Directing Romeo and Juliet
Being a director in a production such as Romeo and Juliet is no easy task, and I enter into this paper with that in mind. My goals are to be creative, and do things differently from the many versions of the play we have viewed in class.
Each of those directors took the original text, written by William Shakespeare, and turned it into a unique version of their own; unique in the sense that they changed the tragedy by taking out lines, conversation or even entire scenes to better suit that particular director's needs.
In a more extreme version of the play, directed by Baz Lurhmann, some of the weapons such as swords were replaced by modern day guns, but despite this he still managed to keep it all in context by cleverly placing words, or using other satire. With this paper I hope to produce my own unique version of the play.
Before I discuss my modifications to the play and how I would go about directing my own version, the way I see the relationship between Romeo and Juliet should be looked at. In my opinion, the couple isn't genuinely in love. They feelings they have for each other is pure lust, rather then a deep passionate love. I find it unlikely that they can know each other well enough and on such a personal level to have a lasting, meaningful relationship. One minute Romeo is entirely in love with Rosaline and the next Juliet comes in to the picture and Rosaline goes out of his mind entirely. Shakespeare made note of this, by having Friar Lawrence state a question about Romeo's short love affair with Rosaline. Holy Saint Francis, what a change is here! Is Rosaline, that thou didst love so dear, So soon forsaken? Young men's love then lies Not truly in their hearts, but in their eyes.' (2, 3, 65-68)
The hatred between the Montagues' and the Capulates' are also working against the couple. While Romeo and Juliet are seemingly deeply in love, the rest of their families were continually battling it out, with death...
Cited: Bevington, David. (Ed.) The Complete Works of Shakespeare. 4th Edition. New York: Harpor Collins, 1992.
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