The balcony scene from Shakespeare’s Romeo and Juliet in Zeffirelli’s version uses diegetic sound and lighting to convey the characters’ impulsivity less effectively than in Luhrmann’s version. Zeffirelli’s use of apprehensive diegetic sound in his balcony scene conveys the characters’ impulsivity less effectively than Luhrmann’s use of rash diegetic sound. During Zeffirelli’s version, when Romeo jumps out of the bushes, calling “I take thee at thy word” (II.ii.53), Juliet nervously exclaims and quickly rushes up the stairs, distancing herself from him. Since she had just practically proclaimed her love for him, his presence mortifies her rather than making her want to interact with him, much less rashly reveal their budding relationship. …show more content…
The secretive lighting in Zeffirelli’s scene less effectively characterizes Romeo and Juliet as careless than the romantic lighting in Luhrmann’s version. When Romeo delivers his “But soft, what light through yonder window breaks” (II.ii.2) monologue in Zeffirelli’s version, he cannot yet see Juliet and is in a dark, wooded area. Once he sees her, he stays back so she cannot see him and watches her from afar, staying hidden despite his initial impulse to reveal himself once she begins speaking. The secretive nature of the darkness allows him to eventually reveal himself, but the two rely on this darkness as a disguise from any onlookers. Near the end of the scene, the sun has risen and Romeo and Juliet have to separate. A shot of their hands pulling apart with a background of the dawn light expresses that neither of the couple wants to part, but they know they must and unwillingly but sensibly separate, returning to their lives until they meet for their wedding. There is less intensity in the scene because the shadows in the sky have retreated and the sanctuary that the darkness provided is gone. Without this secrecy, they carefully choose to part so they are not caught. On the contrary, Luhrmann’s balcony scene lacks any careful considerations of the ramifications afforded if caught. When Romeo says, “But soft, what light through yonder window breaks” (II.ii.2), half of his face is lit by the light of the pool, while the other is darkened next to the wall. Romeo is divided on how to proceed, hanging on the wall in an attempt to hide from Juliet as she descends with the elevator. She eventually leans down in front of the pool, the light reflecting off Juliet’s face as she looks into the water. Once he decides to come off the wall, he follows her as she walks, taking few measures to hide himself from her. Romeo’s inner conflict between being with Juliet or staying hidden
Good morning to the board of Universal Studios, my purpose of this speech is to talk about the never seen before appropriation of the fight scene in Act 3 Scene 1 from Shakespeare's version of Romeo and Juliet , and also to persuade why my appropriation is suitable to the modern audience. Each character of Shakespeare's play Romeo and Juliet has been taken and recreated to suit the context of my appropriation .In Shakespeare's version of Romeo and Juliet Act 3 Scene 1 , Tybalt want to fight Romeo but Romeo refuses out of love for Juliet. Mercutio fights in Romeo place and was killed. Realising his cowardice Romeo fight Tybalt and kills him.
He proves to show extreme emotions and he lets them control him. In Act I, he mopes around thinking of his beloved Rosaline and how she will never love him back, but when he sees Juliet, his emotions immediately radiate towards her. In Act II, he spots Juliet upon her balcony and says to himself, “But soft! What light through yonder window breaks? It is the East and Juliet is the sun!
In Romeo and Juliet’s balcony scene, Shakespeare relays Romeo and Juliet’s passionate, almost obsessive young love through the
Romeo faces banishment by the Prince and the possibility of being distant from his love,
he fact that Romeo is in Juliet 's room, his families rival, and he is a wanted fugitive for killing her cousin, also makes this dangerous for him. However, she wants him to stay longer, but Romeo understands the danger, because "more light and light" brings the possibility of capture and death (Act 3, Scene 5). During, Act 3, Scene 5, Romeo seems like he uses rational thought and maturity, by pointing this out to Juliet. Also, in the final scene of Act 3, Juliet forshadows, when she saw Romeo defending her window, by asking Romeo, "Thou art so low," and, "thou looks 't pale," (Act 3, Scene 5).
The use of light is in essence a synonym of her beauty. Shakespeare’s decision to use celestial imagery within Romeo’s dialogues is genius as it is able to pass off meaningful symbolism in a way that is not only clear but salient to the text itself. Romeo’s monologue before Juliet’s window, allows us to visualize Juliet’s beauty as Romeo metaphorically compares her to the rising sun.
Thus, light imagery is effectively used to establish the romantic atmosphere of Romeo and Juliet’s first encounter, whereas dark imagery is used to foreshadow the dreadful events of the play’s conclusion, therefore creating a suspenseful atmosphere. Moreover, characters in the play use light imagery as they experience the elation of love, yet also dark imagery as they feel the heartbreak of rejection. Thus, as shown in Romeo and Juliet, the balance between light and darkness, happiness and sadness is a natural occurrence, which one cannot prevent nor
When Romeo is still in love with Rosaline he describes their relationship using several contradictory adjectives: “Feather of lead, bright smoke, cold fire, sick health” (1.1.173). These oxymorons reveal that Romeo is confused and has conflict when trying to comprehend his affection for Rosaline. Although Romeo is vulnerable, Shakespeare also uses juxtaposition to show that he is always fixated on Juliet’s light and beauty. Romeo describes Juliet as a “snowy dove trooping with crows” when he is at the party in the Capulet’s house (1.5.46). When Romeo first sees Juliet, he judges her based off of her appearance, this shows that he is quick to jump to conclusions and is immature.
Romeo’s heart drives him to make, at times, irrational decisions to be with his one true love.
In life, people want to have that someone they can call the “sun to the their moon,” or the “night to their day,” wishing for an undying love. William Shakespeare’s Romeo and Juliet deals with the recurring visual motif of light and dark, that is used to represent and foreshadow their love. Both of the lovers compare one another to the day and night, which highlights the intensity of their relationship, but also expresses the downfalls and unforeseen complications to come. For Romeo, Juliet is his sun. His light.
Shakespeare uses a lot of light and dark imagery in this scene to describe the Romeo and Juliet's romance. As Romeo stands in the shadows, he looks to the balcony and compares Juliet to the sun. Then he says "Arise, fair sun, and kill the envious moon" . Romeo had always compared Rosaline to the moon, and now, his love for Juliet has outshone the moon. Therefore, when Romeo steps out of the moonlight into the light from Juliet's balcony, he has leaves behind his melodramatic love declarations for Rosaline and moves toward a more real and mature understanding of
This can be evident in three aspects: the styles of the acting of the actors, the reaction of Juliet after learning about the death of Tybalt, and the setting of certain scenes. In Luhrmann’s film (1996), the acting of Romeo and Juliet make the audiences feel that they are more reliable and imperturbable, this is shown in many situations. Juliet’s first appearance in the movie seems more cool-headed. When Juliet is taking a shower when her mother calls her name, she puts on a bathrobe lightly and walks out.
“This form of conflict affects today’s ' society where many people experience inner conflict because of their struggles or belief”, In Act II Scene II Juliet goes in and out of her balcony three times which highlights that she is “unsure where her loyalty lies” - with her family, or Romeo, who is the enemy of the Capulet family but is her love (UK, 2013). Without Juliet revaluating her situation and contemplating the consequences that might occur the story would lose the dramatic tension that has been built up over the last two acts. The structure is a major part in the build-up of conflict; it highlights conflict taking place in the beginning, middle and end. The outset of the play contains physical violence and the threat conflict from the Prince and eventually leads to Mercutio’s death.
For the cinematography analysis of both movies, I will be basing it on the final scene of both movies. Music and sound In Romeo+ Juliet, the scene begins where Romeo is chased by the police and he runs into the church. There is dramatic opera music as he’s being chased, this music is in the background of all the chaos in the scene with the loud helicopter and the police sirens, and this anticipates a climax for the audience. This chaos dies down immediately when he closes the door of the church, religion is one of the themes in the story, so this symbolises that the church brings peace, although we do still hear the sound of the helicopter to signify that the police are still outside.
This gives the audience an ominous feeling whenever there is a scene in the industrial area. The lighting in Romeo and Juliet is used to create a more direct tension for specific events. When Mercuito dies the weather immediately picks up and turns into a storm. The lighting is dark and direful and this heightens the tension at this point in the film as well as indicates to the audience how serious the consequences of this death will be. Because the lighting is used to add to the dramatics of the movie is makes it easier for the audience to feel the