Romeo and Juliet

Chapter 14

Background ROMEO AND JULIET is the least Aristotelian of

the tragedies. It does end unhappily, but shares many traits of comedy--especially the exploration of romantic love

 Romeo and Juliet is dated 1594-96 because the first quarto was published in 1597

 Romeo and Juliet are young lovers...she just 14. He is a bit older, changeable as his momentary infatuation with Rosaline demonstrates.

Sources

The Tragical History of Romeus and Juliet (1562)

Sleeping potion element from a romance by Xenophon of Ephesus

Il novellino by Masuccio of Salerno

Pyramus and Thisbe from Ovid’s Metamorphoses

Language and structure

...the play’s structure contrasts violent enmity with passionate love and scenes of public brawling...The death of Mercutio and Romeo’s slaying of Tybalt change the course of the play

THEMES AND ISSUESin ROMEO & JULIET

O’erhasty marriages Passion and Impetuousness

One pattern of imagery in the play suggests a theme of sudden and violent actions--fire, gunpowder, hot blood, lightning and the stormy sea

Blood fueds: Self-perpetuating

revenge: The mindless feuding of the two families is so

ancinet that we never learn its cause, only its consequences

Shakespeare creates three large public scenes which contrast strongly with the private scenes

Fortune’s Fools: Tragic Heroes or

Victims The star-crossed lovers are more than mere victims...they are active participants and responsible for the choices they make

Personal identity and women’s roles

In the 16th century, women were viewed much differently than today

A woman’s identity derived almost exclusively from her relationship to her father or her husband

The play depicts a young woman who has become an autonomousd desiring self is a radical statement of romantic individualism within patriarchal culture

Romeo’s ties are to his mates and Juliet’s to her family

STAGING CHALLENGES The play is a challenge for producers with a large cast, many props, a good deal of physical action and specific staging requirements

Duels and swordplay Included in the text despite Tudor edicts against street fighting

Two hour’s traffic Swift events...action is compressed to little

more than 4 days

The Tomb Scene The Tomb Scene poses several challenges

and problems, not the least of which is the fight between Romeo and Paris (omitted from the Zeffirelli and Luhrmann films)

ROMEO AND

JULIET onstage

The Elizabethan Era featured Swift

Transitions, performed on an open platform without scenery. The structure of the play required a large forestage for the swordplay...and the gallery and inner below...the forty speaking roles required double casting

The Restoration & 18th Century

featured many productions of the play...it was among the first to be revived after the Civil War, in 1662, a production (viewed by Samuel Pepys) was staged at Lincoln’s Inn Fields

Thomas Otway altered the play

The most memorable productions were those of David Garrick whose stagins were popular at Drury Lane and Covent Garden from 1748-1778

James Howard turned the play into a tragi-comedy allowing the lovers to live

The 19th Century Breeches Romeos

and Admired Juliets  

Several actresses emerged as memorable Juliets, notably Maria Isabella Nossiter at Drury Lane in 1753

In the Romantic Age, Eliza O’Neill was a famous Juliet

Charlotte Cushman The American

actress Charlotte Cushman played Romeo to her sister Susan’s Juliet from 1837-1860. She started a vogue for “breeches” Romeos

The 20th Century

Romeo and Mercutio Return

In his famous 1935 production at the Old Vic, John Gielgud alternated with Laurence Olivier in the roles of Romeo and Mercutio. Peggy Ashcroft played Juliet and Edith Evans was the Nurse...The production is noted for its simple staging and its Italian Renaissance design...In 1947, Peter Brook staged a memorable production with a young cast...

OLD VIC 1960The 1960 Franco Zefferilli production at the Old Vic became the basis for his 1968 film

It was strongly influenced by LOOK BACK IN ANGER (1956) and WEST SIDE STORY (1957)

Mercutio was characterized as the angry young man

Like the film it influenced, it was noted for its youthful cast and visual realism...

RSC 1986A memorable 1986 production directed by Michael Bogdanov at the RSC was set in contemporary Italy and the Montagues and Capulets were warring crime families

ROMEO AND JULIET ON FILM AND TELEVISION

MGM 1936 George Cukor, director with Leslie Howard

and Norma Shearer

1954 Renato Castellani, director with Laurence

Harvey, Susan Shentall, John Gielgud

1968Franco Zeffirelli, director with Leonard Whiting, Olivia Hussey, Laurence Olivier

1976

Thames Television (UK) with Christopher Neame and Ann Hasson

BBC 1978 Alvin Rakoff, BBC with Patrick Ryecart,

Rebecca Saire, John Gielgud

1997 Baz Luhrmann directed Leonardo DiCaprio

and Claire Danes.

Leonardo DiCaprio and Claire Danes

Julian Fellowes adaptation, 2013

Hailee Steinfeld and Douglas Booth

FAMOUS SPIN-OFFS Romeo and Juliet (ballet)

WEST SIDE STORY

Shakespeare in Love (98)