How would you direct Juliet's long soliloquy in Act 4 Scene 3 on a Shakespearean stage, conveying Juliet's nightmarish terror and indecisiveness? My staging of Act 4 Scene 3 will emphasise the major themes which are continued in the play as a whole; love, fate and violence. Both Romeo and Juliet are sometimes portrayed as 'pawns of fate' unable to escape their destiny, yet in this scene as I wish to stage it, I want to show that Juliet, following the Friar's plan, takes a step towards changing that destiny. She does this out of love for Romeo and to escape the despair brought on by what she thinks will be a loveless marriage to Paris. Juliet is in the grip of very strong emotions and in this scene her morbid fantasies about tombs and spectres take a violent turn, showing the violence of her feelings and state of mind. It seems strange that most modern productions omit this scene, giving only the first and last lines. The last line too is given in various versions. Do the directors think that this "death bed soliloquy" - for that is what it turns out to be - from the heroine, is too wordy and that modern audiences cannot interpret the violent images she talks about without the images themselves before their eyes? Or do they think that such violent emotions are uncharacteristic of Juliet and are out of place? In my production I intend to combine the powerful words of the distraught Juliet with the inclusion of visual images to produce maximum impact. In order to help the Shakespearean audience visualise Juliet's words, I will place actors as ghosts and spectres acting out her fantasies in the gallery as she speaks the lines. On a Shakespearean stage the scenery was minimal, as were the props, so the contemporary audience relied on the words, clothing and the actor a lot more than we would normally do now. As the director, I would ask the young actor playing Juliet to be wearing a yellow aristocratic night gown of the era. This would indicate to the audience that in the play it is currently night time and that Juliet is in her chambers (because a respectable girl would not be outside in her night clothes). The Shakespearean audience was very superstitious, so Juliet wearing a night gown that is yellow would also portray to them ideas of optimism. Also, along the ideas of superstition, I would want the vial to be red, ... ... middle of paper ... ...loor of the gallery, where he has been waiting. Tybalt should look extremely menacing and threatening towards the crowd. As soon as Juliet says "O look!" I want the actor playing Romeo to appear on the gallery, next to Tybalt. While Juliet is speaking the next lines they should fight with rapiers. At the precise moment that Juliet says the second "stay!", I want Tybalt to stab Romeo, and then for all the actors on the upper stage to collapse to floor so they are not seen. I believe that in the staging of this scene, with actors acting out Juliet's fantasies as she says them, I have exploited the full potential of the Elizabethan stage. Since their access to props and lighting was limited, words had to convey the idea of action, but by combining verbal and visual I wanted to maximise the impact of the words. Juliet's highly emotional state is shown by her restless movements over the stage and her imaginings are portrayed in the gallery above. The violence shown throughout the play is mirrored here in Juliet's words. Her love for Romeo is the cause of the scene but the audience knows that in the end it is all futile since Juliet and Romeo are "star-crossed lovers".
out, it all works as a piece. And you feel that these actors are in this situation and the audience is not
Competent adults have the legal right to make decisions about their own health care without being challenged by a physician. However, in some instances, those same competent adults cannot make medical decisions for their children without the courts stepping in and overriding the parents’ legal rights. One of the most challenging and complicated task as a parent is to make a medical decision about their child that could mean life or death (The Canadian Bar Association, 2012).
In the article “Juliet’s Taming Of Romeo” Carolyn Brown discusses that Juliet “tames” Romeo in the play Romeo and Juliet, however, I do not really agree with that. While some believe that Juliet controls Romeo throughout the play, I maintain that it is almost impossible for Juliet to completely control Romeo because of the fact that they barely talk throughout most of the play and because Friar Lawrence is controlling most of the play.
In Act IV, scene III of The Tragedy of Romeo and Juliet, Juliet is forced to make a decision; take a sleeping potion gifted to her by Friar Laurence and risk possibly being stuck in the Capulet family tomb, or marry Paris. To her, marrying Paris is not an option and so she drinks the vile. Although, before consuming the Friar’s remedy, Juliet expresses her worries in her soliloquy. To do this, Shakespeare manipulates imagery and the rhetorical device of questioning to reveal his main character’s deepest and darkest fears.
also omits characterization in line six when she writes, “there were things the man did near you,”
Many people have fears of things that they are afraid of. It’s natural to have fears because it’s part of human nature. In the play Juliet has to decide wether or not to drink the potion. In Shakespeare’s play he shows Juliet’s fear by using choice of words and imagery.
... treatment, healthcare providers should think on legal and ethical terms and strive to avoid treatments that can be considered abusive to the patient. What is good for one patient may not be the best treatment for others.
...al departments actually reaches first nations” (Assembly of First Nations 2007:1), with 11 percent of funding being spent on INAC departmental overhead (Assembly of First Nations 2007). In order to improve the conditions of Aboriginal life, and subsequently improve the parenting abilities of Aboriginals, we must first address and repair the underlying psychological, emotional, and social problems within Native communities. This process of repair should be facilitated through the development of a long-term strategy, designed to increase government spending towards beneficial social and medical programs, with a primary focus on addressing the traumas inflicted by the residential school system. In the words of Lloyd Robertson (2006: 21), “Concomitantly, community development work needs to be done to mitigate the disastrous effects of the residential school experiment.”
Education is an essential aspect in our ever-changing societies. It is used as a means of transmitting concepts, knowledge, and values, often to younger generations (Ravelli & Webber, 2010). Education and schooling differ in all societies, varying based on the methods of teaching of different cultural groups. For instance, Canadian Aboriginal people were taught based on the needs of their individual families and class. This greatly differed from the European system of education, which stressed adequate involvement with all of society. Though the Aboriginal manner of education was efficient and effective, the Europeans wanted to bring a change to their previous practices. As seen in the film, Education As We See It, European missionaries established a form of formal education for Aboriginal children, which was to be governed at residential schools. However, this tradition did not last long due to rising conflicts.
“But soft, what light through yonder window breaks?/ It is the east, and Juliet is the sun/ Arise, fair sun, and kill the envious moon/ Who is already sick and pale with grief/ That thou her maid art far more fair than she/ Be not her maid since she is envious/ Her vestal livery is but sick and green/ And none but fools do wear it. Cast it off!/ It is my lady. Oh, it is my love/ Oh, that she knew she were!” (Shakespeare II ii 2-11).
“A successful marriage requires falling in love many times, always with the same person.” Mignon McLaughlin
In order to attend residential schools, Aboriginal children were taken away from their families and communities. The proper definition of Aboriginal people or Aboriginal includes Métis, Inuit, and First Nations regardless of where they live in Canada and regardless of whether they are “registered” under the Indian Act of Canada (Stout and Kiping, 2003:5). Throughout history First Nations, Inuit, and Métis people have faced centuries of colonial suppression which has disrupted the process of Aboriginal cultural identity formation. One of the tools of suppression is through the formation of residential schools. At the schools, the children suffered from emotional, physical, sexual and psychological abuse (Stout and Kipling, 2003:8). The trauma to which Aboriginal people were exposed in the past by residential schools continues to have major negative effect to the generations to follow.
suspense to the play and to leave the reader to wonder who will live through this and who will
“Is she a Capulet? O dear account! my life is my foe’s debt” (1.5.117-118). There are many factors that put pressure on Romeo’s and Juliet’s relationship throughout Shakespeare's Romeo and Juliet. The young couple is effected in many ways by every instance that creates stress which Romeo’s and Juliet’s relationship is being forced to carry. The biggest factors that impact them are, their families ongoing feud, the broken relationships they both have in their families, and all the instances of miscommunication. Through the story of the couple who meet one another at a dance, sneak around at night to see one another, and fight for eachother, they face challenges many challenges, that add stress to their relationship.
CAFCA. (2011). Working with Indigenous children, families and communities Lessons from. Melbourne: Australian Institute of Family