Emotional Poverty Within Material Wealth in Romeo and Juliet Essay

Shakespeare centers Romeo and Juliet on the tension of opposing forces, including the conspicuous dichotomies of life and death, cessation and war, and young and old. But Shakespeare also explores the underlying theme of emotional poorness within material wealth. The affluence of the Capulets is apparent in the first act, when the set up is continually adomed, between scenes, for the familys banquet. First, forwards Juliets initial appearance in 1.3, abundant crimson tapestries are unfurled from the gallery to coverthe cracked marble ofthe facade, and the bench is accustomed an ornate cushion and the fountain a decorative cover. Before 1.4, a festive garland is strung acrossthe gallery, and additional benches are carried onstage. Finally, before the masque begins in 1.5, candelabra with burning candles are brought in to flank the gallery. Romeo is seen pensive alone on the balcony. His first sighting of Juliet is then strikingly staged. all(prenominal) the revele rs below, except Juliet, suddenly freeze in their motions, ghostly white masks held up to conceal their faces, and the stage darkens except for spotlights upon Romeo and Juliet. The grandeur of the Capulet home is dimmed into coitus non-existence as Romeo and Juliets sudden love springs to life. Shakespeares stopped-motion technique is employed once much during the masque, again to dramatic effect. After Tybalts rage against Romeos intrusion is quelled--by a flavour trom Capulet--the stage is again darkened, and the partygoers are once more frozen. their faces concealed butt end the masks. Romeo and Juliet speak with each other for the first time, gracefully dancing in an emotionally charred circle at centerstage, Romeo attired in green velvety and Juliet in a splen... ... David Kortemeier depicts his earnest but ineffectual Friar Lawrence with alter humor and real fondness for Romeo. Shakespeare briskly paces the concluding scenes. He emphasizes the swiftness of events and multiplying misfortunes rather than lingering on moments as he had done with front sequences. This approach works welI in evoking the rapidity of the tragedy, but it deprives the play of somewhat of its power. For example, Romeos dying kiss with Juliet is followed immediately, almost comically, by the entrance of the Friar, well before the tragic nature of the double-suicide has had a chance to be fully absorbed. notwithstanding this production is effective drama, due especially to directorial prowess and a chaw of rich supporting perfommances. Works CitedShakespeare, William. Romeo and Juliet. Eds. Maynard Mack and Robert Bayton. Portsmouth Heinemann, 1981.