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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. -
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
IMPORTANT NOTICE: The unauthorised copying of the whole or any part of this publication is illegal Romeo & Juliet for Abbey Primary School, Nottingham SCRIPT Copyright © 2014 by Boosey & Hawkes Music Publishers Ltd Page numbers in this document correspond with those in the Micromusicals | Romeo & Juliet resource book 6 MICROMUSICALS | Romeo & Juliet SCRIPT Stage directions are suggestions only. Owners of a valid performance licence for Micromusicals | Romeo & Juliet may photocopy this script. SCENE 1 A street in Verona, Italy. Backdrop of an archway in the town. The stage is empty, apart for the two NARRATORS, who stand one on each side of the stage. NARRATOR 1 Two families in Verona fair fight endlessly with swords and knives, and as our tale will shortly show two star-crossed lovers lose their lives. NARRATOR 2 The Montagues and Capulets can never find a path to peace till death and sorrow, pain and loss make parents see that war must cease. NARRATOR 1 The lovers in this tale of strife are Romeo and Juliet. They love – although their families cannot forgive, cannot forget. They exit the stage. 1 19 37 SONG 1 | MONTAGUES & CAPULETS (PAGe 18) The ensemble cast are split into houses of MONTAGUES and CAPULETS. MONTAGUES begin off-stage left, and CAPULETS off-stage right. Throughout the song one cast member from each family strides with purpose to a pre-determined point on the stage to meet their counterpart. They face up to one another and mime the process of antagonising their foe. By the end of the song the stage is full of MONTAGUE and CAPULET pairs confronting each other. -
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. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
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 Juliet
The Connell Guide to Shakespeare’s Romeo and Juliet by Simon Palfrey Contents Introduction 4 What’s in a name? 69 A summary of the plot 8 How does Juliet speak her love? 75 What is the play about? 10 How does Shakespeare handle time in Romeo and Juliet? 80 How does Romeo and Juliet differ from Shakespeare’s comedies? 12 Why is Juliet so young? 91 Why is Romeo introduced to us How does Shakespeare show Juliet’s indirectly? 24 “erotic longing”? 100 What do we make of Romeo’s first Is there a moral in this play? 106 appearance? 28 NOTES How is Juliet introduced? 31 The characters 7 How Shakespeare changed his source 17 Why is Mercutio so important? 37 Benvolio 26 The critics on Romeo 22 How does Mercutio prepare us for Six key quotes from the play 53 The balcony scene 58 Juliet? 47 Ten facts about Romeo and Juliet 64 Cuts, censorings and performance versions 72 Why is Romeo’s first glimpse of Juliet so The Friar 86 important? 51 Four ways critics have seen the tragedy 98 How exceptional are the lovers? 108 What is it that makes the balcony scene A short chronology 116 so memorable? 55 Bibliography 120 Introduction: the world’s into: but the nature of their love is also born profoundly from it. greatest love story? In the first acts of the play, much of the energy and vitality comes from Romeo’s friend, Mercutio. Romeo and Juliet is routinely called “the world’s He is the most vehemently anti-romantic figure greatest love story”, as though it is all about imaginable. -
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. -
Troilus and Cressida the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Troilus and Cressida The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Cameron McNary (left) and Tyler Layton in Troilus and Cressida, 1999. Contents TroilusInformation and on William Cressida Shakespeare Shakespeare: Words, Words, Words 4 Not of an Age, but for All Mankind 6 Elizabeth’s England 8 History Is Written by the Victors 10 Mr. Shakespeare, I Presume 11 A Nest of Singing Birds 12 Actors in Shakespeare’s Day 14 Audience: A Very Motley Crowd 16 Shakespeare Snapshots 18 Ghosts, Witches, and Shakespeare 20 What They Wore 22 Information on the Play Synopsis 23 Characters 24 Scholarly Articles on the Play An “Iliad” Play 26 Where Are the Heroes and Lovers? 28 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Shakespeare: Words, Words, Words By S. -
Background Notes
Background Notes William Shakespeare and Romeo and Juliet Shakespeare: A brief biography • Shakespeare was born on April 23, 1564 in Stratford-on-Avon, England to an upper/ middle class family. Shakespeare: A brief biography • He learned Latin and Greek history in his grammar school as a child. This would explain the Latin and Greek references in his works. • There is not evidence that Shakespeare continued his schooling after elementary school. Shakespeare: A Brief Biography In 1582 at the age of 18, he married Anne Hathaway who was 26. She was pregnant before they were married. Shakespeare: A Brief Biography • After a few years of marriage, Shakespeare left Stratford-on-Avon and his family for London to pursue his career in acting and writing. Shakespeare: A Brief Biography • Shakespeare wrote and acted with The Lord Chamberlain’s Men. This was an acting troupe that would perform during Shakespeare’s time. Shakespeare: A Brief Biography • It is believed that Shakespeare died on April 23, 1616. • In his will, Shakespeare left his daughters the majority of his wealth and possessions. He left his wife his “second best bed”. Shakespeare: A Brief Biography • The inscription on his tomb states: "Good friend for Jesus sake forbeare, To dig the dust enclosed here. Blessed be the man that spares these stones, And cursed be he that moves my bones.” Shakespeare wrote this because in his time, old bodies were dug up and burned to make room for new burials. Shakespeare despised this treatment of bodies, so he wrote this. Romeo and Juliet and Elizabethan Theater • Shakespeare did not create the story of Romeo and Juliet.