Romeo and Juliet - Analysis - Dramatica
Need help with Act 1, scene 5 in William Shakespeare's Romeo and Juliet? Check out our Romeo and Juliet's meeting sets in motion Tybalt's part in their fate. Analysis. This is the moment we've all been waiting for. Romeo sees Juliet and forgets The meeting of Romeo and Juliet dominates the scene, and, with. Unlike most of the analysis found here—which simply lists the unique individual Gibbons asserts: “In Romeo and Juliet the play's decisive events occur with .. after their first meeting, Juliet conceives of the next step in their relationship.
The camera movement is quiet constant and just follows the movement of Romeo and Juliet as they have their eyes fixed at each other. This gives a calm mood and atmosphere both in the film and for the audience watching.
Romeo and Juliet Act 1, scene 5 Summary & Analysis | LitCharts
Luhrmann is keen on emphasising their emotion and thoughts when Romeo and Juliet first meet. He is using slow cuts, again while they gaze at each other through the fish tank, to focus attention and give emphasis to their faces expressions when they see each other for the first time.
The flamboyant props, such as the red, long curtains and the golden statues at the staircases, and the setting of a lavish mansion really add to the chaotic atmosphere. Capulet is clothed as Caesar which underlines his power and wealth. Tybalt is dressed as a devil to show his evil and dark nature.
Lady Capulet is dressed as Cleopatra to show her beauty and also her seductive personality to lure men. After Romeo and Juliet get taken apart from their first meeting. Tybalt is quick to realise Romeo without his mask. Luhrmann uses many techniques to change of assert an atmosphere at any given point.Romeo and Juliet Wedding Scene 1996
Write an analysis of Baz Luhrman's opening sequence of Romeo and Juliet. How does it grab the audiences' attention?
Baz Luhrmann uses a low angle shot when showing Capulet scolding Tybalt and having Capulet above the camera signifies he is an important and powerful person because it is as if the audience is looking up at someone superior.
Capulet being upstairs where there is no one could symbolise a higher place like heaven where powerful people watch you from there. Tybalt getting enraged over Romeo suggests that he is disrupting that solemnity and peace that you are meant to have in heaven. In this particular moment Luhrmann uses both high and low angles to convey the different positions or statuses that Romeo and Juliet are in.
Juliet is like the cursed beauty that has to marry someone who her parents want. Luhrmann uses medium shot eye-line matching while Romeo and Juliet have eventually found out who their real identities are and realise the reality dawning on them. This is seen as the beginning and the end of the whole relationship. While Juliet is dancing with Paris after being taken away from Romeo by the nurse, she is constantly looking at Romeo and he is also admiring her.
Learning Overall Story Benchmark Much of the tragedy can be attributed to ignorance and misinformation.
As the characters begin to learn the true nature of people and events, they can begin to make informed decisions. With the help of Friar Laurence, they are wedded next day. Romeo comes on the scene, and attempts to reason with Tybalt, but Tybalt and Mercutio fight, and Mercutio falls.
Then Romeo draws and Tybalt is killed. The prince, Montague, and Capulet come up, and Romeo is sentenced to banishment.
Capulet proposes to marry Juliet to Count Paris, and when she seeks excuses to avoid this, peremptorily insists. Juliet consults the friar, who bids her consent to the match, but on the night before the wedding drink a potion which will render her apparently lifeless for 42 hours. He will warn Romeo, who will rescue her from the vault on her awakening and carry her to Mantua. Buying poison, he comes to the vault to have a last sight of Juliet.
He chances upon Count Paris outside the vault; they fight and Paris is killed. Juliet awakes and finds Romeo dead by her side, and the cup still in his hand. Guessing what has happened, she stabs herself and dies.
Romeo and Juliet
Main Character Throughline Mind Main Character Throughline What sets Romeo apart from the other males in the story is his disposition in regard to women—one from which he essentially does not waver: Feuding, then, is the form that male bonding takes in Verona, a bonding which seems linked to the derogation of woman.
But Romeo, from the very opening of the play, is distanced both physically and emotionally from the feud. Romeo subscribes to a different, indeed a competing view of woman—the idealizing view of the Petrarchan lover. As Friar Lawrence admonishes: Worry Main Character Issue Romeo does not allow himself the luxury of confidence: Confidence Main Character Counterpoint It is his love for Juliet that instills confidence in Romeo—enough to defy his family and friends.
Main Character Thematic Conflict Worry vs. When we first hear of Romeo.
Process Romeo needs to take part of the process to achieve the results he desires. An example of this is when he learns he is banished: O deadly sin, O rude unthankfulness! This is a dear mercy, and thou seest it not 3. Accurate Main Character Response Romeo directs his efforts towards what is acceptable. Desire What Romeo covets undermines his efforts—evidenced in his desire for Rosaline: Out of her favor where I am in love.
What Romeo needs most of all is a teacher, and the only one capable of giving him instruction worth having and giving it quickly is Mercutio. All the rest are unavailable, or ineffectual, like Benvolio, or unapt for dealing practically with human relations. His first line in the play, discharged at a young fool who is playing the ascetic for love, is revealing: The long fairy speech which follows dignifies idle dreams by marrying them to earth; its intent is to compel Romeo to acknowledge his senses and to bring him to an honest and healthy confession of what he is really looking for, but Romeo is too wrapped up in self-deception to listen.
There are no wiser words in the whole play, and none more ironic; for Romeo even here has not found his identity and is never really to find it except for those fleeting moments when Juliet is there to lead him by the hand.