In Much Ado About Nothing, love is fickle and volatile. Several pairs of characters fall in and out of love almost overnight, and some accept their emotions without question. Many complex events cause these sudden emotional changes. Each character in Much Ado About Nothing plays a role in changing the feelings of another, but one man, Don John, sets in motion the events that lead to the most drastic of these events. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayDon John is the bastard brother of Don Pedro, the Prince of Aragon. The prince despises him but respects him as a brother. Seeing this, many of the characters follow suit. Leonato says to Don John: "having been reconciled to the prince your brother, I owe you every duty" (Shakespeare, Ii125-126). In this way, Don John easily slips into the background of the play without the other characters interacting with him extensively. Therefore, he plays an important role in the plot without appearing on stage relatively often. This means that each appearance is crucial to his development as a character. Before the opera begins, the brothers fought a great battle in which Don John's army was brutally defeated (Ii-iii.). Although this saddens him, he admits that he is already predisposed to silent suffering and stoic depression to his confidant Conrad. She tells him and the audience: “I can't hide who I am. I must be sad when I have reason to be” (I.iii.10-11). However, Don John's words alone, read from the script, cannot fully represent the man's true underlying characteristics and motivations. Don John's performance at various points in the play is key as it can portray him as a malicious schemer who uses his resources to cause unwarranted harm, or alternatively as a lackluster individual whose discontent and powerful mind are prone to carry out the dark plans of others. .In the third scene of the first act, Conrad discusses with Don John the full extent of his sadness in his current situation. Don Pedro previously accepted him back into his company after the battle. If Don Jon is to be considered used, Conrad could be portrayed as convincing a surly and inactive Don John that unless he acts on his grief, the rest of his life will be lived under his older brother, the prince. Conrad tells him, “It is necessary for you to set the season for your harvest” (I.iii.19-20). Don Giovanni responds, "It is better that my blood should be despised by all than that it should fashion a carriage to steal someone's love" (I.iii.22-23). He would simply rather silently hate everyone than come up with a plan to hurt someone. Conrad goes on to ask whether Don John will let his discontent go to waste rather than used as fuel for some evil act (I.iii.30). “I make full use of it, because I only use it,” he replies (I.iii.31). When performed sadly, in a prolonged and monochromatic manner, Don John appears apprehensive and reluctant to use his sadness for any other task than wallowing in it. Conversely, if Don John is to be portrayed as the scheming user, a different performance must be performed. be used. With his hand on his chin and a lighter inflection, as if reflecting on Conrad's words, Don John's first response seems to question his very nature. Would he really silently disdain his brother, or would he act to prevent his fate as an inferior bastard from being sealed? After Conrad's second stimulus, Don John's performer may want to show Don Johninterested in more movement and dynamic hand gestures. He becomes proud and defensive of his emotions, telling Conrad to stop prodding him because he will actually use them and it is his alone to control. A second point where the performance controls the character of Don John is in the second scene of the second act. . Borachio and Don John are planning a way to subvert Hero and Claudio's marriage. In order to act as a user, Don John will have to show extreme interest in Borachio's plans. If the actor focused on Borachio's face and gestures, occasionally mirrored his actions, and responded with quick, excited quips, Don John appeared as if he were in rapt attention, ready to employ whatever strategy his henchman could devise to stop the action. marriage. Combined with the payment of a thousand gold pieces, this performance demonstrates that Borachio acts submissively to Don John (II.ii.43-44). If Don John were to continue his role as a used instrument, the performance would require a color difference. Slow to respond with a worried inflection, to Don John's question "What proof should I make of this?" he feels serious (II.ii.23). He will appear uncertain about Borachio's plan, almost reluctant to respect it. Unlike the relationship developed in the user's performance, this depiction highlights that Borachio is manipulating Don John. After all, the plan to deceive Claudio and Don Pedro with Margherita is entirely Borachio's work. In the third act of the opera, a third critical moment occurs in the second scene. At this time, Don John is carrying out his part of the plan previously created by Borachio. He must convince Don Pedro and Claudio that Hero has been disloyal and that they must follow him to witness his disloyalty that same night. Don John's character in this scene can be determined by how a particular line is performed. When he says, “You may think I don't love you” (III.ii.78). This line is said just before the start of his lie and carries with it the weight of the performance. A melancholic inflection, a relaxed body position and perhaps a hand resting on his brother's shoulder would support the characterization used. This performance would show Don John's feelings of apprehension in deceiving his brother and Claudio. I see it as his attempt to relate to Don Pedro and internally apologize for the wrongdoing he is about to commit for Conrad and Borachio. Throughout this scene, Don John would be portrayed as passive, slow in movement, thoughtful, and slow in delivering the bad news in order to create a saddened character who acts outside of his own best interests. Many of the opposite traits would be applied to create user characterization. When she tells the two men that they believe she doesn't love them, a boastful tone, overly exaggerated body movements, and rapid delivery would together portray to the audience a clever villain attempting to hide his lies in the guilt of his enemies. The entire scene would be performed as if Don John was attempting to clearly communicate the bad news to Claudio and Don Pedro as smoothly and efficiently as possible. The phrase about love was designed by Don John simply to get their attention and inspire them to listen fully. A sly smile may grace his lips as the three men exit, signifying the user's happiness in the effectiveness of his words. A fourth and final important moment for the performance of Don John occurs at the beginning of the fourth act. At this moment Claudio accuses Hero of being immoral and impious. The plan implemented by Borachio and Don John is finally coming to fruition. For much of the scene, Don John remains silent, respecting his usual disposition. Speaks.