File Name: romeo and juliet balcony scene .zip
For him "the theatre always begins with an image," and in his essay "Style in Shakespearean Production" he argued that the problem with the tragedy "was above all to find a modern stagecraft which could give freedom and space to the sweep of the poem. It is a play of youth, of freshness, of open air It is a play of wide spaces, in which all the scenery and decoration easily become an irrelevance" Levenson Franco Zeffirelli, whose neorealist production at the Old Vic in o was intended to be a portrayal of adolescent passion, considered the balcony scene the "fulcrum" of the play.
At the same time, Zeffirelli's camera is free to move horizontally and even vertically, visualizing not only the scene's dynamic between passion and restraint but also the physical and metaphorical distance between the two lovers. Besides, it shares the lovers' gazes and therefore their genuine, instinctive, and reciprocal sexual attraction; it coincides both with Romeo's and the spectators' erotic conteinplation of fuliet's bosom alluringly displayed and with Juliet's and perhaps Zeffirelli's homosexual Ionging gaze on Romeo.
Among the many "balcony scenes" in cinema, Baz DiCaprio suddenly stumbles on the poolside furniture, setting off the motion-sensitive security lights; moreover, as he stares longingly at the balcony, much to his surprise it is the Nurse and not uliet who appears, causing him to fall down a comic device similarly used in John Madden and Tom Stoppard's film Shakespeare in Love.
The sequence is suffused with shades of blue and silence, emphasizing the idealism of Romeo and fuliet's relationship and their desire to cleanse themselves of their corrupt and frightening familial background. In both cases, however, rather than with a real religiosity, the aura of transcendence seems to have more to do with the beatification of actors in Hollywood's firmament of stars and with Juliet as a myth.
In a way, the balcony can be considered a visual catalyst and an embodiment of the tragedy's rhetorical warp and weft of antithesis and oxymorons. It is first the location of the balcony itself, situated as it is on the boundary between the house and the garden and the conflicting worlds they represent, which vividly suggests a tension, often highlighted by Shakespeareans, between the worlds of the private and the public that come into collision in the play.
Even fuliet's speech on the nature of Romeo's name calls into question not merely Romeo's name but, by implication, the authoritarian dictates of society. This opposition between private and public has been variously defined in diferent historical and geographical contexts, and the balcony has therefore become the site of conflicts of a different naturefeudal, of course, but also social, political, and ethnic, very often presented as contextually rooted and nationally specific.
In Thomas Otway's The History and Fall of Caius Marius 16Zg , set in Augustan Rome and revolving around two lovers caught up in the political struggle between two opposing senators fighting for control of the city, the balcony scene acquired strong political overtones; the tragedy was rewritten in order to give relevance to a society recovering from the traumas of the English Civil War of the mid-seventeenth century.
The History might be considered the forerunner of a long tradition of political interpretations of Shakespeare's play both on stage and on screen: from Peter Ustinov's comic offshoot Romanof and luliet , set in a fictional mid-European country during the Cold War, to more serious adaptations, which placed the story ofthe Shakespearean "star-cross'd lovers" in the midst of the Israeli-Palestinian conflict, in South Africa's apartheid era, in the aftermath of the Pueblo Revolt, or in the Bosnian civil war.
Shakespeare has become the national poet ofa variety ofcountries, and thus the balcony scene has been appropriated so that it may speak to different audiences; despite the various historical and geographical locations, all the political interpretations nonetheless appear to share the use of the balcony as a threshold between the feelings and ideas of the individuals and the social and political dynamics of the community.
The fire-escape scene where Maria and Tony secretly meet is an unavoidable milestone in transferring Shakespeare's feuding Verona to a gang-ridden West Side of New York in the mid-r95os. In this respect, Italian director Roberta Torre's Sud Side Stori zooo is particularly revealing of how the image of the balcony as a territory between ethnic opposites is making its way in contemporary Italian cinema and theater, thus establishing a fruitful interaction with the well-established theatrical and cinematographic tradition that habitually views the balcony as a metonymy of universal and transhistorical love.
Mariacristina Cayecchi Shakespearean geography and locates the love story between the two star-cross'd lovers, the gauche Italian rock singer Tony Giulietto and the Nigerian prostitute Romea Wacoubo, in a grotesquely caricaturized Palermo, weighed down by the difficulties of racial integration caused by the massive flow of African immigrants.
It is obviously no casual occurrence that the meeting between the Sicilian and the Nigerian communities takes place below a replica of the famous balcony, which is overloaded with cinematographic and cultural echoes. Here it is imagined as one of the many balconies interlaced with washing lines in a narrow street in the Vucciria; perhaps the most famous and symbolic of Palermo's markets, which in this scene is visualized as a kind of African souk. Alexander Zeldin's international coproduction for Naples Teatro Stabile in collaboration with Young Vic it opened at Napoli Teatro Festival ltalia in une zoro also focused on ethnic conflicts and set the action ofthe play in an imaginary Arab community in an unspecified part of Italy, portrayed as a derelict wasteland.
See Figure r It is significant, for example, that the balcony was appropriated by gender politics with the slogan "'luliet doesn't lean out of Arcore's balcony," invented by a group of Italian actresses taking part in the huge demonstration "Ifnot now when? Berlusconi's "bunga-bunga" parties orgies involving politicians, men working in show business, and "Papi Girls" notoriously took place in his Arcore home.
Not only does Juliet's balcony have many lives and replicas, but it exists in a liminal territory where real and fake overlap and blur. Thus, the myth of the balcony, which was born in and has been nurtured by the theater and later the cinema, finds a fake historical legitimization in a supposedly original balcone located at number 4Yia Cappello in Verona.
In line with the practice of forgery and fabrication that marked the birth of Stratford-upon-Avon as a pilgrimage site, this balcony in Verona is also a fake, which nonetheless has become one of the important destinations on that virtual Shakespeareland invented by a far-sighted and fl ourishing Shakespearean industry. Lord Byron was perhaps the first to allude to the importance of Shakespeare The very story of the Veronese balcone was forged thanks to a prolonged and fascinating short circuit between reality and imagination.
As a matter of fact, the refurbishment that gave uliet's house its present-day appearance was carried out around 1q'4o by the director of the Musei Civici, Antonio Avena, who drew inspiration from the Hollywood sets for the George Cukor film without paying too much attention to the anachronistic architectural incongruities.
Despite the claim of historians that there is scant evidence for its connection to the Capulet family, Avena's version enchanted visitors from the moment it was unveiled and continues to be the mecca for hundreds of visitors from around the world who wish to pay tribute to enduring love.
These mainly youthful visitors, anxious to worship at "the shrine of love," may be frequently seen photographing each other on the balcony and leaving their scrawled graffiti messages on the walls or love hearts molded out of chewing gum. Despite being written in an age when the ideologies and institutions of desire were being renegotiated, Romeo and luliet has been used and is still used to perpetuate "the dominant ideology of romantic love" and to "posit desire as transhistorical" Callaghan 6o-6r.
Reality inspires fiction and, vice versa, fiction fosters reality, without worrying too much about questions of authenticity. By enabling the real and the unreal, the true and the false, to coexist, the balcony has therefore acquired mythical status. According to Marc Quinn, one of the most original exponents of Young British Art, who chose fuliet's house as the central core of his installations in Verona as a collateral event of the 53rd International Art Exhibition-Venice Biennale May-September zoog , the balcony is "like an articulation in architectural space of the structure of the myth": even though it is unreal, it is a place where "you can explore your very emotions around the idea of love" Eccher and Quinn 7o.
It has been said of Quinn as an artist that he has successfully closed what Robert Rauschenberg described as the gap between art and life with works such as Self Q99 a sculpture of his head made from his frozen blood or Alison Lapper zoo5 a marble statue of the pregnant disabled artist displayed on the fourth plinth in London's Trafalgar Square.
It is noteworthy, therefore, that he has felt the need to immerse himself in the scenario of the legendary Veronese lovers, which, according to him, holds all the keys for a contemporary interpretation of a story now part of our universal heritage.
Thus, set against the background of Juliet's balcony, Quinn's The Kiss zoor , which provocatively shows two naked disabled people in an embrace, is motivated by a desire not only to deconstruct classical ideals ofbeauty but also to engage in a dialogue with the Shakespearean myth and its visual representations.
Instead, Quinn reappropriates the lovers'kiss as anin spite of their naturalistic mode, not to use the famous balcony of "Juliet's House" at no. Instead, Castellani shot the scene in the Gothic courtyard of the Ca'd'Oro Golden House , one of the most beautiful palaces on the Grand Canal in Venice, whereas Zeffirelliused the balcony of the Palazzo Borghese at Artena, twenty miles south of Rome. Ggg6 is undoubtedly the most distinctly postmodern and at the same time one of the most poetic ever made.
A Politics of the Scene. Palo Alto: Stanford UP, zoo7. McKinney, Joslin, and Philip Butterworth. The Cambridge Intro duction to Scenography. Cambridge: Cambridge University Press, zoo9. Smith r49 Romno l,No fuunr z. Bristol Icourc Cnen,q. Nicolassanchez """! Katritzky zro DrvsnservArlrpAuprlxcns.
Halio u. Hor-lnr,v Tnxrs. Harper-Scott PlwrourME.. Blake z6z GnlpHrcSltrnn Colorado Springs: Meriweather Publishing Ltd. Zager, fames. Woodstock, IL: Dramatic Publishing, zoo5. What Is Scenography? Prague in ; ftom Bumptious As Romeo, a lost rgrr silent film in which the climax comes in a balcony scene where the entire palazzo collapses on the unfortunate actor to Jerome Robbins and Robert Wise's fire escape on the roofs of Manhattan in West Side Story rg6r.
The setting for the 'brchard scenel' compressing as it does different spaces of action the lane outside Capulet's orchard becoming the orchard itsell with Romeo downstage and Juliet upstage and entailing the question ofthe distance between the two characters and conversely their degree of intimacy, has always represented a challenge for directors and designers.
Moreover, as the team of designers who collectively called themselves Motley suggested, the balcony is "the main thing that sets offhow you think about the play" Mullin ; as a matter of fact, so much attention has always been paid to the design of the balcony that it is no exaggeration to affirm that the history of the scenography for the balcony scene holds a mirror to the changing approaches to Shakespearean representation.
Not only has luliet's balcony undergone various metamorphoses in the course of four hundred years, but from the twentieth century on it has also become part of very flexible architectural structures, capable of changing into different settings. The cumbersome nineteenth-century realistic scenery, which in Great Britain prompted Henry Irving to build twenty-two separate sets for his production at the Lyceum in , had but short life on the Continent because of the general aesthetic tendencies of modernism and the influence of designer-theorists Adolphe Appia and Edward Gordon Craig.
To Margaret Harris, a member of the Motley, the balcony was, of course, the problem with the set for Romeo and luliet: "You dont want to drag the balcony on. You dont want to close the curtains and set it. And you dont want it there from the first scene onwards with people in the audience looking at it and saying to themselves, 'What's that?
Ah, yes, it's the balcony! Tlre Motley's permanent set that could be changed by the rearrangement of drapes, shutters, and lighting has therefore been considered a landmark in the history of the play and is unquestionably the most important rendition of the play anywhere in the first half of the twentieth century. Even the two Anglo-Italian productionsShakespeare Company RSC : huge sliding steel towers, one on each side ofthe stage, were linked by a gigantic metal bridge that seryed as the balcony, giving a prison-like feel to the space, which suggested the impossibility of human tenderness and any physical contact.
A general atmo- sphere of malaise and gloom likewise prevailed in Peter Schrot and Peter Kleinert's r98r East Berlin revival, where on the empty stage a big, shining metal box positioned in the middle of a back wall served as the balcony. The extraordinary and very prestigious Irving Thalberg's Romeo and luliet for MGM, directed by George Cukor, offered an image of Renaissance Italy full of richness and display and recreated in a Hollywood stu- dio a spectacular and improbable Verona with towering L Mariacristina Cavecchi r By permission of Photos.
As Winick's film follows the three characters on the tracks of Lorenzo, the camera. The overlap between Verona and Tuscany, both parts of that Italy hyped and marketed as the magical country of love, reaches its climax in the overlap between the two balconies: the Veronese pseudo-original, of course, and the gorgeous balcone of the magnificent Tuscan countryside villa where Sophie and Charlie exchange their love vows and which, we must conclude, is a metonymy of the triumph of "true love.
More recent scholars have suggested that the Elizabethan fuliet appeared "aloft" or "above," although none of the earlier texts Quartos r-4, First Folio gives her an entry or indicates her position. Blackmore Evans, "luliet appears alofi as at awindow. As a matter of fact, the earliest image of a balcony seems to come from an engraving by William Elliott c.
It reproduces the stage setting at Covent Garden in ry5o and depicts Spranger Barry as Romeo in eighteenth-century dress standing underneath an overhanging chandelier and speaking to Isabella Nossiter as Juliet at the balcony, against a backdrop of moonlit Italian cypresses Fowler Mention of a balcony is likewise to be found in the oft-quoted comparison between Spranger Barry and David Garrick's acting made by the actfess Hannah Pritchard, during what became known as "the Battle of the Romeos," which pitted against each other two productions of Romeo and luliet simultaneously opening at Covent Garden and Drury Lane on September 28, t75o: "Had I been uliet to Garrick's Romeo, so impassioned was he, I should have expected that he would come up to me in the balcony; but had I been uliet to Barry's Romeo, so tender" Loehlin rl-rz.
BercoNv UNDER coNSTRUcrIoNFor much of the play's history, from the mid-eighteenth century to the present day, be it wide or small, circular or rectangular, of rough stone or of exquisitely carved architectural marble, in the theater or at the cinema, there has almost always been a balcony on which uliet stands.
The balcony, however, is not only a place of fancy and imagination, where the "myth" of Shakespeare's tragedy mingles with common people's dreams of love; it is also a place where the spontaneous and often uncontrolled graffiti art sprawling across the walls has become intermixed with contemporary art.
As a matter of fact, the evocative spaces of uliet's house and its grafiti were precisely what inspired Quinn's Love Paintings, large-scale graffiti-saturated pictures unintentionally created by tourists who, while believing they were leaving their mark for eternity on the courtyard wall, actually inscribed white canvases mounted in the entrance to the house.
The scribbled declarations of love, doggerel valentines, and Post-Its stuck to the walls with chewing gum overlap and clash in a spontaneous, graphic mosaic defined by the artist as "ready-made paintings of pure emotion" Eccher and LL34 r Quinn 7o.
Whereas normally graffiti art is scatological and transgressive, these are "graffiti of dreams and aspi-:ation" ibid.
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Jule Romans is a retired English teacher and college instructor. She has taught Shakespeare and advanced literature for over 25 years. The famous balcony scene in Romeo and Juliet occurs in act two, scene two of Shakespeare's well-known play. Within the balcony scene there are several very important events that take place. Each one builds the intensity of the passionate attraction between these two iconic lovers. Romeo climbs the Capulet family's garden wall, and sees Juliet alone on her balcony.
It should be a reflection. Upcoming Assignments No upcoming assignments. Here is a copy of the SSR report that you need to turn in along with your project on June 9. Due: Monday , June 9 Assignment. Due: Friday , May 9 Assignment. Due: Thursday , May 8 Assignment. Act V review and interpretation done in class.
Jule Romans is a retired English teacher and college instructor. She has taught Shakespeare and advanced literature for over 25 years. The famous balcony scene in Romeo and Juliet occurs in act two, scene two of Shakespeare's well-known play. Within the balcony scene there are several very important events that take place. Each one builds the intensity of the passionate attraction between these two iconic lovers.
Act II, Scene Juliet is by the fountain in the garden of the Capulet residence when the Nurse calls for her. Romeo's reveler friends, Benvolio and Mercutio search for their love-sick pal, invoking no response from their derisive comments: "He heareth not, he stirreth not, he moveth The ape is dead. Romeo scales the garden wall surrounding the Capulets to duck away from his comrades and to find some solitude, while listening to them from an orchard tree.
У нее был такой вид, словно она только что увидела призрак. - Джабба! - Соши задыхалась. - Червь… я знаю, на что он запрограммирован! - Она сунула распечатку Джаббе. - Я поняла это, сделав пробу системных функций. Мы выделили отдаваемые им команды - смотрите. Смотрите, на что он нацелен. Шеф систем безопасности прочитал текст и схватился за поручень.
А не заберет ли он ключ. Фонтейну нужно было какое-то прикрытие - на всякий случай, - и он принял необходимые меры. ГЛАВА 113 - Ни в коем случае! - крикнул мужчина с короткой стрижкой, глядя в камеру. - У нас приказ. Мы отчитываемся перед директором Лиландом Фонтейном, и только перед .
Сьюзан посмотрела на него отсутствующим взглядом. - Чед Бринкерхофф, - представился. - Личный помощник директора.
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