Act IV, Scene 1, Lines 270-350 of Shakespeare’s Much Ado About Nothing immediately follows the denouncement of Hero by Claudio at their altar and the “death” of Hero at the suggestion of the Friar. This scene-within-a-scene includes Beatrice’s iconic line “O God, that I were a man! I would eat his / heart in the marketplace” (4.1.320-321) and portrays Beatrice’s power over Benedick to use his masculinity and the privileges it brings for her (and Hero’s) benefit. Adaptations of this scene, as will be shown through the Shakespeare in the Park’s 2019 production and Kenneth Branagh’s 1993 film, display the significance of this scene via the clothing of the actors and physical interpretation of the original text, which has no stage directions, with both adaptations expanding upon Beatrice and Benedick’s dynamic in unique and visually compelling ways.
Shakespeare on Stage: Much Ado About Nothing (2019)
While staying completely true to Shakespeare's original dialogue, the Shakespeare in the Park Much Ado About Nothing (2019) distinguishes itself via its modern lens and the actors' inflection, blocking, and choice of costumes.
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Beatrice, moments before asking Benedick to kill Claudio. Notice her expression and the differing colors of their outfits. |
Beatrice is seen in a blue jumpsuit, setting her apart from the other women in the previous wedding scene, who are all in dresses. This cool tone mirrors her attitude towards Benedick: though she cares deeply about him, she is not willing to give up her own agency and beliefs (such as about how her cousin should be treated) for his sake. The final wall that must come down between her and Benedick, through her eyes, is Claudio. Benedick, on the other hand, sports a red tailcoat, reflecting his warm affection towards Beatrice despite what happened to Hero. Though he agrees with her that what happened was wrong, he does not view it as a barrier in the same way Beatrice does despite his willingness to fight on her behalf.
Before suggesting a duel, the contemplation on Beatrice's face is noticeable - we see her weigh her options and ultimately decide on the use of this situation as a proving grounds for Benedick's love. It is here that her attitude changes. She has moved from sadness at Hero's dishonor to anger and the need for justice. She creates physical space on stage between her and Benedick, a gap which is only bridged (blocking-wise and emotionally) once Benedick agrees to her proposal. In the meantime, Beatrice expresses this anger by pacing around the stage, speaking louder, and gesturing more often. It is a stark contrast to her demeanor at the beginning of the scene which was reserved, quiet, and still. The camera's focus shifts to Beatrice as she lets out her frustration, delivering her speech in lines 315-321 to the audience apart from her pivotal line, which she addresses to Benedick directly.
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| Beatrice gives her iconic line, turning away from the audience and towards Benedick to do so. |
Shakespeare on Screen: Much Ado About Nothing (1993)
Branagh's Much Ado About Nothing preserves the essence of the original scene by barely cutting dialogue. The minimal costumes and setting force us to focus completely on the actors' and their interactions with their environment, which make this adaptation especially unique.
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| Beatrice after Benedick's hesitation. |
The scene continues in this manner. With no audience to speak to, Beatrice lets out her frustration using the props around her and turning over the kneeler. We see only the back of Benedick - the focus is entirely on Beatrice in her time of desperation. Acting-wise, her anger manifests much differently in this adaptation than in the 2019 version. She cries as she speaks, acting out physically, collecting herself on the altar, and eventually ending up on the floor as she begins to relax. Still, though, Benedick does not interfere. He allows her to be upset instead of trying to prevent or diffuse it. As the camera finally switches back to Benedick, his understanding shows in his calm expression. Beatrice made her thoughts known to him, and as someone who was not necessarily a physical character before this scene, it is obvious to Benedick that Hero's betrayal meant a lot to her based on these movements and interactions with the things around her.
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| Benedick with his back turned, allowing us to zero in on Beatrice. |
Final Comparisons
Being a stage production, Shakespeare in the Park's Much Ado About Nothing utilizes the whole of their stage as a means of characterization for Beatrice in this scene specifically. She commands the vicinity in a way that proves her strong will and stubbornness. She is over-the-top on occasion, but is also capable of the seriousness shown in Act IV, Scene 1. She wastes no time on those who are not compatible with her. Benedick knows this and proves that he is. Though taking a back seat in terms of blocking in this scene, he is a witness to her attitude. His physical passivity in this scene shows his willingness to help her in the duel, a willingness which is given with less hesitation than in the 1993 version. Also different in the 2019 version is the relationship between Claudio and Benedick, who argue earlier on in the show and do not seem to be as personal with each other. Therefore, Beatrice calls, and Benedick answers, promising himself entirely to her.
Much Ado About Nothing (1993) differs in its blocking and camera angles thanks to it, in part, being a film production. The space Benedick and Beatrice occupy is much smaller, and the scene in general is a lot less grand, opting for a quieter, more intimate interaction instead. This could also be due to the period-accurate setting, which held different expectations for dress and the behavior of women. Nonetheless, Beatrice still proves herself to be ahead of her time and commanding of respect in the way Shakespeare displays in his original text. Her line asking Benedick to kill Claudio is silent and personal - its obvious she knows of Benedick and Claudio's friendship, which she uses to her advantage - she forces Benedick to choose either him or her. Benedick, as Shakespeare wrote, chooses Beatrice, though I would argue without as much fervor as in the 2019 version.
Works Cited
Much Ado About Nothing. Directed by Kenneth Branagh, BBC Films, 1993.
Much Ado About Nothing. Directed by Kenny Leon, 2019.
Shakespeare, William. Much Ado About Nothing. Folger Shakespeare Library, 1995.
Hello Brianna, I really enjoyed reading your post! Your discussion of how costuming was used in these two adaptations fascinates me. The cool blue and warm red from the Shakespeare in the park version completely went over my head but I definitely agree that it has an effect on how the audience perceives the characters and their relationship. It's also interesting how the other adaptation used plain clothing. The Whedon version that I watched was in black and white, so it's interesting that both adaptations chose this plain and neutral approach. Overall you did a great job and I'm glad I got to read your post!
ReplyDeleteHi Brianna! I really liked how you compared the 1993 and 2019 versions of the play. I think you really showed how differently the two characters are betrayed between the different adaptations, especially in the different costuming. But it also really stood out to me how both adaptations show Benedick proving his love for Beatrice through the Claudio confrontation.
ReplyDeleteBrianna, comparing Beatrice's physical presence in both the Shakespeare in the Park play and Kenneth Branagh's version was very interesting. Specifically, the comparison of wearing a jumpsuit versus a dress highlights the more physical reaction in Shakespeare in the Park's Beatrice. I love that you used that element to point out the differences between acting in a live production and a film.
ReplyDeleteAmazing post! Blocking is a highly underrated part of film and theater for how important it is as a storytelling tool. The chemistry between the two versions of Beatrice and Benedick are portrayed in how they move relative to each other which in turn strengthens the character choices into the chemistry they share in each production. The lack of stage directions in the original text helps make each production more unique by letting the actors and directors make decisions in this part of the work.
ReplyDeleteHi Brianna! I liekd your point about Beatrice’s blue jumpsuit and Benedick’s red coat. I thought it was particularly interesting because it shows how costume can reinforce their different emotional states while also emphasizing Beatrice’s independence as a woman. I also liked your point about the physical distance between Beatrice and Benedick in the 2019 production. I think the way that space changes once Benedick agrees to fight Claudio makes their emotional connection feel almost tangible and shows that his willingness to act is what ultimately brings them together. In contrast the adaptation seems much more intimate and vulnerable, with the close-ups and Beatrice’s physical breakdown allowing the audience to focus on her grief rather than her anger.
ReplyDeleteHi Brianna! I enjoyed reading your blog! This was a very important and high emotion part of Much Ado About Nothing and showed a lot of information to be shared. I like how you chose the 1993 version to compare to the Shakespeare in the park, as they are different and gave a good compare/contrast aspect to the scene.
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