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 feel and death, peace and war, and young and old. But Shakespeare also explores the underlying theme of aroused poverty within material wealth. The affluence of the Capulets is apparent in the introductory act, when the stage is continually adomed, between scenes, for the familys banquet. First, before Juliets initial appearance in 1.3, long crimson tapestries are unfurled from the gallery to coverthe cracked marble ofthe facade, and the judicature is given 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 fender the gallery. Romeo is seen brooding alone on the balcony. His first sighting of Juliet is then strikingly staged. All the revelers below, except Jul iet, suddenly freeze in their motions, ghostly discolour masks held up to c at onceal their faces, and the stage darkens except for spotlights upon Romeo and Juliet. The grandeur of the Capulet home is dull into relative non-existence as Romeo and Juliets sudden love springs to life. Shakespeares stopped-motion technique is employed once more during the masque, again to dramatic effect. After Tybalts rage against Romeos intrusion is quelled--by a slap trom Capulet--the stage is again darkened, and the partygoers are once more frozen. their faces conceal behind the masks. Romeo and Juliet speak with each other for the first time, grace amply spring in an emotionally charred circle at centerstage, Romeo attired in one thousand velvet and Juliet in a splen... ... David Kortemeier depicts his earnest but ineffectual mendicant Lawrence with dry 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 make with earlier sequences. This approach works welI in evoking the rapidity of the tragedy, but it deprives the black market of some of its power. For example, Romeos dying kiss with Juliet is followed immediately, almost comically, by the entrance of the Friar, surface before the tragic nature of the double-suicide has had a chance to be fully absorbed. Nevertheless this production is effective drama, due especially to directorial prowess and a slew of rich supporting perfommances. Works CitedShakespeare, William. Romeo and Juliet. Eds. Maynard Mack and Robert Bayton. Portsmouth Heinemann, 1981.