but the audience appreciates and enjoys this, as the wit of what
she says and the language used makes it amusing, allowing the audience to warm to the
character. This meant that I had to make her look fierce, but likeable at the same time. I
highlighted her cheek bones and applied a light smudge of eyeliner to make her eyes look
bright, intelligent and lively, but I made sure I didn't make her face look too dark or angular
so as not to insinuate a more evil personality. In the gulling scene where she 'finds out' about
Benedick's love for her, we see a drastic softening of her character, claiming that she will
'Tame her wild heart'. To visually portray this, I stripped off her eyeliner, applied mascara to
make her look more puppy eyed and administered a smudge of foundation to show her as
fresh faced, which represented her fresh outlook on love, and blusher to enable the audience
to witness Beatrice in a different light as she stands blushing about the love she had earlier
I: The costumes used in the production are very typical of the Elizabethan era, do you think
it is a good idea to keep the play as it was originally written, or do you think it should be
updated for today's audience?
AB: In my opinion, trying to change or update a play, especially a Shakespearian play,
would prevent it from portraying the messages and language use originally intended. Some
updates are very successful, for example Baz Luhrmann's film adaptation of Romeo and
Juliet was very interesting, as he kept the language the same, but placed it in a modern
setting. I think it is easier to adapt films of plays, instead of the plays themselves, as you have
so many locations and effects available, as opposed to limited space, props and backdrops.
I: Thank you for talking to us Amelia, and I hope all goes well on the final night!
AB: Hahah me too! Thank you for having me!
Word Count: 499


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