Conflict in romeo and juliet essay
Romeo and juliet movie comparison essays
But scrap thinking about your own sad experiences behind the bike sheds because Peel did get it right on one account in that the teenage experience has, at least, provided us with some great works of art (which is the least it could do in compensation). And one of these works – despite it not always being staged – is Shakespeare’s Romeo and Juliet. As with the Undertones’ song which works only because it is about teenage kicks and therefore speaks of a very specific type of lust, newness and obsession, Romeo and Juliet only ever really works when understood as the story of two young people. Arguing that historical fluctuations in the age of marriage mean that we can upgrade Juliet to whatever age we now think suitable for vows to take place at misses the point. The actual passion between them, the mad obsession that makes two people end up killing themselves over one another when, to be un-romantic, they are basically strangers, can only be understood when you remember the utter agony that even one glance, one brush of a hand against another in school, could bring about at age 13.
Diagram: 145690 Romeo And Juliet Act 3 Scene 1 Essays
In most productions there are one, maybe two, outstanding actors and characters. In Romeo and Juliet there were at least five (and even writing that sounds like I am doing a disservice to the rest of the cast). These five (since I have now decided to select them) were Paapa Essiedu as Romeo, Oliver Hoare as Mercutio, Sally Oliver as nurse and Paul Currier as Friar Laurence. All of whom simultaneously appeared perfectly suited to the roles according to age and appearance yet also acted them in a manner that felt entirely new and transformative. The sharp delivery of Romeo’s lines proved that Shakespeare can effectively be rendered via intonation and emphasis into something approaching ‘normal’ or ‘modern’ speech, something that many productions – including the famous Baz Luhrman film – attempt, but many fail at. Casting choices for a character whose first name has transformed itself into a general noun for lover often also fall short (it must be a tough decision to find an unfailingly attractive man), but Paapa Essiedu is both suitably physically attractive to make him a teenage heart-throb and, moreover, witty, poetic and funny with his words.