Twelfth Night by Trevor Nunn (Screen Play)

People tend to judge others based on many aspects. Sometimes they may try to force people to act upon certain rules that define their place in society. They often try to meet expectations that society has made for them based on gender and social status. William Shakespeare reinforces these ideas in his play Twelfth Night, which introduces many meaningful messages about situations that still occur in society today. He clearly develops important themes worthy of analysis. A few of these strong themes are about stereotypes and society’s expectations and rules, which he proves to be irrelevant most of the time. Many situations in the play falsify commonly held stereotypes about gender and social status by showing how they are sometimes invalid. He also shows how these stereotypes can affect the way people behave towards and judge others.

The next song I listened to is called “Suna”. It is written by Timothy Constable and composed by Michael Tilson Thomas. The Style of the music seems to be medieval. The song starts off with a mezzo piano and adagio. It stayed that way pretty much throughout the whole song because this song was very repetitive. There was a part where they used accelerando, but the rest stayed the same until the end. I believe that they used a duple meter. The melody was conjunct and

The development and recapitulation section opens with the strings and flute playing antiphonally in a minor key. The melody is very rhythmic and uses accelerando. The strings then play ascending and descending scales, before playing a melody that is accompanied by brass. The French horns and woodwind section then play in imitation. There is a crescendo, with ascending scales played by the woodwind. The strings play an inverted pedal as the French horn and woodwind imitate each other again. The cello then plays the melody, imitated by strings and flute. An ascending and descending string passages follow, with cymbal crashes. The brass and strings play a syncopated rhythm, which is repeated by the orchestra and uses cymbal crashes. The orchestra then repeats the fight melody, using cymbal crashes, suspensions, triplets and descending scales, whilst the trumpets play the Friar Lawrence theme. Following the crescendo, there is a descending string scale, then the woodwind then plays an arpeggio melody whilst the

She’s the Man is a modern adaptation and interpretation of The Twelfth Night but the

For the music in this play, Paula Vogel suggested period correct music spanning two generations. She mentions Motown several times, as well as Roy Orbison and the Beach Boys. Most of this music is romantic and happy with little hints of sexuality and sometimes-pedophilic references. For some weird reason the voice of the announcer in my head was played by the Moviephone guy.

play the line reads "Out, out - brief candle" and the line is said by

In the Twelfth Night film directed by Trevor Nunn, there are differences between the sequencing of the scenes, lines of characters, and character stage directions/movements compared to the original text. Directors use film adaptations to enhance the writer’s intended meaning hidden in the original text, however, Trevor Nunn altered the meaning of a Shakespearean comedy. Shakespearean comedies are characterized as entertaining plays centered around a person of power, who delivers a statement of harsh judgment and must make amends, and the comedies usually end in marriage. In Twelfth Night, Orsino, the Duke of Illyria, passes harsh judgment towards Lady Olivia by telling his servant, Cesario, to “be clamorous and leap all civil bounds/

The music for this production was very vague. The only music that accompanied this play was during the set changes. At first, I felt as if the music was appropriate because it

This piece features an orchestra accompanied by a large choir; the lyrics are sung in the game's fantasy language of the dragons. "Sons of Skyrim" is a barbaric

It is a one minute and seven seconds short music for a scene in an American film called Fantastic Mr. Fox. It is a folk music as it uses ukulele as its main instrument that it sounds like Hawaiian folk music with the accompaniment of strings and xylophone. It is a short instrumental peace and the melody is repeated for several times.

This is the song sung by the chorus as it first enters the orchestra and dances.

The tenor voice of Alessandro Safina sings backup vocals, as well as choral accompaniment of the Metro Voices (Discogs, 2017). Satine sings a reprise of “Your Song” in the subsequent scene to the actual Duke she mistook Christian for moments earlier. Her soprano voice, light and feminine, performs with simple elegance. Heard in this scene is a combination of Marius Devries’ composition of “Meet Me in the Red Room” and a stanza from “Children of the Revolution” (IMDb, 2017). A more satirical and comical can-can approach takes hold of the movie for a while, highlighted by the frenzied and enjoyably devious medley called “The Pitch” (Wikipedia, 2017). Cleaver to touch on the Shakespearean style of putting a play inside of another play, because it seems to be a use of foreshadowing, in that most characters die tragically in his plays, just as Satine will die in this one. A very fast paced “Spectacular Spectacular/ The Pitch” uses a combination of “The Can-Can,” “The Sound of Music,” and “Your Song,” and appears to be the only song not adapted to the film, because it features original lyrics, and incorporates the vocals of all major characters in this very wildly hilarious performance (Discogs, 2017). This scene is scored with an extremely warm piano performance by Armstrong. As Zidler is throwing the bait to the Duke for “The Pitch” or “Spectacular Spectacular,” swirling from one side of him to the other, dashing front to behind the Duke, all this to emphasize the Duke’s confusion about what’s going on and to sprinkle on more humor (Luhrmann,

Within the original musical, the music of the film was by Herbert Stothart (1885-1949). He was a song writer, arranger, conductor, and

I have never been involved with the production of any kind of play, so my partner and I decided that we would watch multiple versions of this play. There was Kenneth Branagh’s version which was sort of lack characteristic that we thought would be suiting for our “soap opera” themed performance.

      While it is a comedy of the turmoil of love and the experimentation with gender roles and identity, William Shakespeare's As you Like It is a historical preservation of Renaissance music. The play is fraught with spontaneous song and poetry, yet Shakespeare strategically manipulates these musical elements. Specifically, the lyrics and poetry of the play function to establish a soundtrack and a direct appeal to their Elizabethan audience, while providing Shakespeare with a valuable shorthand for character development.