Luhrmann version of act 1 scene 5 brings it to life essay

The two texts are set in completely contrasting social and historical contexts of Elizabethan England to Southern California in Verona Beach. Despite the contrast of the two settings, both texts explore the external conflict which stemmed from the family feud between the Capulets and the Montagues. Shakespeare utilises a variety of literary techniques to shape the ideas of conflict, through major fights which result in significant deaths, minor conflict which reiterates the ever-present feud and the dispute between the two families.

Luhrmann version of act 1 scene 5 brings it to life essay

Sir Philip Sidney states in his Apology for Poetry that poetry should both delight and teach, and both the text and the film serve this purpose well—each suited to the time in which they were presented. Shakespeare incorporated jokes of the time, mentions of royalty, and allusions to historical events in his plays.

Luhrmann does this as well, pulling in numerous references to recent pop culture. Both Shakespeare and Luhrmann endeavored to delight their audiences with beautiful costumes and familiar music, and to teach them with the basic moral precepts inherent in the story. A mere glance at the film will show anyone with even the slightest knowledge of the play that the two are ferociously different in terms of setting, costume, casting, music, and props.

A closer reading, however, will also illuminate significant deviations in verse. The differences between these two works are distinctly illustrated in Act One, Scene One of the text and its matching film scene.

I strike quickly, being moved. But thou art not quickly moved to strike. A dog of the house of Montague moves me 1. They continue their repartee until Abraham and another servingman of the Montagues arrive.

Gregory suggests that frowning in their general direction will suffice initially. Nay, as they dare. Do you bite your thumb at us, sir?


I do bite my thumb, sir. No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir 1. They proceed to argue about whose master is better, and fight until Benvolio arrives and tells them to put up their swords.

Tybalt shows up and further provokes the fight. Tybalt goes inside, but Abra remains next to the car, sees the Montague boys, and faces them with an intimidating glare.

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The ensuing fight scene provides an excellent example of the difference in choreography and props. In the text, the characters all fight with swords, on a stage empty of all but citizens of the watch. In the ultra-modernized film, the characters are all possessed of pistols bearing the name of their respective houses, and they make use of the surrounding cars, film extras, and various architectural trappings of the gas station where the fight is staged.

Interestingly enough, though, when Benvolio entreats the Capulets and his fellow Montagues to lower their weapons, the wording does not exchange swords for guns, but remains as it reads in the original text 1.

Verona Beach is a modern-day city, with cars, high-rise buildings, gas stations, and hot dogs stands, none of which were even conceived or much less, available during the time that Romeo and Juliet was written or performed.

This opening scene finds the Montague boys parading around in Hawaiian shirts and sporting unnaturally colored hair, while the Capulet boys favor leather and metal-heeled boots.

These are some drastic changes from the traditional Elizabethan wear of the time. In addition, the film makes no pretense at any English or Italian to fit the original setting accent from its characters.

Luhrmann explains that this is because he considers the American language as better attuned to Shakespearian text: Luhrmann echoes this in his version of the drama. A Critical Edition of the Major Works. Leonardo DiCaprio and Claire Danes.

Luhrmann version of act 1 scene 5 brings it to life essay

Cite References Print Ansen, David. More By This Author:Thank you so much, Pope Andrew, WTG! You could have responded to Andrew's points: 1Cor is an interpolation and 1Tim is a late forgery (as are the other Pastorals), though I doubt that the Catholic church pays much attention to such inconveniences.

Loss of autonomy over one’s own life and choices matters to all of us, of all races, but it may matter more when state coercion is applied to people from groups that have historically been subject to horribly unjust and destructive state coercion.

Critical Analysis of the Opening Extract of Baz Luhrmann's Romeo and Juliet Words | 5 Pages. Critical Analysis of the Opening Extract of Baz Luhrmann's Romeo and Juliet Baz Luhrmann has used the three presentational devices in a specific way in his film 'Romeo and Juliet'.

I believe that Baz Luhrmann has created a very effective prologue and version of Act 1 Scene 1 of Shakespeare's Romeo and Juliet, using visual images and landmarks along with the language to aid the audience in understanding the story.

Baz Luhrmann's "Romeo + Juliet" compared with Shakespeare's Original Work - Inquiries Journal

Using the media throughout, Luhrmann makes the situations easier for the audience to grasp, and in turn, relate to. The scene ends with a close-up of a dead soldier’s pack which contains the words Pvt S.

Ryan and the scene cuts. Throughout the entire scene there was a tremendous amount . AFAM Intro to African American Studies This course provides an overview of African American history and culture.

Topics include major events, persons, and issues spanning the period from the African heritage to contemporary times.

Analysis of Setting in the Opening Scenes of Luhrmann's Film, Romeo + Juliet