Cymbeline & Noir

by Nick Sheets, dramaturg

This is the first post for BYU’s Young Company’s upcoming production of Cymbeline by William Shakespeare. Teresa Love, the director, decided to split the production into two unique themes: mystery noir and fairyland. I’d like to introduce you to the world of “Noir,” if you will indulge yourselves for a moment.

What is “Noir?”

Glad you asked. Take a look at this fun “Mater: P.I.” video for starters. It exemplifies the “Noir” technique so commonly used in American cinema.

What are some things you noticed? If you talked about the high contrast between black and white, trench coats, mystery, conniving women, underground illegal activity, etc. then you’re on the right track.

But, how did “noir” become popular in America? It all begins with WWI…

After WWI people began to question reality. How could we arrive at this point even though we are “civilized?” Perceivable reality and subjectivity were huge trends in the Avant-garde artistic movements that surged quickly in the beginning of the 20th century.

One of these movements was German Expressionism. It was sort of creepy. Take a look at this picture by Kirchner entitled “Dresden Street:”

Dresden Street, Kuchner

You see the little girl in trolley tracks. You see green faces, claw-like hands, and vibrant colors. For me, this picture is disturbing. It takes a normal scene in Dresden and creates an “icky” feeling.

However, this feeling transitioned into film, beginning in Europe. Here is a clip from The Cabinet of Dr. Caligari (1920). Take a look at this clip:

The scenery, make-up, acting styles, etc. are very “off,” for lack of a better word. When you look at Dr. Caligari’s window, for example, it’s not a rectangle, but rather curved to one side. This transition away from a supposed reality was common, especially as people tried to understand the new reality after WWI.

When American film took the “noir” idea up for consideration they stayed true to many of the techniques used in European cinema. The high-contrast with light and dark is very prominent, for example.

As we go along, I will be sharing more details on the production’s implementation of “Noir” in later posts. I invite you to consider all of these ideas when you come to see the “Noir” version of Cymbeline. In the meanwhile, feel free to comment on any particular “Noir”-style movies you’ve enjoyed or some of the features in these films you find intriguing.

For those interested in more information on this topic, see the following links:

The Rules of Film Noir

PBS American Cinema: Film Noir

The Basics of Lighting for Film Noir

Welcome to the 2013-2014 Season!

Welcome back to the 4th WALL for BYU’s 2013-2014 theatre season.  The 4th WALL will be your one stop shop for all sorts of insider information about our upcoming productions, which include:

Hans Christian Andersen’s The Nightingale, adapted for the stage by Timothy Mason

The Light in the Piazza, by Craig Lucas (book) and Adam Guettel (music and lyrics)

Cymbeline by William Shakespeare

A Man for All Seasons, by Robert Bolt

Jane Austen’s Pride and Prejudice, a NEW adaptation for the stage by Melissa Leilani Larson

and

Oscar Wilde’s The Selfish Giant, adapted for the stage by Teresa Dayley Love

Take a moment to meet our dramaturgs, and then check back regularly as they take you inside the world of each of these productions.  You can also make sure you never miss a post by choosing to Follow the 4th WALL (to the right), with an email arriving in your inbox every time new information is added.

For those of you returning from last season, you will notice some slight changes in the design of the site.  It is our hope that this new design will make it easier for you to follow along with any specific shows.

As always, we love to hear from our audience members, so please feel free to engage with our dramaturgs or with the productions by leaving comments on any of the posts.

Thank you for visiting the 4th WALL!