DOCSLIB.ORG

Romeo and Juliet by WILLIAM SHAKESPEARE Directed by JOSEPH HAJ

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Romeo and Juliet by WILLIAM SHAKESPEARE Directed by JOSEPH HAJ Wurtele Thrust Stage / Sept 9 – Oct 28, 2017 Romeo and Juliet by WILLIAM SHAKESPEARE directed by JOSEPH HAJ PLAY GUIDE Inside THE PLAY Synopsis, Setting and Characters • 3 Production History for Romeo and Juliet • 4, 5 Responses to Romeo and Juliet • 6 THE PLAYWRIGHT About the Playwright • 7 A Legacy that continues to inspire • 8 Shakespeare’s Plays • 9 BUILDING THE PRODUCTION From the Director: Joseph Haj • 10 From the Sound Designer: Vincent Olivieri • 11 From the Scenic Designer: Anna Louizos • 12 From the Lighting Designer: Josh Epstein • 13 From the Composer: Victor Zupanc • 14 ADDITIONAL INFORMATION Activities Guide • 15, 16 For Further Reading and Understanding • 17 Play guides are made possible by Guthrie Theater Play Guide Copyright 2017 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTORS Jason Brown and Carla Steen Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this Play Guide ADMINISTRATION 612.225.6000 may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE TOLL-FREE or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. The Guthrie Theater, founded in 1963, is an American center for theater performance, The Guthrie Theater receives support from the National production, education and professional training. By presenting both classical literature and Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation new work from diverse cultures, the Guthrie illuminates the common humanity connecting by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from Minnesota to the peoples of the world. the National Endowment for the Arts. 2 \ GUTHRIE THEATER THE PLAY Setting The Guthrie production sets the play in contemporary Verona, Italy, with a one scene in Mantua, about 25 miles away. Characters Prince of Verona Paris, his kinsman and a suitor to Juliet Paris’ page Lord Capulet Lady Capulet Juliet Capulet, their daughter Nurse, to Juliet Tybalt, nephew to Lady Capulet Potpan, servant to the Kate Eastman and Ryan-James Hatanaka (Photo by Jenny Graham) Capulets Gregory, servant to the Capulets Synopsis Lady Montague Romeo Montague, her son Benvolio, cousin to Romeo Romeo and Juliet is set in Verona, Italy, where the rival houses of Capulet Mercutio, friend to Romeo and and Montague have a longstanding feud that erupts with a new fight in kinsman to the prince the streets. Following this latest brawl, the Prince decrees a penalty of Balthasar, servant to Romeo death for whoever next breaks the peace. Romeo, a Montague pining in Friar Lawrence, of the unrequited love for Rosaline, wasn’t part of the brawl but jumps at the Franciscan order chance to crash a party at the Capulet house when he learns Rosaline Friar John, of the Franciscan is to be there. He, his friend Mercutio and cousin Benvolio arrive at the order Capulets in masks, but Tybalt, a hot-headed Capulet, recognizes Romeo’s Apothecary, in Mantua voice and vows revenge for Romeo arriving uninvited. Romeo sees Juliet, the daughter of Capulet, and they fall in love immediately. Later that night, he climbs the orchard wall to talk with Juliet from beneath the balcony outside her bedchamber. With the help of Juliet’s Nurse and Romeo’s friend and confessor Friar Lawrence, and hoping to mend the families’ division, the two secretly marry the following day, but their happiness does not last long. Tybalt challenges Romeo to a duel, and when Romeo refuses to fight his new kinsman, Mercutio faces Tybalt and is killed. In anger and revenge Romeo kills Tybalt, for which he is banished from the city. He spends a single night with his new bride and leaves for Mantua the next morning. Apparently divided forever, the two young people take desperate action to overcome the forces that keep them apart, but mistimed communication leads to an unfortunate and deadly end. GUTHRIE THEATER \ 3 THE PLAY Production History for Romeo and Juliet Compiled by Gina Musto, Literary Intern Romeo and Juliet was first The first performance of which we In October 1679 the Duke’s performed between 1595 and 1598 have an official record occurred in Company produced Thomas at the Curtain, the theater where 1660 by the Duke’s Company and Otway’s Caius Marius, an Shakespeare’s company performed a revival took place on March 1, adaptation of Romeo and Juliet, before the Globe opened in 1599. 1662. Famed diary-keeper Samuel giving the play a Roman republican Richard Burbage created the role Pepys was unimpressed with this setting with Restoration political of Romeo and Robert Goffe, who production, writing “it is the play overtones. Though critics did not played most of Shakespeare’s of itself the worst that I ever heard have kind things to say about the leading ladies, played Juliet. Given in my life, and the worst acted production, it held the stage for the size of the company and that ever I saw these people do.” over 60 years. number of roles, there was likely (Though it’s possible Pepys saw an a lot of doubling. The production adaptation of the play by James In 1744, Shakespeare’s play, with would have used contemporary Howard which featured a Mrs. many intrusions from Otway’s clothing of the time, as was the Saunderson as Juliet, probably the version, was revived and adapted norm in Shakespeare’s productions. first woman to play the role.) by Theophilus Cibber at the Little Haymarket. David Garrick undertook a revival at Drury Lane in 1748 and prepared an acting version which, with minor changes, held the stage for the rest of the century. It received more than 450 performances by 1800 and between 1750 and 1800 was the most popular of Shakespeare’s plays. Slightly modified by J.P. Kemble around 1803, Garrick’s version continued to be performed until the middle of the 19th century. In 1845, the play was performed using Shakespeare’s text (albeit heavily cut) at the Haymarket Theatre. Susan Cushman played Juliet opposite her sister, Charlotte, as Romeo. While the Garrick-Kemble script continued to be used in minor/ amateur productions, major revivals (Edwin Booth’s in 1868, Henry Irving’s in 1882, Mary Anderson’s in Ryan-James Hatanaka, Kelsey Didion, Lamar Jefferson and Jason Rojas (Photo by Jenny Graham) 4 \ GUTHRIE THEATER Shá Cage, Kate Eastman and Candace Barrett Birk (Photo by Jenny Graham) 1884 and Maude Adams’ in 1899) approach to staging Shakespeare. Interest in making the young lovers did not use the script, though Mary more socially recognizable has Anderson’s did retain a funeral Modifications to the text continued, become a common intent, from procession Garrick had written in. including a 1919 production with a production with Juliet played Ellen Terry as the Nurse in which all in a modern American secondary Toward the end of the 19th century, of Act 3, Scene 2 (Juliet learning school uniform to Michael Boyd’s changes in the presentation about Romeo’s banishment) was RSC production in 2000 where of the play were implemented. cut and the play ended with Juliet’s Mercutio was also a suitor for Previously, productions were suicide. Romeo’s affection, haunting the done in contemporary dress (such relationship even in death. as Romeo appearing in a waist- Peter Brook’s 1947 Stratford coat, knee breeches and a three- production omitted all of Act Baz Luhrmann’s 1996 film William cornered cocked hat in the mid- 4, Scene 1 (Juliet’s visit to Friar Shakespeare’s Romeo + Juliet 18th century), but from the latter Lawrence) apparently to avoid follows closely to the plot and part of the 19th century, an interest a scene change and ended with language of the original play while in setting and costuming the play Juliet’s death and a short comment staging the story in a modern, for 12th century Verona took hold, from the Chorus, borrowed from seaside dystopia of Verona and a need for “historical accuracy” the Prince’s lines. Beach. The setting borrows from could be found in productions other Shakespeare plays to name into the first decade of the 20th In 1960, Franco Zeffirelli directed establishments “Merchant of century, particularly under Henry a production of Romeo and Juliet Verona” Loan Company and a Irving and Herbert Beerbohm Tree. at the Old Vic which, through “Mistress Quickly” massage parlor. his later film version in 1968, With densely packed cultural William Poel, who wished to return has greatly influenced the way locales, young Claire Danes and to Elizabethan costuming in his people generally perceive how Leonardo DiCaprio in the title roles, productions, and Harley Granville- the play should be staged and and a racially and ethnically diverse Barker, who used some of Poel’s acted. Zeffirelli cut the text to cast in a setting that could be in ideas and restored Shakespeare’s accommodate a more cinematic Florida or Southern California, this texts as far as possible, were the focus on large action scenes and film is visually rich, complex and leading innovators of what has spectacle. indicative of America and post- become known as the modern modern culture. GUTHRIE THEATER \ 5 THE PLAY Responses to Romeo and Juliet Shakespeare showed the best of passion, and the excitement of Shakespeare wrote A Midsummer his skill in his Mercutio, and he the stinking crowds, the feuds, the Night’s Dream in the same years said himself, that he was forced intrigues.
Load more

Recommended publications
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • BENVOLIO but New Struck Nine. ROMEO Ay Me! Sad Hours Seem Long
    BENVOLIO/ROMEO BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long. Was that my father that went hence so fast? BENVOLIO It was. What sadness lengthens Romeo's hours? ROMEO Not having that, which, having, makes them short. BENVOLIO In love? ROMEO Out-- BENVOLIO Of love? ROMEO Out of her favour, where I am in love. BENVOLIO Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof! ROMEO Alas, that love, whose view is muffled still, Should, without eyes, see pathways to his will! BENVOLIO Tell me in sadness, who is that you love. ROMEO What, shall I groan and tell thee? BENVOLIO Groan! why, no. But sadly tell me who. ROMEO In sadness, cousin, I do love a woman. BENVOLIO I aim'd so near, when I supposed you loved. ROMEO/JULIET ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers' sake.
    [Show full text]
  • Romeo Revived .Pdf
    McGirr, E. (2017). "What's in a Name?": Romeo and Juliet and the Cibber Brand. Shakespeare. https://doi.org/10.1080/17450918.2017.1406983 Peer reviewed version Link to published version (if available): 10.1080/17450918.2017.1406983 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Taylor and Francis at http://www.tandfonline.com/doi/full/10.1080/17450918.2017.1406983. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Elaine M. McGirr Reader in Theatre & Performance Histories University of Bristol “What’s in a name?”: Romeo and Juliet and the Cibber brand Abstract: The 1744 and 1748/50 performances of Romeo and Juliet by Theophilus Cibber, Jenny Cibber and Susannah Cibber explain the significance of the play’s return to the repertory, uncover the history of rival interpretations of Juliet’s character, and make sense of the careers and reputations of the theatrical Cibbers. The “Cibberian” airs of all three Cibbers were markedly different, as were their interpretations of Shakespeare’s star-crossed lovers. Keywords: Shakespearean adaptation, performance history, celebrity, authorial reputation, repertory In Romeo and Juliet, Juliet apostrophizes Romeo to deny thy father and refuse thy name, assuring her (supposedly) absent lover that a rose by any other name would smell as sweet.
    [Show full text]
  • Shakes in Love STUDYGUIDE
    Study Guide for Educators Based on the screenplay by Marc Norman and Tom Stoppard Adapted for the stage by Lee Hall Lyrics by Carolyn Leigh Music by Paddy Cunneen This production of Shakespeare In Love is generously sponsored by: Emily and Dene Hurlbert Linda Stafford Burrows Ron and Mary Nanning Ron Tindall, RN Shakespeare in Love is presented by special arrangement with Samuel French Inc 1 Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to the Pacific Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • Shakespeare and London Programme
    andShakespeare London A FREE EXHIBITION at London Metropolitan Archives from 28 May to 26 September 2013, including, at advertised times, THE SHAKESPEARE DEED A property deed signed by Mr. William Shakespeare, one of only six known examples of his signature. Also featuring documents from his lifetime along with maps, photographs, prints and models which explore his relationship with the great metropolis of LONDONHighlights will include the great panoramas of London by Hollar and Visscher, a wall of portraits of Mr Shakespeare, Mr. David Garrick’s signature, 16th century maps of the metropolis, 19th century playbills, a 1951 wooden model of The Globe Theatre and ephemera, performance recording and a gown from Shakespeare’s Globe. andShakespeare London In 1613 William Shakespeare purchased a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. These were the venues used by The Kings Men (formerly the Lord Chamberlain’s Men) the performance group to which he belonged throughout most of his career. The counterpart deed he signed during the sale is one of the treasures we care for in the City of London’s collections and is on public display for the first time at London Metropolitan Archives. Celebrating the 400th anniversary of the document, this exhibition explores Shakespeare’s relationship with London through images, documents and maps drawn from the archives. From records created during his lifetime to contemporary performances of his plays, these documents follow the development of his work by dramatists and the ways in which the ‘bardologists’ have kept William Shakespeare alive in the fabric of the city through the centuries.
    [Show full text]
  • 'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
    Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse.
    [Show full text]
  • Romeo+Juliet
    DEAR EDUCATOR: What could be better than teaching Romeo and Juliet, perhaps the greatest love story of + all time? And this year, to enrich ROMEO JULIET your students’ engagement, THE MOST DANGEROUS LOVE STORY EVER TOLD. you can include the newest film adaptation of Shakespeare’s TARGET AUDIENCE For Part 2, Have students do some research to find adaptations or classic in your class plans. High school and college courses in English references to Romeo and Juliet in popular culture. These can be Literature, Shakespeare, and Creative Writing. either contemporary or historic examples. Ask them to prepare Revitalized for a whole new short presentations on what they find, generation by Academy Award®- PROGRAM OBJECTIVES encouraging them to think about historical winning screenwriter Julian • To identify major themes in Romeo and Juliet and geographical context (when was my Fellowes and acclaimed director and explore their continued relevance today. example created? where was it created?) as Carlo Carlei, this telling of • To analyze various examples of how Romeo well as audience (who was it created for? ROMEO & JULIET takes viewers and Juliet has been adapted or updated in what types of people would best understand popular culture. and appreciate it?) to draw conclusions about back to the enchanting world why this particular popular twist on Romeo of the story’s original setting in • To enhance students’ skills for moving easily between Shakespeare’s English and the way and Juliet was effective—or not! Verona, Italy. Douglas Booth and ® we speak today. Academy Award Nominee Hailee • To engage students’ creativity, using music to enrich their ACTIVITY TWO Steinfeld lead an extraordinary understanding of tone, emotion, and meaning across key scenes SHAKESPEARE IN OUR TIMES ensemble cast who bring in Romeo and Juliet.
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Answers for the Story of Pyramus and Thisbe
    Questions for the Story of Pyramus and Thisbe Instructions: Answer the following questions in complete sentences as you will be sharing this story with your cartography team. 1. What is the problem that Pyramus and Thisbe face from their families? Their families forbid them to be together or see each other. 2. What is the solution they came up with to solve their problem? They decide to meet at night outside the walls of the city so they can be together. 3. What three objects are located in the area where they decide to meet? The three objects that are located in the area where they decide to meet are a tree, a stream, and a cemetery. 4. What incident happens to Thisbe as she is waiting under the tree for Pyramus? Thisbe is attacked by a lioness. 5. What is the name of the item Thisbe dropped on the ground? Thisbe drops her veil as she runs from the lioness. 6. What action does Pyramus perform when he thinks Thisbe is dead? Pyramus falls on his sword and dies when he thinks Thisbe is dead. 7. What continues happen even to today to the white fruit of the mulberry tree as a result of the lovers’ tragedy? The white fruit of the mulberry tree turns a dark purple color when ripe. 8. What proposal would you make to improve Pyramus and Thisbe’s situation? Answers will vary. 9. What other story do the Story of Pyramus and Thisbe resemble? What differences do you notice between these two stories? The Story of Pyramus and Thisbe resembles Romeo and Juliet.
    [Show full text]
  • Garrick's Alterations of Shakespeare
    Cambridge University Press 978-0-521-88977-3 - Shakespeare and Garrick Vanessa Cunningham Excerpt More information prologue Garrick’s alterations of Shakespeare – a note on texts The great majority of the versions of Shakespeare’s plays made by David Garrick and published during his management of Drury Lane (1747– 1776) are described on their title pages as ‘alterations’, or as having been 1 ‘alter’d for performance’. The two operas (The Fairies, 1755, and The Tempest, 1756) are said to be ‘taken from Shakespear’, while Antony and Cleopatra,publishedin1758 and generally credited jointly to Edward Capell and Garrick (though not attributed to either on the title page), is dis- tinguished from the others by its description as ‘an historical Play, written by William Shakespeare: fitted for the Stage by abridging only’. Despite the fact that Harry William Pedicord and Fredrick Louis Bergmann, modern editors of Garrick’s plays, entitle their two volumes of Shakespeare- 2 derived texts ‘adaptations’, ‘alteration’ is certainly the preferable term for discussion of Garrick’s performance versions of Shakespeare’s plays, since throughout the eighteenth century ‘alter’ was used far more commonly than ‘adapt’. Garrick, according to Pedicord and Bergmann, is believed to have been involved in the altering of some twenty-two plays by Shakespeare over the course of his professional career. In their collected edition they reproduce 3 the dozen that they consider can be authenticated. The present work discusses a selection of alterations that span Garrick’s professional career. Two are from the early years (Macbeth, Romeo and Juliet) and two from the middle period (Florizel and Perdita, Antony and Cleopatra).
    [Show full text]
  • Romeo and Juliet
    Study Guide Romeo and Juliet A Tragedy has 4 Elements Tragic Hero Supernatural Element born Hero has a fatal FLAW Hero’s FATE leads to A mystical, mysterious, Hero is Noble born High downfall or death or unnatural element class occurs during the Influences society Tragic Hero’s life Guide Romeo and Juliet Romeo is a Tragic Hero Romeo Romeo’s FLAW Supernatural is Element Noble Born FATE causes Romeo to NEVER receive the note from Friar Laurence Potion born Romeo is Impulsive mysterious unnatural potion Romeo is born to a Romeo is impulsive … It is FATE that causes Juliet has taken a noble high class family this FLAW causes him to Romeo to NEVER mysterious potion that and is the hero of the make quick decisions receive the note from makes her look dead. play. without thinking. Friar Laurence telling Romeo kills himself him that Juliet plans to because he thinks Juliet FAKE her death. is dead, but she is FAKING death. J. Haugh 2014 X Drive/ English/ Romeo Juliet/ Study Guide Romeo and Juliet 1 Problems or Complications for Juliet Not a Problem of Complication for Juliet There is an ongoing feud between Juliet is NOT in love with Paris so this Capulet and Montague families is not a problem or complication Lady Capulet (Juliet’s mom) wants her to marry Paris Tybalt wants to fight Romeo to the death The feud between the Capulet and Montague Families Obstacles for Romeo Lady Capulet wants Juliet to marry Paris and Juliet Comic Relief happens when a writer puts humor into a serious situation to break the tension Juliet’s Nurse provides COMIC RELIEF in a serious situation J.
    [Show full text]