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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. -
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. -
9.1.3 Lesson 9
NYS Common Core ELA & Literacy Curriculum Grade 9 • Module 1 • Unit 3 • Lesson 9 9.1.3 Lesson 9 Introduction In this lesson, students read and analyze William Shakespeare's Romeo and Juliet, Act 3.1, lines 59–110 (from “Romeo, the love I bear thee can afford” to “I have it, and soundly too. Your houses!”). In this excerpt, a fight breaks out between Mercutio and Tybalt after Tybalt insults Romeo, and Mercutio is killed. Students work in pairs to explore how Shakespeare develops Romeo’s character through his interactions with Tybalt and Mercutio. Prior to reading, students view a clip of Baz Luhrmann’s Romeo + Juliet, depicting the marriage of Romeo and Juliet. Student learning is assessed via a Quick Write at the end of the lesson: How does Shakespeare develop Romeo’s character through his interactions with Tybalt and Mercutio? For homework, students continue their Accountable Independent Reading (AIR) and write a brief response to the question: “Who is responsible for Mercutio’s death?” Standards Assessed Standard(s) RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. Addressed Standard(s) L.9-10.4.a, Determine or clarify the meaning of unknown and multiple-meaning words and b, c phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase. -
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. -
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. -
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 .......................................................................................................... -
West Side Story
The Jefferson Performing Arts Society Presents 1118 Clearview Parkway Metairie, LA 70001 504-885-2000 www.jpas.org 1 | P a g e Table of Contents Teacher’s Notes………………………..………………………..……..3 Standards and Benchmarks…………………………...……….…..6 Background…………………………………….…………………..……7 Puerto Rico: History and Connection to the United States………………..20 Rivalries and Resolutions……………………….……..…………..49 The Cultures of Us………………………………………….…..…….81 Portraits of Our Region……………………………………………...89 Additional Resources………………………………….……….…..110 2 | P a g e Teacher’s Notes West Side Story Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Based on a conception of Jerome Robbins Based on Shakespeare's "Romeo and Juliet" Direction and Choreography by Kenneth Beck Musical Direction by Dr. Donna Clavijo JPAS Symphony Orchestra conducted by Maestro Dennis G. Assaf Shakespeare's Romeo and Juliet is transported to modern-day New York City, as two young idealistic lovers find themselves caught between warring street gangs, the "American" Jets and the Puerto Rican Sharks. Their struggle to survive in a world of hate, violence and prejudice is one of the most innovative, heart- wrenching and relevant musical dramas of our time. 3 | P a g e West Side Story tells a tale of cultural conflict. There is a clash between people of European descent (the Jets) and those of Puerto Rican decent (the Sharks.) Culture encompasses many things and is embodied by many things. Often, when we hear this word “culture” we think of the arts. Art is can embody culture and display it, visually (paintings, photographs, sculptures) or through sound and movement (music, dance or theater.) Art can depict the style of clothing or hair, types of food people like to eat, or celebrations that are important to them. -
Romeo and Juliet: Sword Fight
Romeo and Juliet: Sword Fight Name: ______________________________ One of the advantages of a play over prose writings, such as a novel, is that the actions in the plot can be seen by the audience. In a novel the author can only describe the action. An example of this is the sword fight between Mercutio and Tybalt in William Shakespeare’s Romeo and Juliet. As the scene opens, Mercutio is in the a public square with Benvolio and some servants when Tybalt and his friends arrive. An argument starts, and then the newly-married Romeo arrives. Act III. Scene 1 [Tybalt under Romeo’s arm stabs Mercutio, and flies with his followers.] Mercutio: Tybalt: I am hurt. Romeo, the hate I bear thee can afford A plague o’ both your houses! I am sped. No better term than this,--thou art a villain. Is he gone, and hath nothing? Romeo: Benvolio: Tybalt, the reason that I have to love thee What, art thou hurt? Doth much excuse the appertaining rage Mercutio: To such a greeting: villain am I none; Ay, ay, a scratch, a scratch; marry, ‘tis enough. Therefore farewell; I see thou know’st me not. Where is my page? Go, villain, fetch a surgeon. Tybalt: [Exit Page] Boy, this shall not excuse the injuries Romeo: That thou hast done me; therefore turn and draw. Courage, man; the hurt cannot be much. Romeo: Mercutio: I do protest, I never injured thee, No, ‘tis not so deep as a well, nor so wide as a But love thee better than thou canst devise, church-door; but ‘tis enough,’twill serve: ask for Till thou shalt know the reason of my love: me to-morrow, and you shall find me a grave man. -
Romeo and Juliet by William Shakespeare Abridged for The
Romeo and Juliet by William Shakespeare Abridged for the Shakespeare Schools Festival by Martin Lamb & Penelope Middelboe 30 MINUTE VERSION © Shakespeare Schools Festival (SSF) “We are such stuff as dreams are made on.” Copyright of the abridged scripts rest with Shakespeare Schools Festival charity. Your registration fee only allows you to perform the abridgement during the current Festival. You may not share the script with other schools, or download all the scripts for personal use. A public performance of the SSF abridged script must be premiered at the professional SSF theatre. 1 LIST OF ROLES Prince Escalus PRINCE OF VERONA Paris A YOUNG COUNT Montague HEAD OF THE HOUSE OF MONTAGUE Capulet HEAD OF THE HOUSE OF CAPULET Romeo MONTAGUE’S SON Mercutio KINSMAN TO THE PRINCE, FRIEND TO ROMEO Benvolio NEPHEW TO MONTAGUE, FRIEND TO ROMEO Tybalt NEPHEW TO LADY CAPULET Juliet DAUGHTER TO CAPULET Nurse to Juliet Lady Montague WIFE TO MONTAGUE Lady Capulet WIFE TO CAPULET Friar Lawrence OF THE FRANCISCAN ORDER, FRIEND TO ROMEO Friar John OF THE FRANCISCAN ORDER Balthazar SERVANT TO ROMEO Sampson SERVANTS TO CAPULET & Gregory Abraham SERVANT TO MONTAGUE An Apothecary Citizens, Revellers And Others 2 PROLOGUE CHORUS Two households both alike in dignity, In fair Verona where we lay our scene From ancient grudge, break to new mutiny, Where civil blood makes civil hands unclean: From forth the fatal loins of these two foes, A pair of star crossed lovers take their life: Whose misadventured piteous overthrows, Doth with their death bury their parents’ strife. SCENE 1 A street ENTER SAMPSON and GREGORY of the house of Capulet, in conversation. -
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. -
Still Star Crossed 1X01
STILL STAR-CROSSED "A Bloody Summer" Written by Heather Mitchell Revised Studio Draft / Network Draft 1/18/16 ©2016, ABC Studios. All rights reserved. This material is the exclusive property of ABC Studios and is intended solely for the use of its personnel. Distribution to unauthorized persons or reproduction, in whole or in part, without the written consent of ABC Studios is strictly prohibited. Revised Studio Draft/Network Draft "Still Star-Crossed: "A Bloody Summer" ACT ONE EXT. VERONA - NIGHT Where we find ourselves on a WARM SUMMER NIGHT in the Northern Italian city-state of VERONA. We can HEAR the MUSIC and LAUGHTER of some distant PARTY carrying softly through the air... And as we watch, a TEENAGE GIRL steps out onto a BALCONY and speaks the following INCREDIBLY FAMOUS WORDS: JULIET Oh Romeo, Romeo -- wherefore art thou Romeo? And just like that, we know WHERE we are, and WHEN we are, and WHO IT IS we're watching -- because this girl? On this night? Standing on this balcony? Is JULIET CAPULET, a vision of youth, and beauty, and innocence -- and the heroine of THE GREATEST LOVE STORY EVER TOLD. And as she continues... JULIET (CONT'D) Deny thy father, and refuse thy name... ...Her words are DROWNED OUT by the PRE-LAPPED SOUND of some extremely non-innocent PANTING and MOANING, which we follow as we DRIFT FROM THE BALCONY down into... EXT. GARDEN - NIGHT Where a MAN and a WOMAN are busy making the beast with two backs in some surprisingly comfortable bushes. The man, BENVOLIO MONTAGUE (20s; dark and dangerous) stops sharply when he HEARS a MALE VOICE reply to Juliet: MALE VOICE (O.S.) I take thee at thy word.