Doing a project on Romeo and Juliet... any good ideas?
if you are able to get one more person to help you - - - you could do what my friend and I did for final project in Shakespeare class in college. We learned and performed the famous Balcony Scene. We did it on campus, in a natural setting that matched the scene perfectly -- we did it at noon, so there were lots of people watching. And it isn't really all that hard to learn. (you are allowed to edit it down if you are doing it for a high school project.) But soft -- what light through yonder window breaks? 'Tis in the East -- 'tis Juliet the Sun!
What are the major difficulties in staging act 1 scene 5 in Romeo and Juliet?
1. There are a great many people in this scene. 2. Those people all need costumes. 3. There is music and dancing in this scene, so the movement and sounds could distract from the character's speeches.
What is the dramatic importance of act 1 scene 1 of EDWaRD the second by Marlowe?
studyin edward ii by christopher marlowe, need help with this question: what is the dramatic importance of act 1 scene 1 of EDWaRD the second by Marlowe. please suggest ideas nd points to get my brain storm started thank u
Romeo and Julliet --- Shakespeare?
Hey, im doing one of juliets monologues for an english presentation and i needed someone that could help me answer a few questions about this monologue: Juliet : "Shall I speak ill of him that is my husband? Ah, poor my lord, what tongue shall smooth thy name, When I, thy three-hours wife, have mangled it? But, wherefore, villain, didst thou kill my cousin? That villain cousin would have kill'd my husband: Back, foolish tears, back to your native spring; Your tributary drops belong to woe, Which you, mistaking, offer up to joy. My husband lives, that Tybalt would have slain; And Tybalt's dead, that would have slain my husband: All this is comfort; wherefore weep I then..." 1. What is the key purpose of juliet's solilique (i need 2 or three please) 2. What does she want in this scene? 3. What is her motivation for doing what she does? 4. What obstacles stand in her way? 5. What happens whne she confronts theses obstacles? (Plz answer at least 2 or 3 questions) THANKS !
What is the importance of stage directions?
Stage directions are important as they give directions for the actors to use on stage. They give clues on whem people should enter and exit and in turn give some understanding as to the motivations and actions of the character.However they are not the be all of the theatre. A lot of plays dont include directions. Shakespeare himself didnt include many directions (but he did include my favourite "exunt pursued by a bear"). This leaves the play open to the interpretation of the director and actors more.It shouls be said that any directions that a writer puts in are for a reason. Its a clear point in the play the writer is making and they have a reason for it. You dont necessarily have to follow them to the letter, but make sure you understand the reason why they are there if you choose to ignore them - missing a direction can destroy an otherwise well acted scene.
Know anything about Shakespeare's Romeo and Juliet?
I can't seem to understand the story with all the old words, can anyone summarise it for me or tell me the main idea and points? I need it for school, its REEEEAALLY IMPORTANT! Thank yooouu!
Does Romeo act honorably when he kills Tybalt? Does he act out of honor and loyalty, or does he act out of pure revenge? What are some examples from the book?
It is not a book but a play.To answer this question, you would need to define what YOU mean by “honor and loyalty.” Is it honorable to refrain from conflict, as Romeo does at first, or is it honorable to avenge the death of a comrade, as he ends up doing? Are you discussing loyalty to his new wife—or to his close friend?In my experience, this question is often settled by the director’s decisions in staging. In the Zefferelli version—my favorite—Mercutio is clowning around with his sword rather than being serious, and both he and Tybalt end up smiling, laughing, or bowing to indicate that they are just playing with each other—the way Zefferelli has Hamlet behaving at the start of his own deadly duel. This interpretation makes Mercutio’s death a tragic mistake, and he himself accuses Riomeo of being at fault: “Why the devil came you between us? I was hurt under your arm.”In the Zefferelli version, Tybalt walks away, and we see Romeo becoming first sad and then enraged at Mercutio’s death. We can see that he has managed to come to terms with the situation by denying his own guilt and displacing the blame onto Tybalt: two defense mechanisms described later by Freud. In this version, I would say that Romeo does not act out of honor and loyalty, nor does he act out or revenge. He acts out of impulse and lack of self-awareness: his usual motive forces.
I'm in a play where I have to kiss someone in a scene. I don't want to. I haven't had my first kiss yet, and don’t want it to be in a play setting. What do I do?
There are stage methods for “faking” a kiss. Some of my fellow students in my high school drama class pulled it off beautifully. Basically, they embraced, but in the process of it he turned his back to the audience (usually a no-no, but it is forgiveable and works well in this scenario as long it's not drawn out too long) and they got close as if they were kissing, but didn't kiss. The audience had no idea that the kiss never actually happened.I recommend that you seek the guidance of your director (or teacher, if that's the context). Approach them privately, let them know that you'd like to discuss something about the play but prefer to keep it private, and then be honest about your reasons. It's unlikely that they'll be less than understanding, and probable that they'll try to come up with a way to help you finish the scene without stomping on your personal values. If they're an ass about it, I hope you'll discuss it with your scene partner, and possibly also with whoever it is your director or teacher answers to. You shouldn't have to compromise your values or your comfort level for a play.