2-Romeo and Juliet – Different Performances
Instructions:
1 1-Watch the video clip assigned to your group. Pay particular attention to the actors’ costumes, the set, the stage and the actors’ performance.
2-Read the notes on Performance, Psychoanalytic and Post-modern Criticism and write at least 2 paragraphs evaluating the performances.
3- Post your comment as a group, signing as GROUP 1 : plus the names, at the end.
DEADLINE: Friday 8th, June – 13.00 p.m.
GROUP 1: Loana Galarza, Candela Castillo, Ludmila Bergamini, Marcela Vera and Yanina Nuñez
Romeo and Juliet, directed by Baz Luhrman (1996)
GROUP 2: Nahuel Benítez Maglier, Mariano Paniagua, Daniela Alcaráz, Ana Paula Àlvarez and Diego Flores
Romeo and Juliet 2013 Broadway theatrical production . The play ran on Broadway at Richard Rodgers Theatre from September 19 to December 8, 2013 for 93 regular performances after 27 previews starting on August 24 with Orlando Bloom and Condola Rashād in the starring roles.
Romeo and Juliet 2013 Broadway (Watch the ball, the balcony scene and the end, in particular)
GROUP 3: Bárbara Amherdt, Magalí Docteur, Agustina Maglier and Camila Mercado
Romeo and Juliet, The Globe Theatre, London, 2009.
GROUP 3: Romeo and Juliet, The Globe Theatre, London, 2009.
ReplyDeletePerformance criticism.
Romeo and Juliet has the characteristics of a play because it has a dialogue that has to be performed in order to entertain a certain public. It concentrates on the form of the stage, as well as typical clothes of that period and exaggerated gestures. Although this play was written during the Renaissance, it continues to be performed in this century. With the passage of time, the play has been edited to be suitable for the different periods.
During the 20th Century, the bare stage typical of the Elizabethan times started to be used again, with the intention of avoiding illutions and recovering some customs. This is observable in the fluent dialogues which showed the use of Old-English vocabulary (thee, thou, Alack, ay).
In Romeo and Juliet’s play (2009), we can observe some of these characteristics, such as the old customes, as well as the use of Old-English vocabulary and the bare stage. Furthermore, we can notice exaggerated gestures in characters like Mercutio, whose monologue is interpreted as having sexual connotation; and the Nurse, who represents a violent sorrow when Juliet appears to be dead.
Psychoanalystic criticism.
Throughout the 20th Century, human behaviour started to be studied by Psychoanalysis, which was developed by Sigmund Freud, who proposed that personality is “the result of unconscious and irrational desires, repressed memories or wishes, sexuality, fantasy, anxiety and conflict.” The psychoanalytic theory have had a strong impact on the later appreciation of the play and also in the way in which it is presented. Romeo and Juliet cannot be properly analysed with this theory because it does not take into account the historical and social aspects, so it is not trustworthy.
In spite of the above ideas, there are slight characteristics of this theory in some characters. For instance, Mercutio shows wild and violent behaviours that are the results of his sexual anxiety throughout the play.
Postmodern criticism.
Postmodern criticism or deconstruction does not mainly consider coherent and logical arguments. It is not interested in the connection between the characters and the parts of the story. This conception can be appreciated in the combination of styles and genres (comedy and tragedy) that Shakespeare had developed in his plays.
In Romeo and Juliet, it is noticeable the use of some words that are not understood in their literal meaning. What is more, in the dialogue between Romeo and Juliet there are words referring to religion, making the language more colourful, but they mean something else.
Amherdt, Barbara; Docteur, Magali; Maglier, Agustina; Mercado, Camila.
Good analysis, girls. Well done!
DeleteGROUP 1: Bergamini Ludmila, Castillo Candela, Galarza Loana, Martinez Agustina, Nuñez Yanina, Vera Marcela.
ReplyDeletePart 1
Concerning Performance Criticism, the 20th century Romeo and Juliet is a play that does not follow the traditional aspects of the 18th century due to the way in which the Prologue is introduced, using a tv and pictures from the current world. The set where Romeo and Juliet have their first kiss is in a costume party, not the conventional mask ball which was used by Shakespeare. The costumes are modern, one example is Paris, he is wearing an astronaut costume. There is a singer at the party and there are golden and silver balloons as well. Furthermore, the costumes which are wore by the young lovers could be used to describe their personality, for example Juliet dressed as an angel is trying to say how innocent and pure is she.Hence, the language used in the dialogue between Romeo and Juliet is a religious one, this can be related to Juliet’s costume too. On the other hand, Romeo as a soldier, is like if he is a strong boy. However, the only thing which is preserved from the 18th century is the dialogues.
What is more, the balcony scene is replaced by a swimming pool. In this modern production, the lovers are powerless and young, there is also some comedy which opens a question what kind of play is it?
As regards the actors in Luhrmann’s film, we can see Paris dancing in a funny way in order to impress Juliet. What is more, actors who interpreted Romeo and Juliet, were quite fearless and tended to do everything themselves when they did the pull sing.
"the only thing which is preserved from the 18th century " I think you mean, from the 16th century, when the play was written.
Delete"when they did the pull sing." ??? Not clear what this means.
All in all, a fair analysis.
GROUP 1: Bergamini Ludmila, Castillo Candela, Galarza Loana, Martinez Agustina, Nuñez Yanina, Vera Marcela.
ReplyDeletePart 2
According to the Psychoanalytic Criticism exposed by Gibson, during the 20th Century, the psychoanalytic theories exposed by Sigmund Freud emerged and became a major influence on the interpretation of human behaviour. He claimed that our personality is developed from "unconscious and irrational desires" which includes our "repressed memories or wishes, sexuality, fantasy, anxiety and conflicts".
As an illustration of this psychoanalytic approach, on the Baz Luhrmann's Romeo and Juliet film, unconscious sexual desires are clearly exposed when Romeo and Juliet see each other for the first time. Their sexual attraction is evidenced by the manner in which they constantly look at each other and by Romeo’s verbalization of his thoughts when he contemplates Juliet dancing with another man.
Besides, it can also be highlighted how they challenge their families by meeting in secret, as a kind of love fantasy. For instance, this can be observed in the pool scene when Romeo has to hold his breath under the water in order to not be seen by the security guard. After that, a sexual attraction can be felt when Romeo and Juliet stare at each other, and ‘dance’ in the water. In this way, it is kept the romance and not only the sexual tension.
Another instance of this approach can be seen in The Prologue scene. The greatest emotional conflict, between love and hate, is stated in ‘a pair of star-crossed lovers’, which is emphasised by the images of the brutality of Verona, as well as, the dramatic music. This scenes of violence also exemplify an unconscious desire called “death wish”, which is an instinctive behaviour in men who exercises violence, instinctively seeks for the death of men.
Yes, indeed. The director, Baz Luhrman, made good use of Psychoanalytic devices in his film. Well done.
DeleteGROUP 1: Bergamini Ludmila, Castillo Candela, Galarza Loana, Martinez Agustina, Nuñez Yanina, Vera Marcela.
ReplyDeletePart 3
Regarding Postmodern Criticism, Baz Lurhmann's adaptation of Romeo and Juliet has plethora of postmodernist features incorporated in the film. The producer seeks to take the Shakespearean play and dazzle 20th century audience with the manipulation of high technology. Accordingly, the form of the play has been adapted to fit up-to-date trends. In this way, there is an emphasis on the capitalist view of society and makes the audience feel Romeo and Juliet of present-day, having a great impact on pop culture. First and foremost, Lurhmann simultaneously constructs and deconstructs the story, displaying a rapid flow of images like an MTV video. In the Prologue, it is shown an afroamerican news anchorwoman reading the prologue text while these pictures are being displayed. Secondly, there is a clear fragmentation of the source text. That is to say, the language is the very same as that of the original play, however, some lines are omitted or even repeated. For example, in Shakespeare’s work Romeo interacts with a servant asking who was the lady he had seen, while in Lurhmann’s work Romeo speaks his mind, in fact, to himself. Still, the way in which language has been used is simple and, sometimes, like a kind of ‘rap’, as Carol Rutter stated. In addition, it is worth mentioning that the original text is written in British English, consequently, language has been adapted to fit the Hollywood industry as well. Thirly, there is a consistency of costumes and makeup from different times. This can be appreciated in the scene of the party held at the Capulets, unlike Shakespeare’s version, Lurhmann illustrates modern aspects such as characters disguised from different historical periods, ancient and latest weapons. What is more, other modernised elements appear in the scene in which the protagonists meet for the first time, including fireworks, a fish tank, a live concert (with a singer), guards, to name but a few. Lastly, there is a pool scene in Lurhmann's adaptation replacing the original balcony scene that of Shakespeare’s. In the film, the aforementioned romantic interactions between Romeo and Juliet occur in a stylish swimming pool, as the producer tried to ‘avoid clichés’. Also, in this scene there is a up-to-date lift which Juliet uses to access the pool. Finally, it is shown contemporary settings throughout the film production, for instance the TV and TV presenter in the Prologue scene instead of a Chorus, the stylish party in the scene where Romeo and Juliet first meet is not a mask ball, and the already-mentioned pool scene, which replaces the memorable Balcony. All of this different settings help the entire production to be a realistic, present-day Shakesperean work.
I take it that these ideas are taken from the Cambridge Student Guide. You should have acknowledged the source at the end of the post.
DeleteHowever, the analysis is good.
GROUP 2: Nahuel Benítez Maglier, Mariano Paniagua, Daniela Alcaráz, Ana Paula Àlvarez and Diego Flores
ReplyDeletePerformance criticism
Critics affirm that Romeo and Juliet is definitely a play, for all its characteristics meet the standards: a script, actors, an audience, a stage. What is interesting is to see how different versions of the same story have been introduced since it was written. The 2013 version performed in Broadway is part of the “afterlife” of the play. The lines that define what Romeo and Juliet’s focus is quite blurry, for the play has taken many forms throughout the years, according to the audience and the times when it was to be performed.
This Broadway version of Romeo and Juliet is very similar to the one that the twentieth century witnessed: a much simpler staging that is free of historical details which tried to represent Verona in those years, scenes shifting faster and Shakespeare’s language. For instance, this adaptation does not even attempt to create a realistic impression and it can be clearly seen in the actors’ clothes or Romeo’s motorcycle. Weapons in the plays are not the conventional ones in Shakespeare's times. Instead of swords, they resemble jack-knives today.
Apart from this, further criticism centre on the confusing type of genre. Is it a tragedy? Or is it something completely opposed to it, a comedy? Many critics say that it is both. In one particular scene, we can observe a mixture of sorrow with laughter, when Juliet pretends to be sad about Tybalt’s death in presence of her mother but in fact she is weeping for Romeo’s banishment. We can clearly hear people chuckling about Juliet’s hidden reasons.
Psychoanalytic criticism
In the twentieth century, Sigmund Freud’s theory about psychoanalysis became a major influence on the understanding and interpretation of human behaviour. As consequence, his ideas have influenced critics and performances of Shakespeare’s play. In this Broadway version of Romeo and Juliet, Mercutio’s imagination is a clear example of psychoanalytic approach. In his speech of Queen Mab a erotic climax can be seen, emphasising his sexual anxiety. In comparison with other portrayals, Mercutio is not showing as an enthusiastic young man, but his emotional disturbance is depicted by his weird behaviour like he would be drunk all the time.
Postmodern criticism
Postmodern criticism, which is also known as “deconstructions”, due to its luck of intelligible arguments, is not interesting in how the story is linked or the relationship amongst characters, but it is concerned with stage productions. In the 2013 version performed in Broadway, you can witness a “mixture of styles” which produces an impressive display in the inconsistency in character. Thus, they are dressed in wide variety of costumes, for instance suits, dresses, boots, gloves, scruffy jeans and some jewellery.
Furthermore, in order to endure with this up-to-date version, it is important to mention the drastic change in weapons that this newer version contains. Instead of using battle- sword as Shakespeare’s original version portrays, the actors are presented with dissimilar ones, such as jack-knives, metal tubes and chains. The presence of all these newer weapons can be seen in the very first scene, in the quarrel between Samson and Abraham.
Regarding language, it is noticeable how Shakespeare’s scripts remain the same throughout the entire play, although some lines were disregarded so as to follow with this concept of contemporary version. Moreover, according to the critic Carol Chillington Rutter, who claims that in Baz Luhrmanns’s film William Shakespeare’s Romeo + Juliet the language is spoken “like some crazy gangster rap”, the same is observed in this brand-new version, within the actor’s tone.
Very interesting analysis of the play. Well done!
Delete
ReplyDeleteRomeo and Juliet, directed by Baz Luhrman (1996)
Part 1:
Baz Luhrman’s influence on Romeo and Juliet.
The Australian director gives a new and improved (although controversial), appearance to the film. His film was in a way created to entertain and delight the audience. The film combines elements from different Genres and gives the play a new style. Even though Luhrman preserves the original Shakespearean script and its language, he changes the setting into ‘Verona Beach’, which was filmed California and Mexico, instead of Italy. Moreover, the film is seen from a modern point of view. Since the Prologue, Luhrman made use of technology, starting the film with a broadcast anticipating the story. Furthermore, in this version, the author combines costumes and weapons from ancient as well as modern times. For example, the protagonists use guns instead of swards, and Romeo and Juliet meet at a costume party in the Capulet’s mansion instead of a masquerade ball.
The set of clothes that the protagonists wear in the film are also peculiar. Even though Romeo is dressed as a warrior and Juliet as an angel, other protagonists are wearing a burlesque kind of clothing, like shiny outfits and wigs. For example, the male dancers are showing too much skin, and the singer is wearing a crop top, a very short skirt and a garter belt, which leave at sight most of her skin. Of course, if we compare with Shakespearean’s plays, these scenes did not take place at Elizabethan time, it was improper for a person to dress like that. For that reason, they used to cover most of their body. Furthermore, during the time of Shakespeare only male actors could perform a play.
On the other hand, the actor’s performances were also changed from the original play. For example: Juliet’s character is a sixteen years old girl, instead of thirteen as in Shakespeare’s play, Romeo was drugged when he arrives at the Capulet’s mansion. When he meets Juliet, they have their first kiss in an elevator.
As described on the first video by the director, one of Shakespeare’s romantics scenes instead of taking place in Juliet’s Balcony, it takes place on the edge of a pool, when Romeo suddenly responds to Juliet, who has not seen him yet, they both jump into the pool, which creates a beautiful moment of intimacy for the young lovers. The actors show a great chemistry, is a very seductive but at the same time romantic scene, in which Romeo and Juliet are just thinking about their love, more than the risk of being discovered.
Morzan Mancuello, Adelina
PART 2)
ReplyDeletePerformance Criticism
Regarding Performance Criticism, Romeo and Juliet is considered a Play because it includes a script, is usually played by professional actors and entertains an audience. Performance Criticism’s centre of interest is Shakespeare’s stagecraft and the study of signs as elements of communication: bodily gestures employed by the actors, their dialogues, and the costumes they wear. Another major characteristic of this Criticism is that it studies how different productions represented the story throughout history. As such, these criteria evaluates how the script has been cut, and how language has changed to create different versions according to the time in which the play was performed. Every Director has different interpretations, and many of them decide to alter different elements: the soundtrack, operas, ballets, illustrations, satires, commercials, films and many kinds of prose and verse.
Romeo and Juliet has remained as one of the most famous plays all over the world, performed since Elizabethan’s time. Nevertheless, it needed some improvement to appeal to more contemporary tastes.
The nineteen century’s performances involved many carefully arranged details aiming to create a similar setting as Verona. These plays had the costumes in a style like Shakespeare’s time, paying special attention to the historical details.
On the other hand, the twentieth century returned to basic stages. The purpose was to imitate the appearance of Elizabethan times. The performances were focused mainly on Shakespeare’s original dialogues.
Romeo and Juliet’s plays differed a lot throughout the last century, but most of them were concerned with highlighting the hatred between social classes in the play.
About Genre, there is much disagreement between the critics about what kind of play is it. Many of them believe that love and tragedy are related, while others thing that the lovers are victims of the powerful and cruel forces of Fate. Nevertheless, it is strongly believed that arguments about the genre will continue, as the performances change throughout the course of time to be accepted.
Psychoanalytic criticism
Psychoanalysis was funded by Sigmund Freud. His Theory helped people to understand the human mind in terms of consciousness and unconsciousness. Freud stated that personality could be explained in terms of unconscious and irrational desires, suppressed memories and wishes, sexual fantasies, feelings of worry and conflict. Freud’s theory has influenced many critics and staging of Shakespeare’s plays. In Romeo and Juliet, it can be considered different psychoanalytic approaches: like motivations that the characters are not aware. It claims that strong desires for death was incorporated in the masculine traditions of Verona, in which violence was something common, especially between men. Furthermore, sexual connotations could be interpreted as unconscious wishes. For example, the term ‘die’, for Elizabethans could also mean sexual pleasure. Another major characteristic of psychoanalysis in the play is presented by the character of Mercutio and the Nurse, as they are always thinking about sex and everything related to carnal pleasures. For that reason, they are unable to think in terms of tender love as Romeo and Juliet.
On the other hand, this theory compared to the play, has been disapproved of imposing interpretations based in theories instead of being focused on the place itself and the historical background.
Postmodern Criticism
Postmodern approaches to Romeo and Juliet are clearly seen in theatrical productions, in which a combination of styles is accepted. The term ‘Postmodern’ is applied to performances which show little regard to consistent behaviour or the quality of being logic throughout the course of the play. Characters are dressed in costumes which can represent a mixture of modern and ancient times. The weapons that they use are very different too. This can be noticed in Luhrman’s film for example, with the use of guns instead of medieval swards.
Morzan Mancuello, Adelina
Adelina: I'm afraid that you're just explaining the 3 branches of criticism but you've forgotten to apply them to any of the 3 productions shown here: The Globe, 2009; Broadway, 2013 or the film directed by Baz Luhrman, in 1996.
Delete
ReplyDeleteIn reality this aartical is great. Agree with this blog. Thanks for great information and sharing.
Click Here : used motor grader cat 140h cca01812 for sale