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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
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
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)
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