My task in the Theatre Group was to write about
Madách Theatre’s 1981 version of Much Ado
About Nothing, directed by Tamás Szirtes. I got the aspects of analysing Almási Éva’s Beatrice’s costuming and
this interpretation’s eavesdropping scenes. After watching the film adaptations
of Much Ado About Nothing, I must
admit that I did not like the 1981 theatre adaptation of the play. However, carrying out
my task and analysing Beatrice helped me understand her and the play better
which changed my mind about it.
As a start, I firstly started with observing
Beatrice’s appearance that helped me understand her modern character. Watching
the recording of the performance carefully, it made me notice the uniqueness of
the woman. I immediately noticed that she stands out of the crowd by her style
of dressing as well that reflects on her personality. I enlisted her clothing:
her dress, hairdo and accessories. When I drew similarity between her and the
other female characters, her modern dressing became evident. For example, her
dress looks nothing like a female dress of the Renaissance era. She is indeed
elegant but her dressing resembles a more modern concept of female dressing.
For example, she wears collars, while the Renaissance dresses were open at the
neck but moderate enough to cover the cleavage. Also, her glasses are of the 19th-20th
century. By this, the director might be emphasising her outstanding character
that she does not merge into the society.
Secondly, Beatrice’s masculinity is emphasised.
For example, the woman wears collars. They have been popular since the 1300s
but not with women. Also, Beatrice wears her hair tied up or hidden under her
hat. Actually, female hair can be viewed as a symbol of femininity, which is
why it is interesting to see how she treats her hair. So this implies that
Beatrice is not simply outstanding but also has masculine traits.
What is more, Beatrice can be viewed as a kind
of feminist. Due to her outstanding character and masculine traits the question
of feminism could emerge. After all, not only does she raise her voice to
express her thoughts but she is also brave and witty enough to stand up against
men. Also, her dressing and hairstyle might imply this in this interpretation.
The second aspect I had to analyse was
Beatrice’s eavesdropping scene that showed me her gentle and funny side. I
found this part absolutely entertaining because of her clumsy moves: she falls
all around the stage, crawls on the ground. All these are visible and big
gestures that make the audience laugh. Her other side of gentleness and
softness also come to the surface as a reaction to the rumours of Benedick
being in love with her. All the negative traits she is charged with by Hero and
Ursula might be true, but Beatrice’s view on her relationship with Benedick
takes a turn. Due to this rumour that she believes, the woman starts becoming
more conscious of her behaviour and regards everything with a different eye.
In conclusion, Madách Theatre’s 1981 version of
Much Ado About Nothing managed to
change my mind about the play and Beatrice. Thanks to the analysis of
Beatrice’s costuming and her eavesdropping scene made me realise the perfection
of entertainment the director succeeded to generate. This performance also
illustrates well that Beatrice is a sensitive and attractive young woman under
the surface of wit and sarcasm; and this great contrast in her personality is
amazingly portrayed.
The photos are
taken from Nava’s web page and from Lilla Carson’s website:
I have always found it interesting how Hungarian directors adapt a foreign production. As you mention here the 1981 version of MAAN shows Beatrice as an outstanding character in her outlook and as "a sensitive and attractive young woman under the surface of wit and sarcasm". I happened to see the version of director Tamas Puskas beside the 1981 version and I think that the directors illustrated Beatrice in the same way in her inside character, but not in her look. In the latest version, Lia Pokorny plays Beatrice and she wears a long pink skirt with a translucent white blouse and the actress' curly hair is always visible. In my opinion this shows her feminine side, which is not overshadowed in this production.
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