Performance analysis
There are many different ways to interpret and perform Shakespeare’s plays. Watch the videos and decide how you would perform the three scenes from Romeo and Juliet.
Scenes to explore
Romeo and Juliet is a play about love, fighting and the idea that the character’s lives, and their deaths, are somehow already decided. In Shakespeare’s day, the stage would have been bare, the props few, and the lighting would depend upon the weather. Theatres were open air and the plays were held in daylight.
Nowadays, Shakespeare’s plays are interpreted in many different ways on stage and screen. Directors and their production teams make choices on how they want to stage the play and how the characters will deliver their lines. The decisions they make can often change how the audience think and feel about the play and the characters in it.
Let’s look at three scenes and explore the possibilities for an exciting and unforgettable performance of Romeo and Juliet.
- Act 2 Scene 2 - The balcony scene
- Act 3 Scene 1 - Mercutio’s fight with Tybalt
- Act 5 Scene 3 - The tomb
Act 2 Scene 2 - The balcony scene
In Act 2 Scene 2, Romeo hides in the Capulet orchard, hoping to catch another glimpse of Juliet. The two then exchange vows of love in the famous ‘balcony scene’.
PRESENTER
How do you solve a problem like Romeo? He’s a lover, not a
fighter, and yet he fights for his love. Pretty boy or pretty buff?
He overflows with ion, but how should he play it in each
scene? In tears or in laughter? In a whisper or a shout?
I guess however he’s cast, we all know how it turns out.
This is ‘Casting Romeo’.
TITLE
ROMEO AND JULIET
CASTING ROMEO
PRESENTER
It’s the balcony scene and Romeo’s taking a big risk,
professing his love for Juliet on Capulet turf. There are loads of different
ways to play this scene, let’s see what this guy goes for.
ACTOR PORTRAYING ROMEO 1
[Shouting ]
I have night’s cloak to hide me from their sight, but thou love me,
let them find me here. My life were better ended by their hate
than death prorogued, wanting of thy love!
PRESENTER
Glad he’s got that off his chest.
FEMALE DIRECTOR
Loving the demonstration of ion there, just think maybe
Romeo would rein it in just a touch, you know, in case the
Capulets hear him.
ACTOR PORTRAYING ROMEO 1
[Shouting]
I don’t care, I love her so much! Whoa!
FEMALE DIRECTOR
Next.
CAPTION
CASTING ROMEO
PRESENTER
Okay, now this guy’s playing cautious, maybe even afraid of his feelings.
ACTOR PORTRAYING ROMEO 2
Her eye discourses. I will answer it. I am too bold, tis not to me
she speaks…
FEMALE DIRECTOR
Nice hiding. It definitely gets the fear across. I’d just like to see
a bit more of you.
ACTOR PORTRAYING ROMEO 2
Erm… okay.
FEMALE DIRECTOR
No! No! That’s not what I meant.
CAPTION
CASTING ROMEO
ACTOR PORTRAYING ROMEO 3
With love’s light wings did I o’erperch these walls, for stony
limits…
FEMALE DIRECTOR
Er…
ACTOR PORTRAYING ROMEO 3
… cannot hold…
FEMALE DIRECTOR
I know that Romeo was, was a bit older than Juliet and it has
been done with older actors, but, for me really this is a play
about young love, I think you’re just a little too old.
ACTOR PORTRAYING ROMEO 3
I’m 21 you cheeky… monkey!
FEMALE DIRECTOR
Really?
PRESENTER
What?
CAPTION
CASTING ROMEO
ACTOR PORTRAYING ROMEO 4
It is my lady. Oh it is my love. Oh that she knew she were.
PRESENTER
[Weeping]
Turn it off!
TITLE
ROMEO AND JULIET
CASTING ROMEO
This video shows a group of actors auditioning to play the part of Romeo. As you watch, consider the following:
- how the audience would react to these different interpretations of Romeo
- how these different interpretations would change the way Juliet acted
- how you would get Romeo to act
Act 3 Scene 1 – Mercutio’s fight with Tybalt
In Act 3 Scene 1, Tybalt approaches Romeo and his friends and challenges him to a fight. Romeo refuses because he is secretly married to Tybalt’s cousin, Juliet. How might you stage a modern version of this fight scene? How would you use the stage design to get across the idea of two warring sides? There are many possibilities for a director to consider.
'Romeo and Juliet' - How would you interpret Mercutio's fight with Tybalt?
PRESENTER
Here are the Directors.
12 divorces, nine lawsuits and three stints in rehab between them,
these guys know what they want and they normally get it.
Today, they’re looking for innovative ways to bring to life the fight
between Tybalt Capulet and Mercutio in act three, scene one of
‘Romeo and Juliet’.
TITLE:
DIRECTORS’ DEN
PRESENTER
First into the Directors’ Den are designers Graham and Martha.
They are convinced a traditional sword fight is the best way of
staging the untimely death of young Mercutio, after he’s taken
the place of his good friend Romeo.
GRAHAM
I am for you!
DIRECTOR IN BLACK SUIT
Graham, Graham stop! I’ve got a good feeling about you two.
My main concern, aside from Martha being killed, is it all seems
quite traditional. How would you give this scene a modern twist?
GRAHAM
We could be gangsters with machineguns.
DIRECTOR IN RED TIE
Interesting, so how many machineguns do you actually have?
GRAHAM
At the moment we’re, we’re looking into…
DIRECTOR IN RED TIE
Answer the question. How many machineguns do you have on
you right now?
GRAHAM
We have no machineguns.
PRESENTER
No guns and no deal. Next into the Directors’ Den are the appallingly named ‘Marshall the Arts’. These designers plan on setting the play in feudal Japan, using Karate to stage the fight.
MALE ACTOR
And but one word with one of us, couple it with something, make
it a word and a blow.
Argh!
Argh! Argh!
FEMALE DIRECTOR
Guys I think we’ve seen enough. But it’s a nice idea for the fight
and setting it in Japan could be really interesting, well done.
DIRECTOR IN BLACK SUIT
I agree with you, but my main problem is, why on earth would
you come into the Directors’ Den wearing pyjamas?
It shows a blatant lack of respect.
FEMALE ACTOR
Erm… these aren’t our pyjamas.
DIRECTOR IN BLACK SUIT
Someone else’s pyjamas? That’s even worse! I’m out.
PRESENTER
With the Karate idea well and truly knocked out, the Directors are
still looking for something a little bit different, and these dancing
designers believe that they have the answer.
DIRECTOR IN RED TIE
I’ve got to say those moves are bear fresh. Nuff respeck.
FEMALE DIRECTOR
Can I just say, this scene often takes place in the streets and I
think this idea takes that to the next level, I really like it. Just one
question – how does Mercutio get killed in a dance-off?
PRESENTER
Enter Rosie and Neil, two designers who believe that their idea
for the fight scene is a force to be reckoned with.
DIRECTOR IN BLACK SUIT
That’s ridiculous, we’re not setting up a production in some fictional fantasy world.
This video shows a group of stage designers pitching ideas on how to stage this scene. As you watch, consider the following:
- what a modern interpretation of the fight might look like
- whether it's more Tybalt than Mercutio who gets the fight going
- whether you would make the fight serious or funny and what effect you think this would have on the audience
Act 5 Scene 3 – The tomb
At the end of the play, Juliet awakens from her fake death sleep to discover Romeo by her side. He is dead. She tries to drink the last of his poison, and then stabs herself with his dagger.
'Romeo and Juliet' - How would you stage Juliet's awakening in the tomb?
TITLE
THE
BIG
SCENE
PRESENTER
Hello and welcome to The Big Scene. We’re in the tomb at the
end of ‘Romeo and Juliet’[CAPTION – ROMEO AND JULIET]and it’s about as cheerful as the last time I saw my in-laws, Christmas 96. Thanks for asking.
The young lad Romeo [CAPTION - ROMEO] has killed himself [CAPTION – KILLED SELF]
believing Juliet to be dead by poison [CAPTION - THOUGHT JULIET WAS DEAD]
and she has awoke to find him dead [CAPTION - JULIET] and killed herself[CAPTION - ABOUT TO KILL SELF] with his dagger. [CAPTION - VERY SAD]
It’s a veritable bloodbath and there’s not a dry eye in the house.
But only if the director does his job right.
, the audience has been building up [CAPTION – DIRECTOR] to this moment for the past few hours so it’s got to be dramatically satisfying.
Otherwise, you could have a riot on your hands.
JULIET
Yea, noise? Then I’ll be brief.
Oh happy dagger!
PRESENTER [OFF SCREEN]
Ah the wooden dagger. A tactic as old as my
hairstyle but they both get the job done.
PRESENTER
Alright, alright it’s clearly a prop but come on guys, it’s a play,
she’s not actually gonna die. Suspend your flipping disbelieve
will you?
PRESENTER [OFF SCREEN]
Textbook approach. It’s the kind of move that Shakespeare
himself might have gone for and she, oh she finishes it off
with a hanky representing the blood. That is lovely. No need
for fancy pants special effects and…
Oh dear, oh no, that is just disappointing.
DIRECTOR WEARING HAT
[Speaking to the laughing man behind him]
Is that your doing? Get out.
PRESENTER [OFF SCREEN]
And he’s off.
PRESENTER
Well, what did you expect from that kind of behaviour?
Unbelievable.
TITLE
THE
BIG
SCENE
PRESENTER [OFF SCREEN]
Oh well this is child’s play if you ask me and Juliet clearly agrees.
ERBY
Argh! Argh!
PRESENTER [OFF SCREEN]
Oh he’s been a touch unlucky there.
PRESENTER
They need a moment of inspiration to bring this death to life. You know what I mean.
PRESENTER [OFF SCREEN]
Well, well, well, this is modern. I’ve checked the text guys and Juliet
specifically calls it a dagger. You start bringing guns into the equation,
mimed or otherwise, and you’re gonna have to deal with that line.
And me! [SFX – BANG]
JULIET
Ooh there rust and…let me die!
PRESENTER [OFF SCREEN]
Oh and an inspired touch! I don’t think anybody saw that shot coming!
Super special effects skill from the director there.
Well played my son!
TITLE
THE
BIG
SCENE
DIRECTOR WEARING HAT
That’s great. I really liked the way you did that. It is quite out
there. And I just slightly worry that we might be alienating the
audience too much so, if it’s alright with you I’d like to just try
something else.
PRESENTER
Oh dear. What a pity! Shameful scenes of descent at the end
there. And that is a sure fire way of getting yourself recast.
TITLE
THE
BIG
SCENE
PRESENTER [OFF SCREEN]
No surprise she’s off, [CAPTION – SUBSTITUTION] straight to
the dressing room. [CAPTION – JULIET OFF JULIET ON]
Let’s see what the substitute can do.
SUBSTITUTE JULIET
There rust and let me die.
PRESENTER [OFF SCREEN]
Oh and what a finish! Stunning, powerful!
PRESENTER
We don’t have to see it. We know what’s happened. And the
audience’s imagination will be running riot.
Hold on! How am I supposed to see where… very funny guys.
Stop mucking around. Ooh. Aw… Turn the ruddy lights on.
This video shows a group of actors rehearsing the scene and the director is trying out different ways to perform it. As you watch, consider the following:
- how you would make sure the audience views this scene as dramatic and serious
- the kind of props for the poison and dagger that would make this scene look realistic
- how Juliet would act when she wakes up and sees Romeo dead
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