William Shakespeare’s brilliant tragedy, Romeo and Juliet, has endured for over 422 years; however, even more intriguing is the play’s transition into the modern choreographic realm. Choreographers such as Kenneth MacMillan and Krzysztof Pastor have reimagined Shakespeare’s text to portray the traditional Verona as well as modern Italy throughout the 20th Century. Both Kenneth MacMillan and Krzysztof Pastor’s choreography is set to Sergei Prokofiev’s 1938 musical score, and both choreographers keep Verona, Italy as the central background for the classic love story. However, how each of the choreographers characterizes each of the principal characters–Romeo, Juliet, Tybalt, and Mercutio–is specific to each of the choreographic styles. In general, …show more content…
Kenneth MacMillan is known for how “his stagings gained in daring as they probed into psyches” (Crisp). MacMillan’s Romeo and Juliet is elaborate in terms of set and costume design, characterization, and a more classical ballet-based choreographic style. Krzysztof Pastor’s interpretation of the play has been described as “stronger and starker” (Molzahn). The traditional and ornate costuming and sets are in stark contrast to the unadorned, minimalist, and monochromatic aesthetic of Pastor’s ballet. The differences between the two productions cut much deeper than costumes or sets. The fundamental contrasting characteristic between the two productions is how the choreography relates to William Shakespeare’s tragic words. Whereas Kenneth MacMillan’s choreographic representation of William Shakespeare’s play Romeo and Juliet takes a more classic and traditional approach, the more contemporary and minimalist approach that Krzysztof Pastor adopts is an attempt at bringing 422-year-old text into the modern society through the connection to Prokofiev’s musical score with respect to characterization, the production aspects (lighting, set design, and costume design), and the overall choreographic style. Prokofiev wrote his musical interpretation so that “in the last act, Romeo was to arrive a minute earlier and find Juliet alive,” but he revised the finale to the ballet so that it corresponded to the original intention of Shakespeare’s play. However, the musical themes between the original and revised versions of the musical score are somewhat similar in structure in relation to each other and in relation to the Shakespearean text. For example, as Juliet awakes from her poisonous sleep, she reaches for Romeo’s dagger and exclaims, that “This is thy sheath. There rust and let me die” (Act V, Scene III). In this pivotal moment., Prokofiev depicts Juliet’s progression to and finality of her maturity throughout the score by “including an emotionally intense reference to the music of The Young Juliet. It ends quietly, ebbing away like Juliet's life” (The Los Angeles Philharmonic). Another prominent theme throughout Prokofiev’s score is Romeo’s “straightforward and uncomplicated” tonal theme, but there are also “a few surprises tucked away” (Brouthers). The masterful use of cadence and harmonic progression show youthfulness juxtaposed against a more romantic, almost pensive characterization. Prokofiev’s use of thematic musical material is vital to the depiction of the struggle between the Capulet family and Montague family as well as specific characters and their distinct connection to the narrative. Both MacMillan and Pastor take Prokofiev’s rich and multi-layered score in two very different directions. Kenneth MacMillan remains true to the traditional and classical interpretation of William Shakespeare’s play in his choreographic version of Romeo and Juliet. MacMillan uses the full 52 musical movements in Prokofiev’s score which allows for the retention of minor characters such as the Nurse and the development of Verona as a more interactive background for the “fearful passage of their death-mark’d love” (Act I, Prologue). MacMillan uses Prokofiev’s extensive thematic material to not only show characterization but also the setting. Large corps de ballet sections at the beginning of Acts I and II portray “new mutiny” within a lively and idyllic Italian city (Act I, Prologue). MacMillan introduces townspeople beyond the central Capulet and Montague families. However, at each of these town-wide gatherings, there is always a turning point where a carefree Verona transforms into a blood-stained Verona. In Act I of the ballet and Act I, Scene I of the play, there is already a tension between the Montagues and the Capulets. This is done purposefully to show more clearly the “ancient grudge” between the two families (Act I, Prologue). Where Shakespeare’s words and MacMillan’s choreography differ is when that “ancient grudge” manifests chronologically. Shakespeare immediately exhibits the tense atmosphere with the prologue as well as the somewhat comical but nevertheless important interaction between Gregory and Sampson. As Sampson threatens to “remember thy swashing sword,” it becomes clear that Shakespeare intends the rift between the Capulets and Montagues to run much deeper than the respective family members. Conversely, MacMillan shows this rift more gradually. The townspeople, including the harlots as well as Romeo, Mercutio, and Benvolio, are enjoying their time in the townsquare. This carefree atmosphere is nonexistent at the beginning of Shakespeare’s play, and the carefree atmosphere quickly disintegrates when Tybalt enters and proclaims, “as I hate hell, all Montagues, and thee” [Benvolio] (Act I, Scene I). Tybalt’s threat is not taken seriously by Benvolio and the other Montagues as Benvolio states, “I do but keep the peace: put up thy sword, or manage it to part these men with me” (Act I, Scene I). However, Benvolio’s attempt a peaceful interaction fails, and the two families catapult themselves into the fight. This first altercation is shown in Prokofiev’s music and MacMillan’s choreography in a very clear shift in musical tone and choreographic mood. Prokofiev uses tempo and orchestration to show the change in tone. For example, “The Street Awakens” is at an allegretto tempo which helps to portray a developing excitement and joviality. However, when Tybalt arrives, the tempo increases first to allegro brusco in “The Quarrel” and then to presto in “The Fight.” The progression of tempi heightens the tension between first Tybalt and Benvolio and then between the Capulet family and Montague family. Choreographically, MacMillan uses Prokofiev’s score by first using light petit allegro jumps and turns as well as some partnering between Romeo, Benvolio, Mercutio and the harlots to present Verona’s light-hearted air. Just as Prokofiev’s score grows with both tempo and orchestration, MacMillan’s choreography grows from quick petit allegro to playful taps of the men’s swords to a full-blown sword fight. It is only when the Prince announces “rebellious subjects, enemies to peace… if you ever disturb our streets again, your lives shall pay the forfeit of the peace” that the fighting ends (Act I, Scene I). MacMillan shows the gravity of the situation by having each family pile up the bodies of the dead family members at center stage. Krzysztof Pastor shortens Prokofiev’s score to be less focused on the corps de ballet and more on the interactions between the principal characters.
Romeo is seen as more of the mediator between Mercutio and Tybalt rather than Benvolio, whose role is present but greatly diminished in Pastor’s choreographic interpretation. While the families are defined as “both alike in dignity” by Shakespeare, Pastor decides to separate the two families not only with hatred but also with societal standing (Act I, Prologue). The sharper more aggressive Capulets are the militaristic leaders of Italy throughout the 1900s while the more carefree and inviting Montagues are the working class underneath the power of the Capulets. This decreases the need for a prince, whose peacekeeping role is assumed by Friar Lawrence. Krzysztof Pastor makes use of Prokofiev’s thematic score to create montages of Verona throughout the 20th Century, specifically the 1930s, 1950s, and 1990s which correlate to each of the three acts. Within both the first and second act of ballet, there is a distinct scene that occurs in both acts where Juliet walks through the aftermath of a fight between the Capulets and Montagues. It is significant that this scene does not occur in the final act. The dead of each of the families are not the fighters but rather the lovers. However, Pastor does not end the ballet the way that Shakespeare ends the play. Lord Capulet grieves and says to Lord Montague, “Give me thy hand: this is my daughter’s jointure, for no more can I demand” (Act IV, Scene V). While William Shakespeare intends for the families to feel the “poor sacrifices of our enmity” (Act IV, Scene V). Pastor disregards this final hopeful moment and replaces it with an image of the two families taking their respective dead child and leaving in opposite directions. This is meant to be reminiscent of the continual struggle for peace, regardless of time or generation. Pastor describes the passion of Romeo and Juliet to be
acted out with a “backdrop of war, fascism, terrorism, and demagoguery” (Pastor). With Pastor’s decision to not follow the original Shakespearean ending, there is a sense that the tragedy has continued and will continue throughout all eras. This streamlined view of the “story of more woe” intensifies the tension between not only the families but also the society that surrounds them. According to Pastor, “You can set it in the Renaissance, now or in the future, because this conflict and this impossible love has always been there and always will be.” In relation to Prokofiev’s score, the key changes from act to act aid in the portrayal of the different time periods that each act is set in. The first act is set in the 1930s, the second act is set in the 1950s, and the third act is set in the 1990s. For example, the introduction to the ballet score (“Introduction”) begins with oboe, violin, and clarinet with a musical foreshadowing of the balcony pas de deux. However, this is followed immediately by Romeo’s theme (“Romeo”) which is characterized by stronger horns and tuba as a reminder of the underlying societal pressures. It is ironic that Pastor uses the “Romeo” theme to introduce the audience to Juliet. The same theme returns again in the second act following the death of Mercutio and then Tybalt. Both of these scenes are not only used to show the devastation of the “rude brawls doth lie a-bleeding” but also Juliet’s sheltered life (Act III, Scene I). However, Juliet is not innocent, but she is simply seemingly unaffected by the fights that surround her. This of course changes after meeting Romeo and “holy church incorporate[s] two in one” (Act II, Scene IV). Innocence transforms to desperation as she attempts to coax “back, foolish tears, back to your native spring; your tributary drops belong to woe” (Act III, Scene II). Juliet’s transformation from dependent child to independent woman occurs quickly, and both MacMillan and Krzysztof Pastor augment Prokofiev’s score with the costuming, lighting, and set design.
Romeo and Juliet is a play about two lovers who have to risk their lives in order to demonstrate their love and will to stay together, regardless the feud between their families. By the end, the death of Romeo and Juliet finally bring the reconciliation to these two families. It is fate that the two most shall-not meet people fall in love and it love that eventually won against hatred. Since then, there have been many different versions of Romeo and Juliet, whether it was for film, stage, musicals. These different recontextualised adaptions change the original play by many ways, some modernise the language, environment, props as well as changing the original characteristics of some characters. Out of all the different adaptions of Romeo and Juliet, two stood out the most. One was the Romeo and Juliet (1996) and directed by Baz Luhrmann and the other one was Romeo and Juliet Broadway (2013) play version,
William Shakespeare made Tybalt Capulet as the foil character for Romeo Montague. There are similarities between Tybalt and Romeo they both care about Juliet. They have differences because they are from different families and different ways of growing up. Tybalt judged Romeo for his name and not for his character.
When there is a fight in the market place, Capulet rushes to fight for his honor, “my sword I say, old Montague is come...” Capulet denies Paris’ request to marry Juliet “ and too soon marred are those so early made,” acting for his own good because he wants Juliet to produce many offspring to carry on the Capulets bloodline, since she is his only surviving child. When at the ball Capulet demands Tybalt to let Romeo be,” content thee, gentle coz, let him alone,” but this just fuels Tybalts anger towards Romeo, which eventually ends up in Tybalt causing his own death. Capulet believes he is giving his child the best when he announces her engagement to Paris” she shall be married to this noble earl,” and believes Paris will make a good husband for Juliet. When Juliet refuses Capulet thinks it best to threaten her, “I will drag thee,” but this just makes Juliet turn to more drastic measures.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
The story takes place in Verona, where they live two families are rivals, the Montagues and the Capulets. Romeo, sole heir of the Montagues, coming in uninvited to dance mask Capulet, which meets Juliet, only daughter of the Capulets; both fall in love at first sight. Knowing that their parents never allow their union, they marry in secret, with the help of Friar Laurence. The day of the ceremony, Tybalt insults Romeo, nevertheless the latter refuses to fight. But Mercutio, the best friend of the young Montague, engages death duel with Tybalt. Romeo and Tybalt tries to separate fail to mortally wound Mercutio. Romeo, Tybalt challenges and then avenges his friend killing his adversary. The Prince of Verona, outraged by the events, Romeo sentence
As a famous author once said, “You don’t have to attend every argument you’re invited to.” To clarify, it isn’t necessary to engage in every conflict that is encountered. In William Shakespeare’s Romeo and Juliet, Tybalt is a truculent and unsympathetic man who tends to take the quarrel between the Capulets and Montagues a step too far. He soon is challenged with a fight he cannot beat. In this tragic play, Tybalt’s tragic flaw of aggressiveness guides him towards a bitter end.
“The most filmed of all plays, ‘Romeo and Juliet’, with its universal themes… remains uniquely adaptable for any time period,” (Botnick, 2002). Directors Franco Zeffirelli (1968) and Baz Luhrman (1996) provide examples of the plays adaption to suit the teenage generation of their time. Identifying the key elements of each version: the directors intentions, time/place, pace, symbols, language and human context is one way to clearly show how each director clearly reaches their target audience. Overall however Luhrman’s adaptation would be more effective for capturing the teenage audience.
Romeo and Juliet, written by William Shakespeare, is a tragic love story about two young lovers who are forced to be estranged as a result of their feuding families. The play is about their struggle to contravene fate and create a future together. As such, it was only a matter of time before Hollywood would try to emulate Shakespeare’s masterpiece. This had been done before in many films. Prominent among them were, Franco Zeffirelli’s 1968 “Romeo and Juliet” and Baz Luhrmann’s 1996 “William Shakespeare’s Romeo & Juliet.” Both films stay true to the themes of Shakespeare’s original play. However, the modernised Luhrmann film not only maintains the essence of Shakespeare’s writings, Luhrmann makes it relevant to a teenage audience. This is done through upgrading of the setting, the renewal of props and costumes, the use of water symbolism and the reconstruction of the prologue, whilst preserving the original Shakespearean language. Out of the two, it is Luhrmann who targets Romeo & Juliet to a younger audience to a much larger extent than Zeffirelli.
Romeo and Juliet, written by William Shakespeare, is a tragic love story about two young lovers who are forced to be estranged as a result of their feuding families. The play is about their struggle to contravene fate and create a future together. As such, it was only a matter of time before Hollywood would try and emulate Shakespeare’s masterpiece. This had been done before in many films. Prominent among them were, Franco Zeffirelli’s 1968 “Romeo and Juliet” and Baz Luhrmann’s 1996 “William Shakespeare’s Romeo & Juliet.” Both films stay true to the themes of Shakespeare’s original play. However, the modernised Luhrmann film not only maintains the essence of Shakespeare’s writings, Luhrmann makes it relevant to a teenage audience. This is done through the renewal of props and costumes, the reconstruction of the prologue and the upgrading of the setting, whilst preserving the original Shakespearean language. Out of the two, it is Luhrmann who targets Romeo & Juliet to a younger audience to a much larger extent than Zeffirelli.
Luhrmann’s 1996 Romeo and Juliet is compelling when communicating the main ideas of the play by providing the audience with a modern translation of the play using the motifs in the film which correlate to the play.
The environment surrounding the star-crossed lovers in the tragedy of Romeo and Juliet can influence audiences who may interpret the scenes in different ways. The audience can be greatly affected in their interpretation of the story by the mise-en-scene, costuming, and the hidden symbolic meaning. This great piece of literature was edited in two unique and intriguing forms, one Zeferelli directed which was filmed in 1968, and the modern version produced in 1996. The different scenes throughout the length of the party were the most influential to me in that I saw how different these movies were directed, and the different meaning I experienced from watching these movies. Focusing on the environment of the scenes and the costuming helped me in my interpretation, because I found hidden symbolism in these two qualities.
In the tremendous play of ‘Romeo & Juliet’, Shakespeare’s ways engages the audience straight away. The astounding methods he uses hooks the audience into the play and allows them to read on, wondering what will happen. The tragic love story of Romeo & Juliet, as mentioned in the prologue, sets a variety of themes throughout Act 1 Scene 5. Many of the recognisable themes are: youth and age, revenge, forbidden love, fate, action and hate. The main idea of the play is a feud that had been going on between two families, The ‘Montagues and Capulets’, the son of the Montagues and the daughter of the Capulets fall in love and the story tells us how tragic, death, happiness and revenge find them throughout the play.
The classic play Romeo and Juliet by the famous playwright William Shakespeare is one of the most beautiful love stories of all time and has captured and inspired readers everywhere. Regardless of the fact that it was written in the 1500’s, it is still being performed and extolled today. There is a multitude of reasons for such continuance of the play. First of all, its everlasting themes of love and hate enable people to deeply relate to the story. Secondly, its memorable characters deeply imprint on the minds of readers. And lastly, above all, is its magnificent language which many writers today regard in awe. These three elements make the acclaimed play, Romeo and Juliet, one of the most timeless stories of our lives.
Being a director in a production such as Romeo and Juliet is no easy task, and I enter into this paper with that in mind. My goals are to be creative, and do things differently from the many versions of the play we have viewed in class. Each of those directors took the original text, written by William Shakespeare, and turned it into a unique version of their own; unique in the sense that they changed the tragedy by taking out lines, conversation or even entire scenes to better suit that particular director’s needs.
For the Samsung Galaxy Note 8, we expect the sales to grow in the first quarter of year one. With people still suspect about the phone there won’t be a fixed demand on a per month basis. After a couple months pending no problems with the smartphone people will have their faith in Samsung again and purchase the Galaxy Note 8. After the first year, we expect the Galaxy Note 8 to reach a profit of 1 billion dollars. During this section, I will explain the sales forecast for each month and for the next 3 years. Also, I will discuss the breakeven analysis of the Samsung Galaxy Note 8, the cost to build the smartphone, how much we are willing to pay for expenses and what expense we focus on the most.