The RSC Production of Beauty and the Beast

When watching the Royal Shakespeare Companys production of beaut and the creature I noticed several aspects of the production that I found particularly impressive. peerless such aspect was the part of sacking and shadows on coiffure. Spotlights and floodlights were the main types of inflammation used. In many of the scenes that did not take place in the Beasts reside, a relatively bright yellowy-orange light filled the stage display in that respect was nothing particularly outstanding or magical about these scenes/ As soon as the interviews attention was required to be focused on a particular temperament, lights would fade out and a spotlight move on the character.One such example of this was when Mama dies and strike render a solo part. In the Beasts house, lighting was taking to a much(prenominal) darker level, reflecting the magical and mysterious characteristics of the house. Once particular use of lighting in the house was very returnive, the use of different co louring materialed lights when Beauty and the Beast were eating supper. When the bowls were placed on the cut down, trapped doors beneath them were assailable so that floor lights could flood through the translucent bowls, giving the effect of different magical foods. One bowl lit up red, to which Beauty responded with Oh Strawberries then, as Beauty put the lid back down, the colour of the lighting changed to blue and then to green.At the same cartridge clip, the stage was slowly modify with dry ice, which had lights from different places shining into it. This dry ice gave the magical stance that the scene needed, and the colouring in it added even more mystery and magic. some other effective use of lighting was the mirror earth in the agency/hall of mirrors. This reflected onto the audience and made them retrieve more involved in the scene.The music used in the production added a depth of atmosphere, causing slight unrest when in the Beasts home, and a sad, emotional ambi ence at the death of Beautys mother. In the Beasts house, a man on the balcony sang notes rather that words, backed by eastern, moderately oriental instruments. These instruments had the ability to make a strange, but somehow welcoming atmosphere feel apparent in the Beasts house something that was important in understanding both the locatedting and the character of the Beast.The music that played during the dance in which the mother played the sawhorse was sharp and almost violent, mirroring the movements of the horse. At one orientate, the chorus used macroscopical wooden sticks to bang slay the floor as a agency of backing up the music and adding a stronger beat, maybe shadowing the horses hooves as it ran.When Beautys mother died, she sit down on the floor and sang a holy French song that was repeated at certain points in the play. another(prenominal) time repetition was used was when a woman on the balcony repeatedly sang the word Beauty Beauty Beauty when Beauty s it down alone on the stage. Both of these examples of repetition get a pretty eerie, but at the same time calming atmosphere, which made me feel rather uneasy in the audience.The set, although rather simplistic, was highly effective, and very typic at times. It began with a taut cotton sheet with the front of a Parisian style house painted on. Two workbenches were at each side of the door. This sheet was pulled down, revealing the family standing on more benches, this time of different heights the parents were in the middle, on the highest of the benches, the boys were standing on the right, slightly lower and the girls were on the left and were at the lowest level. When the family lost their wealth the benches were taken a expression and the backdrop pulled up, leaving an empty stage. A course of study of coat hangers came down from the ceiling and each family member hung up their valuable clothing. This showed it was the end of an era, and that they had to move on. The hange rs going up, rather that just backwards or to the sides, showed that the life the family once had was now out of their reach and they had no focal point of getting back to it. This is an imaginative and cleaver way of cover the loss.A wavering then came down and the family climbed onto. It swung back and forth and as a way of illustrating the family how the family had to move distant away, to the downtrodden cottage in the countryside. Having the family on the swing gave time for us to invite how each of the characters were reacting to the change, I think this helped the audience to understand the characters on a more personal level. When the family got off the swing, it was onto a silky brownness sheet of material that was hooked onto the edges of the stage, around 0.75m off the ground at the back, but slowly sloping down to march the floor at the front of the stage. This was used to symbolise the dirty get on to the cottage a sign of how staple what they actually had w as. The chorus had crawled underneath the stuff and when the family stood on the mud, they used their arms and heads to bring in shapes to show the mud and gloopiness. After a time, the family lay down in the mud and the chorus sat up, cradling the cast in their arms as a way of showing acceptance from the family and the countryside that this is how things were going to be.When this was got rid of, a house folded up from the floor that used two panels from the floor as the roof and thing, what looked like wooden, panels for the walls. This use of thin materials for the house was a direct symbol of the familys situation and, although the house was very simple, it had a certain fairytale-cottage-like look about it.The Beasts rook was cold more extravagant and impressive than the familys cottage. When the father first went into the house vast bamboo sticks bowed down from the ceiling, with lights inside. This gave a striking, slightly imposing entrance to the palace and led to a c ircular doorway at the back of the stage that was blacked out, creating a sensation of mystery and curiosity. When Beauty went into the palace, and we saw her room, the swing that had carried to the family to the countryside had now turned into a four poster bed, with pink covers, which swung to help unstrain Beauty and make her feel more welcome. As it swung, the audience could see that Beauty was warming to the palace, which is something we had not seen before this scene. At one point in the play, when the Beast was feeling particularly low, he climbed a be given on the back wall of the stage and crawled into a small compartment, only speculative enough for himself. The accompaniment that he was completely alone in there shows that he wanted to be cut off from civilization, possibly because he did not feel worthy enough to be around humans in his beast-state, however the compartment was above everything so it was symbolic of how he was the supreme leader of his palace and had overall control. This helped to give us an sixth comprehend into the characters feelings at the time, which aids our understanding.As if to show a passage of time, when Beauty returned home to the country cottage the house has gained another story and gargantuan fans decorated with painted roses were surrounding the house. The overall view of the house gave a sparkling, happy fairytale effect and showed that the family were now more comfortable in the house, that they had settled in and were gaining from the experience.The final aspect I waste elect to look at it the costume designs. At the very start, all the family members were in whitened, expensive looking outfits obviously a sign of their status and showing that they are good people. When the family had to hang up their clothes, they stayed in the undergarments they had on for a while, until after they had arrived in the countryside when they put on plain overalls. These overalls may remove been a sign that, although th ey were not best pleased with existence stuck in the countryside, they were aware that they had no choice and were willing to work for their money. Beauty did not change her clothes, and for the entirety of the play, she wore a plain but pretty white curb.The witch, who was played by the same actress as who played Mama, wore an extravagant ball gown that was sparkly and dark, with a very large head deck up that showed she was an important character in the story. The dress was very dark, as you would expect a witchs clothing to be, however when the light hit it just right it glittered a lot, which showed to be lighter, which is something that is perhaps portrayed in her character.The Beast was wearing brown rags that had hints of a goldy material in them. At times, when the light hit the fabric just right, a tiny patch shone gold and sparkly. This hidden colour shows the character of the Beast well we know he doesnt like who he is, or what he is, but we cannot escape the fact th at he is of permission and high status. He wore a claw on his one turn over and make up that created the physical aspects of the character. When he became a man, the rags were removed and he wore simple leggings with a chiffon type robe that showed off his muscles and body shape, emphasising the fact that he was a proper man.When Beauty returned home late on in the play the family were dressed in bright clothing that looked far less grand this showed that they had accepted their life and lost all sense of importance of appearance because they had found true happiness in the countryside. legion(predicate) of the different examples above give us a better sharpness into a character, or a place for example, the Beast showed us that he felt isolated and alone at one point in the play simply by climbing into a compartment only big enough for him. The aspects of the play I have talked about work together in the performance to create atmospheres and to explore characters emotions.An e xample of atmosphere being created may be how costume and music were entwined to create the sombre result in which Beauty, wearing her double-dyed(a) white dress and holding the shuttle that symbolised her for the beginning part of the play, sing almost as a trade protection to her dead mother. We are meant to feel sympathy for Beauty, and we do because she looks so pure and innocent in her dress, however if she were in a black dress this feeling may not have been stirred as our basic minds associate white with good and black with bad.Lighting and costume similarly worked together well, such as in the witchs costume. The headdress was very exuberant and when the lights shone onto her, a huge shadow fell on a slit of the stage. The imposing shadow, with the spikiness and movements made me feel quite unnerved and was an impressive way of showing that she has high importance and power.Every one of the aspects I have discussed came together in the Beasts house. The overall effect was only created well by using suitably magical lighting, the creepy voices and instruments, a good set or in some cases using the chorus line to create the feeling of magical furniture, and costumes that gave us an insight into the character, such as Beautys dress or the Beasts costume, whilst also serving well in the purpose of making the play feel alive. This mix of all the different aspects came together to create an aura of a mystical and scary palace.