Romeo and Juliet
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The Collected Works of Ambrose Bierce
m ill iiiii;!: t!;:!iiii; PS Al V-ID BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg W, Sage 1891 B^^WiS _ i.i|j(i5 Cornell University Library PS 1097.A1 1909 V.10 The collected works of Ambrose Blerce. 3 1924 021 998 889 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021998889 THE COLLECTED WORKS OF AMBROSE BIERCE VOLUME X UIBI f\^^°\\\i COPYHIGHT, 1911, Br THE NEALE PUBLISHING COMPANY CONTENTS PAGE THE OPINIONATOR The Novel 17 On Literary Criticism 25 Stage Illusion 49 The Matter of Manner 57 On Reading New Books 65 Alphab£tes and Border Ruffians .... 69 To Train a Writer 75 As to Cartooning 79 The S. p. W 87 Portraits of Elderly Authors .... 95 Wit and Humor 98 Word Changes and Slang . ... 103 The Ravages of Shakspearitis .... 109 England's Laureate 113 Hall Caine on Hall Gaining . • "7 Visions of the Night . .... 132 THE REVIEWER Edwin Markham's Poems 137 "The Kreutzer Sonata" .... 149 Emma Frances Dawson 166 Marie Bashkirtseff 172 A Poet and His Poem 177 THE CONTROVERSIALIST An Insurrection of the Peasantry . 189 CONTENTS page Montagues and Capulets 209 A Dead Lion . 212 The Short Story 234 Who are Great? 249 Poetry and Verse 256 Thought and Feeling 274 THE' TIMOROUS REPORTER The Passing of Satire 2S1 Some Disadvantages of Genius 285 Our Sacrosanct Orthography . 299 The Author as an Opportunity 306 On Posthumous Renown . -
Romeo and Juliet I
15 Romeo And Juliet I Romeo And Juliet is one of the most famous love stories of all time. It takes Verona place in the city of Verona, Italy. Where is Verona? Verona is a rich and beautiful city in Italy. Map of Italy Copy A Family Feud In Romeo And Juliet, there are two wealthy families, the Capulets and the Montagues. The Capulets and the Montagues are not on good terms. If you are a Capulet, it is your duty to dislike Montagues. If you are a Montague, you will be a disgrace to your family if you are friends with a Capulet. Imagine meeting the person you dislike most! Sampson and Gregory work for the Capulets, while Abraham and Balthasar work for the Montagues. How do you think the men feel when they bump into each other on the streets of Verona? Well, Sampson decides to insult the Montagues. An insult is something rude that people do or say to others. In those days, it was very rude to bite your thumb at someone, and that is whatEvaluation Sampson did when he saw Abraham and Balthasar! 83 Romeo And Juliet I A Quarrel Read the following script aloud. Then act out the story. Characters Sampson Abraham (from the house of Capulet) (from the house of Capulet) Balthasar Gregory (from the house of Montague) (from the house of Montague) Benvolio (a Montague) Tybalt (a Capulet) Other members of the Citizens two families Setting Copy Verona SAMPSON I will bite my thumb at them. That’s a great insult! ABRAHAM (noticing SAMPSON) Do you bite your thumb at us, sir? SAMPSON I do bite my thumb, sir. -
Cambridge Companion Shakespeare on Film
This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M. -
Romeo & Juliet
Romeo and Juliet The Atlanta Shakespeare Company Staff Artistic Director Jeff Watkins Director of Education and Training Laura Cole Development Director Rivka Levin Education Staff Kati Grace Brown, Tony Brown, Andrew Houchins, Adam King, Amanda Lindsey, Samantha Smith Box Office Manager Becky Cormier Finch Art Manager Amee Vyas Marketing Manager Jeanette Meierhofer Company Manager Joe Rossidivito Unless otherwise noted, photos appearing in this study guide are courtesy of Jeff Watkins. Study guide by Samantha Smith The Atlanta Shakespeare Company 499 Peachtree St NE Atlanta GA 30308 404-874-5299 www.shakespearetavern.com Like the Atlanta Shakespeare Company on Facebook and follow ASC on Twitter at @shakespearetav. DIRECTOR'S NOTE ONe of the thiNgs I love most about Shakespeare is that his stories prejudices are too deep aNd too violeNt to be overcome carry differeNt meaNiNgs for me at differeNt poiNts iN my life. by youNg love; iNstead it takes the deaths of two What resoNates for me about the story of Romeo aNd Juliet right iNtelligeNt, kiNd, empathetic youNg people to make the Now is the impact aNd terrible cost of prejudice aNd hatred for the feudiNg Capulets aNd MoNtagues fiNally call each other people iN the play. The Capulets aNd MoNtagues are Not writteN "brother." Right Now, that's the part of this story that's as villaiNs. They are ordiNary people who go about their busiNess moviNg me the most: the warNiNg call to examiNe our aNd care for their owN. But they have beeN raised to hate each owN grudges aNd prejudices aNd thiNk about the other aNd are set iN their ways; they stubborNly adhere to their coNsequeNces of those prejudices for ourselves aNd geNeratioNs-old family feud, refusiNg to let their old grudges go others. -
Who's Who Character Sort
Character name Character description A The Prince of Verona, the most important person in the City of Verona. He is a wise and fair man. He is well-liked JULIET and tries to be a tough leader but is caught between the two warring families. He wants the Capulets and Montagues to live in peace. B Romeo's friend. He is young, lively and a very likeable TYBALT young man. He is always talking, joking. He is also arrogant and a powerful fighter. He is honourable and very loyal to Romeo. C NURSE Romeo's cousin and close friend. He is a sensible, trustworthy young man who is very loyal to Romeo. D A man about fifty, a wise and holy man. He is a priest and LADY CAPULET usually gives good advice. He is well-liked, kind and gentle, always wants to help people, and is anxious to avoid sin. He secretly marries Romeo and Juliet. E Juliet's cousin, a little older than Romeo. He is an CAPULET argumentative young man, a troublemaker who loves fighting. He likes violence and plays dirty. F Juliet's mother. She is younger than Lord Capulet (about ROMEO 30). A capable organiser accustomed to doing her husband’s wishes and running the household. She loves her daughter but is not as close to Juliet as the nurse. G A woman in her 40s, practical, fun and caring. She works BENVOLIO for the Capulets and has looked after Juliet since she was a baby, so she has a good position in the family. -
Romeo & Juliet
ROMEO & JULIET Student’s Book A play and film study guide Educasia Education in Context Before You Start… 1. You are about to read and watch the story of Romeo and Juliet. Look at the two pictures below, and try to answer the following questions: Who are Romeo and Juliet? What is their relationship? How will their relationship change throughout the story? How will the film and play be different? 2. Read the following introduction to the play, and answer the questions. This is the most famous of all Shakespeare’s plays, first printed in 1597. Romeo and Juliet meet, fall in love, and promise to be faithful to each other forever. Love is strong, but not as strong as family tradition, or hate, or revenge. Like young people all over the world, Romeo and Juliet want the right to decide their future for themselves, but in the end, their families are too powerful for them. Romeo and Juliet cannot live without each other, and if they are not allowed to marry and live together, there is only one way out. According to the introduction, are the following sentences true (T), false (F) or doesn’t it say (DS)? a. Romeo and Juliet have been lovers since they were children. b. Romeo and Juliet’s families are enemies. c. Romeo and Juliet are married. d. Their families eventually allow them to be together. 1 Characters in the Play The Montague family Lord Montague Lady Montague Romeo, the Montagues’ son Nurse, from Benvolio, Romeo’s cousin the 1968 film The Capulet family Lord Capulet Lady Capulet Juliet, the Capulets’ daughter Romeo and Juliet, Tybalt, Juliet’s cousin from the 1916 film. -
2018 Study Guide Commons.Wikimedia Romeo and Juliet by William Shakespeare
2018 Study Guide commons.wikimedia Romeo and Juliet by William Shakespeare San Carlo Borromeo Among The Plague Sufferers (detail), Benedetto Luti the impact of environment Environmental factors impact Shakespeare’s telling of the story of Romeo and Juliet in a couple of important ways. Shakespeare makes a point of telling us several Stone bridge, Verona, Italy William Shakespeare times that it is hot. This is five days in the height of the summer under VERONA, ITALY WILLIAM SHAKESPEARE blistering Italian sunshine, and the youth of Verona, with the short • A city on the Adige River in north- • Born around April 23, 1564. tempers people tend to get on ex- ern Italy, midway between Venice • Married Anne Hathaway at tremely hot days, have nothing and Milan. Shakespeare used this the age of 18. They had to do but pick fights. area frequently in his plays. The Two three children between Gentlemen of Verona is set in Verona 1583 and 1585. The plague also plays an important and Milan, and the beginning of • Became an actor and lead role. Mercutio, a relative of Prince this season’s Othello takes place in playwright for the Lord Escalus who has no direct connec- neighboring Venice. Chamberlain’s Men, which tion to the feud, uses his dying • The name Verona is short for became the King’s Men words to call a plague down on Versus Romae, meaning “In the when King James I was both the Capulets and Montagues. direction of Rome,” as it was on crowned in 1603. Devastating outbreaks of plague the main road south to Rome from • Wrote 37 plays, 2 epic were common in Renaissance Eu- northern Europe. -
Romantic and Realistic Impulses in the Dramas of August Strindberg
Romantic and realistic impulses in the dramas of August Strindberg Item Type text; Thesis-Reproduction (electronic) Authors Dinken, Barney Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 13:12:12 Link to Item http://hdl.handle.net/10150/557865 ROMANTIC AND REALISTIC IMPULSES IN THE DRAMAS OF AUGUST STRINDBERG by Barney Michael Dinken A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 1 STATEMENT BY AUTHOR This thesis has been submitted in partial fu lfillm e n t of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available,to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests fo r permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship, In a ll other instances, however, permission must be obtained from the author. -
Junia & Noe 36
Life is an Inverted Circus... 265 LIFE IS AN INVERTED CIRCUS: GRUPO GALPÃO’S ROMEU E JULIETA ADAPTED FROM PENNAFORT’S TRANSLATION OF SHAKESPEARE’S Junia C. M. Alves Centro Universitário Newton Paiva Brazil Marcia Noe The University of Tennessee at Chattanooga USA Among the various manifestations of late modernism occurring in Brazil is Grupo Galpão, a street theatre company founded in 1982. Combining elements of circus, the improvisation of commedia dell´arte, the exuberant creativity of classic and Renaissance dramaturgy, and the vanguard movement of contemporary theatre with the production of the regional-cultural imagination inscribed in the Brazilian performative code, the members of this group represent a new generation of directors and actors whose work, as it reveals Brazil as an apparently not serious carnavalesque nation, also challenges the public to reflect on present and past concerns. With Grupo Galpão, Brazilian issues of memory and of the continuum and discontinuum of religious, economic, and social history are situated in an atemporal time and presented theatrically to an often unprepared public. These artistic Ilha do Desterro Florianópolis nº 36 p.265-281 jan./jun. 1999 266 Junia C. M. Alves and Marcia Noe efforts are characterized by a backgounding of the political moment that is, in fact, present, although masked by humor and laughter. Grupo Galpão was born of the experience of Brazilian actors with the directors of the Free Theatre of Munich, Germany. The group began its activities in the streets of Belo Horizonte; their objective was to rupture the predictability of stage performance and create a new cultural spectacle inserted in the old concept that all theatre performance aims at functioning as a starting point for reflection and at answering, metaphorically, questions related to “a nossa origem, nosso ser brasileiro, num painel de crítica a tipos e situacões da nossa realidade” (“Galpão Encena o Incesto de Álbum de Família”). -
Download This Volume In
Sederi 29 2019 IN MEMORIAM MARÍA LUISA DAÑOBEITIA FERNÁNDEZ EDITOR Ana Sáez-Hidalgo MANAGING EDITOR Francisco-José Borge López REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 29: Leticia Álvarez Recio (U. Sevilla, SP) Adriana Bebiano (U. Coimbra, PT) Todd Butler (Washington State U., US) Rui Carvalho (U. Porto, PT) Joan Curbet (U. Autònoma de Barcelona, SP) Anne Valérie Dulac (Sorbonne U., FR) Elizabeth Evenden (U. Oxford, UK) Manuel Gómez Lara (U. Seville, SP) Andrew Hadfield (U. Sussex, UK) Peter C. Herman (San Diego State U., US) Ton Hoensalars (U. Utrecth, NL) Douglas Lanier (U. New Hampshire, US) Zenón Luis Martínez (U. Huelva, SP) Willy Maley (U. Glasgow, UK) Irena R. Makaryk (U. Ottawa, CA) Jaqueline Pearson (U. Manchester, UK) Remedios Perni (U. Alicante, SP) Ángel Luis Pujante (U. Murcia, SP) Miguel Ramalhete Gomes (U. Lisboa, PT) Katherine Romack (U. West Florida, US) Mary Beth Rose (U. Illinois at Chicago, US) Jonathan Sell (U. Alcalá de Henares, SP) Alison Shell (U. College London, UK) Erin Sullivan (Shakespeare Institute, U. Birmingham, UK) Sonia Villegas (U. Huelva, SP) Lisa Walters (Liverpool Hope U., UK) J. Christopher Warner (Le Moyne College, US) Martin Wiggins (Shakespeare Institute, U. Birmingham, UK) R. F. Yeager (U. West Florida, US) Andrew Zurcher (U. Cambridge, UK) Sederi 29 (2019) Table of contents María Luisa Dañobeitia Fernández. In memoriam By Jesús López-Peláez Casellas ....................................................................... 5–8 Articles Manel Bellmunt-Serrano Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation .......................................................................................................... -
Romeo and Juliet | Program Notes
27 Season 2018-2019 Thursday, April 4, at 7:30 Friday, April 5, at 2:00 The Philadelphia Orchestra Saturday, April 6, at 8:00 Yannick Nézet-Séguin Conductor Brian Sanders’s JUNK Julia Higdon Juliet Teddy Fatscher Romeo Darren Dash Robinson Mercutio/ Prince Escalus Jared Cutler Benvolio/Count Paris ProkofievSelections from Romeo and Juliet, Op. 64 Act I Introduction Interlude Masks Dance of the Knights Juliet’s Variation Tybalt Recognizes Romeo Gavotte (The Departure of the Guests) The Balcony Scene Romeo’s Variation Love Dance Act II Folk Dance Romeo at Friar Laurence’s Cell Juliet at Friar Laurence’s Cell The People’s Merry-Making Continues Tybalt Encounters Mercutio Tybalt Fights with Mercutio The Death of Mercutio Romeo Decides to Avenge Mercutio’s Death Finale of Act II Intermission 28 Act III Introduction Farewell Before Parting Juliet Refuses to Marry Paris Juliet Alone Interlude At Friar Laurence’s Cell Interlude Juliet Alone Dance of the Girls with Lilies At Juliet’s Bedside Act IV Juliet’s Funeral The Death of Juliet Additional cast: Aaron Mitchell Frank Leone Kyle Yackoski Kelly Trevlyn Amelia Estrada Briannon Holstein Jess Adams This program runs approximately 2 hours, 5 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. These concerts are made possible, in part, through income from the Allison Vulgamore Legacy Endowment Fund. The April 4 concert is sponsored by Sandra and David Marshall. The April 5 concert is sponsored by Gail Ehrlich in memory of Dr. George E. -
West Side Story As Shakespearean Tragedy and a Celebration of Love and Forgiveness
“The Boy Must Die? Yes, the Boy Must Die”: West Side Story as Shakespearean Tragedy and a Celebration of Love and Forgiveness West Side Story is based on Shakespeare’s tragedy, Romeo and Juliet, and is considered to be one of the finest adaptations of a Shakespearean play ever written. The structure of the first act of West Side Story follows almost exactly the structure of the first three acts of Romeo and Juliet. And the major characters of West Side Story, Tony and Maria, are parallels to Romeo and Juliet. The opening fight between the Jets and the Sharks mirrors the fight between the Montagues and Capulets and this fight is broken up by the modern American representation of the law, Officer Krupke, instead of the Prince who weighs in against the two warring clans in Renaissance Verona. In both the modern musical and the Renaissance tragedy, the opening scene, in the manner of Greek tragedy, lays bare the plague that afflicts society—unchecked violence exacerbated by extreme prejudice. The two scenes that follow, the introduction of Romeo/Tony, and of Juliet/Maria, depict the longing of the young to escape from this plague. Romeo/Tony knows that the current trajectory of his life is meaningless and hopes that a new path will open up for him. And Juliet/Maria does not want to marry within the narrow confines of her familial/ethnic group, seeking instead to forge her own path for her own life. Thus the conflict between the protagonists and an antagonistic society is established. When Romeo/Tony and Juliet/Maria meet and fall in love in the next two scenes, the dance and balcony scenes, this conflict is set in motion.