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Oklahoma Shakespeare in the Park’s Study Guide for

Romeo and Juliet By William Shakespeare

A Note to Teachers

 

In coming to Oklahoma Shakespeare in the Park’s production of Romeo and Juliet, your students are going to be able to enjoy a timeless romantic tragedy. The tale of Romeo and Juliet is one of forbidden love that takes place in a city torn in two between two feuding families. Throughout the show, you witness Romeo and Juliet meet and continually make efforts to see one another despite constant obstacles. Your students will get to see themes addressing class, loyalty, love, societal expectations, morality, and more thought provoking material that will engage them in this dramatic classic.

 

The purpose of this study guide is to provide a variety of contexts in which to read and see the play. The material is flexible and easily adapted to a variety of uses—discussion questions can also be used as essay questions, historical, cultural and artistic contexts can provide ideas for research projects, and acting exercises provide the opportunity for active student involvement and passionate argument. As with all our student matinees we recommend the students read the play before seeing the production. Any and all of the material in the guide may be reproduced as you see fit. We especially request that all students receive A Students Guide to Performances at Oklahoma Shakespeare in the Park (Page 4-5) or that you go over the information with them in class prior to attending the theatre.  

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WILLIAM SHAKESPEARE:  

BACKGROUND AND HISTORICAL PERSPECTIVE

• Based  on  baptismal  records,  most  biographers  agree  that  William  Shakespeare  was  born  on  April  23,  1564,  in  the  town  of  Stratford-­‐upon-­‐Avon,  Warwickshire,  England.  

 

• William,  the  son  of  wealthy  shop  owner  John  Shakespeare,  received  a  traditional  education:  up  to  ten  hours  a  day  studying  grammar,  logic,  rhetoric,  arithmetic,  geometry,  astronomy,  and  music.  Later  in  his  schooling,  Shakespeare  also  studied  Greek  and  Latin  on  a  daily  basis.  Although  we  have  little  proof  of  language  passed  down  from  the  ancient  classicists.  

 

• In  1582,  when  he  was  eighteen,  Shakespeare  married  Anne  Hathaway.  He  had  three  children:  Susanna  and  twins  Judith  and  Hamnet.  Although  no  conclusive  documentation  remains  about  his  whereabouts  between  1582  and  1594,  we  do  know  that  by  1590  Shakespeare  had  left  his  family  in  Stratford  and  was  living  in  London.  

 

• Throughout  history,  theatre  companies  have  seldom  enjoyed  a  good  reputation.  In  early  16th  Century  England,  actors  and  their  companies  were  thought  of  as  lazy  and  dishonest:  

 

• lazy  because  plays  were  performed  during  the  day,  which  meant  that  a  percentage  of  those  attending  were  “absent  without  leave”  from  work;  

 

• dishonest  because  an  actor  on  stage  was  pretending  to  be  someone  he  was  not,  which  meant  that  he  was  lying.  

 

• During  the  reign  of  Queen  Elizabeth  I,  however,  there  was  a  growing  interest  in  play-­‐going,  so  actors  were  given  the  right  to  organize  themselves  into  troupes  under  the  protection  of  a  royal  patron  or  sponsor.  Shakespeare’s  troupe  secured  the  patronage  of  the  Lord  Chamberlain,  therefore  they  became  known  as  The  Lord  Chamberlain’s  Men.  

 

• Patronage  changed  after  the  death  of  Elizabeth  I  in  1603,  when  King  James  VI  of  Scotland  became  King  James  I  of  England.  During  the  reign  of  James  I,  and  continuing  to  1642  when  the  Puritans  closed  the  theatres,  The  Lord  Chamberlain’s  Men  were  recognized  favorites  of  the  crown  and  known  as  The  King’s  Men.  

 

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• Shakespeare  often  visited  Stratford  and  bought  a  house  there  for  his  family.  His  son  Hamnet  died  in1596  at  the  age  of  eleven,  possibly  of  the  plague.  At  the  age  of  47  in  1611,  Shakespeare  retired  to1596  at  the  age  of  eleven,  possibly  of  the  plague.  At  the  age  of  47  in  1611,  Shakespeare  retired  to  Stratford,  ending  his  tenure  as  a  resident  writer  and  actor  with  the  company  he  helped  form.  William  Shakespeare  died  on  his  birthday  on  April  23,  1616.  His  wife,  Anne,  lived  until  the  age  of  sixty-­‐seven.  His  two  surviving  children,  Susanna  and  Judith,  both  married  but  left  no  family.  

 

• Although  Shakespeare’s  family  tree  ended,  his  plays  continue  to  carry  his  memory,  and  will  do  so  well  into  the  future.  Shakespeare  wrote  37-­‐39  plays,  154  sonnets,  and  contributed  over  2,000  words  to  the  English  language.  Today  his  plays  are  performed  in  many  languages  including  German,  Russian,  French,  and  Japanese.  As  Ben  Jonson,  a  contemporary  of  Shakespeare  once  wrote,  “…he  was  not  for  an  age,  but  for  all  time!”  

 

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A  Student’s  Guide  to  Performances  at  Oklahoma  Shakespeare  in  the  Park  

Soon  Shakespeare’s  story  will  spring  to  life  as  the  tale  moves  off  the  page  and  onto  the  stage.  “Why  is  this  important?”  you  may  ask.  The  answer  is  simple.  The  stage  is  the  only  place  where  the  magic  of  Shakespeare’s  world  can  be  fully  experienced.  Simply  put,  Shakespeare  wrote  plays,  not  books,  and  his  plays  were  written  to  be  performed  and  not  just  read.  

The  only  way  to  ensure  that  you  fully  experience  this  world  is  by  your  helping  us  with  the  following:  

Please  remember  that  you  are  attending  a  live  show,  not  a  movie.  Unlike  a  movie  theater,  in  a  live  theater  the  audience  can  influence  what  type  of  performance  the  actors  will  give.  No  two  performances  are  the  same  because  no  two  audiences  are  the  same.  Simply  put,  audiences  that  show  respect  for  the  actors  by  being  the  best  audience  they  can  be  will  be  rewarded  with  a  more  exciting  performance.  You  set  the  standard  for  the  show  you  will  see.  

What  you  will  see  in  our  performance  is  the  result  of  many  weeks  of  collaboration  between  performers,  designers  and  technicians.    Just  as  they  have  a  role  to  play  in  the  art  of  theatre  so  do  you!    We  need  you  to  participate  with  us  to  create  this  play.    Here  are  some  ways  in  which  you  can  help  us.  

Matinee  Guidelines  

Stay  Together  

You  are  on  a  field  trip  to  see  a  performance  by  Oklahoma  Shakespeare  in  the  Park.  Please  stay  together  as  a  group….no  exploring!    Listen  carefully  to  the  performance  and  remain  quiet.  

The  theater  is  a  “live”  space—you  can  hear  the  performers  but  they  can  also  hear  you,  and  you  can  hear  other  audience  members,  too!  Even  the  smallest  sounds,  like  rustling  papers  and  whispering,  can  be  heard  throughout  the  theater,  so  it’s  best  to  stay  quiet  so  that  everyone  can  enjoy  the  performance  without  distractions.  Please  save  your  conversations  for  after  the  show.  

Participate  by  responding  to  the  action  onstage.  HA  HA!  or  Shhhhhh?  

Sometimes  during  a  performance,  you  may  respond  by  laughing,  (yes,  Shakespeare  can  be  funny!)  crying  or  sighing.  By  all  means,  feel  free  to  do  so!  Appreciation  can  be  shown  in  many  different  ways,  depending  upon  the  art  form.  For  instance,  an  audience  attending  a  string  quartet  performance  will  sit  very  quietly,  while  the  audience  at  a  gospel  concert  may  be  inspired  to  participate  by  clapping  and  shouting.    

Concentrate  to  help  the  performers.  

These  artists  use  concentration  to  focus  their  energy  while  on  stage.  If  the  audience  is  focused  while  watching  the  performance,  they  feel  supported  and  are  able  to  do  their  best  work.  They  can  feel  that  you  are  with  them!  The  language  our  actors  are  speaking  is  English,  however  it  is  

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heightened  language  which  takes  just  a  bit  more  concentration  to  get  into  it.    You  will  find  that  if  you  focus  on  the  language  for  the  first  few  scenes  your  ear  will  be  accustomed  to  listening  and  you  will  “get”  what  is  being  said.  

Off  with  Your  Head!  Errrr  …  I  Mean  Your  Cell  Phone:  

Cell  phones  must  be  turned  off  during  the  show.  It  is  rude  and  distracting  to  the  actors  and  fellow  audience  members  to  have  the  play  interrupted  by  a  ringing  cell  phone.    So,  just  turn  them  off.    In  addition,  some  electronic  devices  interfere  with  our  stage  management  headsets,  so  any  text  messaging  or  cell  phone/cameras  that  are  used  by  students  during  a  show  will  be  confiscated  and  a  teacher  will  need  to  get  it  from  house  management  before  you  leave!    

Show  appreciation  by  applauding.  

Applause  is  the  best  way  to  show  your  enthusiasm  and  appreciation.  Performers  return  their  appreciation  for  your  attention  by  bowing  to  the  audience  at  the  end  of  the  show.  It  is  always  appropriate  to  applaud  at  the  end  of  a  performance,  and  it  is  customary  to  continue  clapping  until  the  curtain  comes  down  or  the  house  lights  come  up.  

Food  and  Drink  

Please  bring  a  sack  lunch  or  snacks  with  a  drink.  Help  us  keep  the  theatre  clean  by  placing  your  trash  in  the  garbage  cans  located  in  the  park.  

Restrooms  

Please  visit  the  restrooms  BEFORE  the  play  starts.    We  will  take  a  very  short  (5  minute)  intermission  and  ask  that  you  remain  in  the  theatre  at  that  time.      

Thank  you  for  helping  us  give  you  the  best  show  possible.  See  you  soon!    

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Here’s what happens in the play…spoiler alert! In the streets of Verona another brawl breaks out between the servants of the feuding noble families of Capulet and Montague. Benvolio, a Montague, tries to stop the fighting, but is himself embroiled when the rash Capulet, Tybalt, arrives on the scene. After citizens outraged by the constant violence beat back the warring factions, Prince Escalus, the ruler of Verona, attempts to prevent any further conflicts between the families by decreeing death for any individual who disturbs the peace in the future. Romeo, the son of Montague, runs into his cousin Benvolio, who had earlier seen Romeo moping in a grove of sycamores. After some prodding by Benvolio, Romeo confides that he is in love with Rosaline, a woman who does not return his affections. Benvolio counsels him to forget this woman and find another, more beautiful one, but Romeo remains despondent. Meanwhile, Paris, a kinsman of the Prince, seeks Juliet’s hand in marriage. Her father Capulet, though happy at the match, asks Paris to wait two years, since Juliet is not yet even fourteen. Capulet dispatches a servant with a list of people to invite to a masquerade and feast he traditionally holds. He invites Paris to the feast, hoping that Paris will begin to win Juliet’s heart. Romeo and Benvolio, still discussing Rosaline, encounter the Capulet servant bearing the list of invitations. Benvolio suggests that they attend, since that will allow Romeo to compare his beloved to other beautiful women of Verona. Romeo agrees to go with Benvolio to the feast, but only because Rosaline, whose name he reads on the list, will be there. In Capulet’s household, young Juliet talks with her mother, Lady Capulet, and her nurse about the possibility of marrying Paris. Juliet has not yet considered marriage, but agrees to look at Paris during the feast to see if she thinks she could fall in love with him. The feast begins. A melancholy Romeo follows Benvolio and their witty friend Mercutio to Capulet’s house. Once inside, Romeo sees Juliet from a distance and instantly falls in love with her; he forgets about Rosaline completely. As Romeo watches Juliet, entranced, a young Capulet, Tybalt, recognizes him, and is enraged that a Montague would sneak into a Capulet feast. He prepares to attack, but Capulet holds him back. Soon, Romeo speaks to Juliet, and the two experience a profound attraction. They kiss, not even knowing each other’s names. When he finds out from Juliet’s nurse that she is the daughter of Capulet—his family’s enemy—he becomes distraught. When Juliet learns that the young man she has just kissed is the son of Montague, she grows equally upset. As Mercutio and Benvolio leave the Capulet estate, Romeo leaps over the orchard wall into the garden, unable to leave Juliet behind. From his hiding place, he sees Juliet in a window above the orchard and hears her speak his name. He calls out to her, and they exchange vows of love. Romeo hurries to see his friend and confessor Friar Lawrence, who, though shocked at the sudden turn of Romeo’s heart, agrees to marry the young lovers in secret since he sees in their love the possibility of ending the age-old feud between Capulet and Montague. The following day, Romeo and Juliet meet at Friar Lawrence’s cell and are married. The Nurse, who is privy to

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the secret, procures a ladder, which Romeo will use to climb into Juliet’s window for their wedding night. The next day, Benvolio and Mercutio encounter Tybalt—Juliet’s cousin—who, still enraged that Romeo attended Capulet’s feast, has challenged Romeo to a duel. Romeo appears. Now Tybalt’s kinsman by marriage, Romeo begs the Capulet to hold off the duel until he understands why Romeo does not want to fight. Disgusted with this plea for peace, Mercutio says that he will fight Tybalt himself. The two begin to duel. Romeo tries to stop them by leaping between the combatants. Tybalt stabs Mercutio under Romeo’s arm, and Mercutio dies. Romeo, in a rage, kills Tybalt. Romeo flees from the scene. Soon after, the Prince declares him forever banished from Verona for his crime. Friar Lawrence arranges for Romeo to spend his wedding night with Juliet before he has to leave for Mantua the following morning. In her room, Juliet awaits the arrival of her new husband. The Nurse enters, and, after some confusion, tells Juliet that Romeo has killed Tybalt. Distraught, Juliet suddenly finds herself married to a man who has killed her kinsman. But she resettles herself, and realizes that her duty belongs with her love: to Romeo. Romeo sneaks into Juliet’s room that night, and at last they consummate their marriage and their love. Morning comes, and the lovers bid farewell, unsure when they will see each other again. Juliet learns that her father, affected by the recent events, now intends for her to marry Paris in just three days. Unsure of how to proceed—unable to reveal to her parents that she is married to Romeo, but unwilling to marry Paris now that she is Romeo’s wife—Juliet asks her nurse for advice. She counsels Juliet to proceed as if Romeo were dead and to marry Paris, who is a better match anyway. Disgusted with the Nurse’s disloyalty, Juliet disregards her advice and hurries to Friar Lawrence. He concocts a plan to reunite Juliet with Romeo in Mantua. The night before her wedding to Paris, Juliet must drink a potion that will make her appear to be dead. After she is laid to rest in the family’s crypt, the Friar and Romeo will secretly retrieve her, and she will be free to live with Romeo, away from their parents’ feuding. Juliet returns home to discover the wedding has been moved ahead one day, and she is to be married tomorrow. That night, Juliet drinks the potion, and the Nurse discovers her, apparently dead, the next morning. The Capulets grieve, and Juliet is entombed according to plan. But Friar Lawrence’s message explaining the plan to Romeo never reaches Mantua. Its bearer, Friar John, gets confined to a quarantined house. Romeo hears only that Juliet is dead. Romeo learns only of Juliet’s death and decides to kill himself rather than live without her. He buys a vial of poison from a reluctant Apothecary, then speeds back to Verona to take his own life at Juliet’s tomb. Outside the Capulet crypt, Romeo comes upon Paris, who is scattering flowers on Juliet’s grave. They fight, and Romeo kills Paris. He enters the tomb, sees Juliet’s inanimate body, drinks the poison, and dies by her side. Just then, Friar Lawrence enters and realizes that Romeo has killed Paris and himself. At the same time, Juliet awakes. Friar Lawrence hears the coming of the watch. When Juliet refuses to leave with him, he flees alone. Juliet sees her beloved Romeo and realizes he has killed himself with poison. She kisses his poisoned lips, and when that does not kill her, buries his dagger in her chest, falling dead upon his body.

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The watch arrives, followed closely by the Prince, the Capulets, and Montague. Montague declares that Lady Montague has died of grief over Romeo’s exile. Seeing their children’s bodies, Capulet and Montague agree to end their long-standing feud and to raise gold statues of their children side-by-side in a newly peaceful Verona.

Main Characters Romeo: The son and heir of Montague and Lady Montague. A young man of about sixteen, Romeo is handsome, intelligent, and sensitive. He is often caught up in the feud between his family and the Capulets, but he does not care for violence. Romeo is only interested in love. He starts the play in love with Rosaline, but once he meets Juliet he quickly forgets about her. Juliet: The daughter and only child of the Capulets, Juliet is thirteen years old and about to turn fourteen. She is entering the world of adulthood and joining her parents with the help of her faithful nurse. She is naïve and innocent, but is ready to leave that all behind to spend her life loving Romeo. Mercutio: Mercutio is neither Capulet nor Montague, but a kinsman to the Prince of Verona. He is one of Romeo’s best friends and has an obsession with Romeo. He is confident and always ready to give his opinion to anyone willing to listen or not. While speaking, Mercutio is always charismatic and enjoys word play. Often what he says has two meanings. Friar Lawrence: The Friar of the church in Verona. He is friend to the youth in town and to those he is close to an unofficial overseer and councilor in their lives. He plays this role for Romeo and Juliet. He marries them and secret, aids Romeo in escaping Verona after banishment, and gives Juliet a sleeping potion to imitate death. Benvolio: He is Romeo’s cousin and close friend. He is thoughtful and always a keeper of the peace. Nurse: The Nurse serves the Capulet family. She raised and takes care of Juliet. The relationship she has with Juliet is that of a mother and daughter. Capulet: Juliet’s father and husband to Lady Capulet, Capulet is a well off man who has been feuding with Montague for years.

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Lady Capulet: She is the wife of Capulet. Lady Capulet had Juliet at a young age and did not have a large hand in the raising of her daughter, but now that Juliet is of marrying age she is taking on more of a role in her life. Montague: He is father to Romeo and husband to Lady Montague. He is just as well off as Capulet and has been feuding with Capulet for years. Lady Montague: She is Mother to Romeo and wife to Montague. Paris: He is the richest and the man of most prestige within Verona. He is also referred to as the county, which is form of rank for someone who owns a territory. He is handsome and adored by many women, but he chooses Juliet for his bride. Tybalt: Juliet’s cousin, the Capulet’s nephew, he is short tempered and always ready for a fight. Balthazar: One of Romeo’s close friends, who gladly does whatever he needs to be done. Peter: One of the Capulet’s servants, who specifically waits on the Nurse. He is not educated and cannot read. He is at times comedic relief do to his fumbling behavior.

Key Themes Forbidden  Love    Love  as  a  Cause  of  Violence    The  Individual  Versus  Society    Fate  and  Irony    Morality    Loyalty  

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Key Imagery    Death    Plants  and  Poisons    Queen  Mab    Light  in  Darkness    Night  

WORDS OF THE BARD English has changed a lot since Shakespeare wrote. Here’s a guide to some of the terms Shakespeare used. Have you heard any of these words before? Have some of them changed meaning in the last 400 years? ague: fever aroint: go away beldam: witch, hag, old woman beshrew: to curse bestride: to stand over blasted: barren, blighted bootless: useless borne in hand: deceived caitiff: wretched person certes: certainly chary: careful clept: called, named con: to learn conceit: idea confounds: completely ruins cousin, coz: any kinsman (not just a cousin) coxcomb: fool cozen: to cheat or trick credit: to believe cry you mercy: beg your pardon doom: judgment doth: does

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doubt: fear dumb: mute or silent ere: before fair: beautiful false: dishonest fell: cruel foul: ugly free: generous gentle: of the noble classes goodly: handsome gossip: close friend or godparent green: sickly grooms: servants habit: clothing hail: welcome, hello (a greeting) happily: perhaps, by chance, possibly hardy: brave, courageous humour: mood husbandry: farming, agriculture kine: cattle kite: raven or crow marry: indeed (when used as an exclamation) maugre: despite, in spite of mean: lowly mortal: deadly parlous: dangerous sans: without sirrah: a young boy still: always stomach: hunger tetchy: irritable toys: trifles wanton: unrestrained weeds: clothes, outfit wherefore: why withal: by it

 

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When Romeo and Juliet Was Written…

There is no exact date for the publication of Romeo and Juliet, but it was first staged in 1594 so it can be assumed that it was written briefly prior to this. In England, during the late 16th century, there were events, movements, and people that influenced Shakespeare while he was writing Romeo and Juliet.

Martin Luther

No reformer was more adept than Martin Luther at using the power of the press to spread his ideas. Between 1518 and 1525, Luther published more works than the next 17 most prolific reformers combined.

Martin Luther’s 95 Thesis was influential all across Europe. His paper, partnered with the recent invention of the printing press by Johannes Guttenberg, brought insight and affordable literature into the life of commoners, which demoted the church as the sole educator to the people and was the start of education of the masses. All of this is the mark of the Protestant Reformation.

The Protestant Reformation was the 16th-century religious, political, intellectual and cultural upheaval that splintered Catholic Europe, setting in place the structures and beliefs that would define the continent in the modern era. In northern and central Europe, reformers like Martin Luther, John Calvin and Henry VIII challenged papal authority and questioned the Catholic Church’s ability to define Christian practice. They argued for a religious and political redistribution of power into the hands of Bible- and pamphlet-reading pastors and princes. The disruption triggered wars, persecutions and the so-called Counter-Reformation, the Catholic Church’s delayed but forceful response to the Protestants.

Historians usually date the start of the Protestant Reformation to the 1517 publication of Martin Luther’s “95 Theses.” Its ending can be placed anywhere from the 1555 Peace of Augsburg, which allowed for the coexistence of Catholicism and Lutheranism in Germany, to the 1648 Treaty of Westphalia, which ended the Thirty Years’ War. The key ideas of the Reformation—a call to purify the church and a belief that the Bible, not tradition, should be the sole source of spiritual authority—were not themselves novel. However, Luther and the other reformers became the first to skillfully use the power of the printing press to give their ideas a wide audience.

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THE REFORMATION: ENGLAND AND THE “MIDDLE WAY”

In England, the Reformation began with Henry VIII’s quest for a male heir. When Pope Clement VII refused to annul Henry’s marriage to Catherine of Aragon so he could remarry, the English king declared in 1534 that he alone should be the final authority in matters relating to the English church. Henry dissolved England’s monasteries to confiscate their wealth and worked to place the Bible in the hands of the people. Beginning in 1536, every parish was required to have a copy.

After Henry’s death, England tilted toward Calvinist-infused Protestantism during Edward VI’s six-year reign and then endured five years of reactionary Catholicism under Mary I. In 1559 Elizabeth I took the throne and, during her 44-year reign, cast the Church of England as a “middle way” between Calvinism and Catholicism, with vernacular worship and a revised Book of Common Prayer.

Puritanism:

Puritanism was a religious reform movement that arose within the Church of England in the late sixteenth century. Under siege from church and crown, it sent an offshoot in the third and fourth decades of the seventeenth century to the northern English colonies in the New World–a migration that laid the foundation for the religious, intellectual, and social order of New England. Puritanism, however, was not only a historically specific phenomenon coincident with the founding of New England; it was also a way of being in the world–a style of response to lived experience–that has reverberated through American life ever since.

Reflection:

During this time in England, it was beginning to be a time of individual expression and having the right to practice whatever religion said individual saw fit for themselves. Granted, this was early in the process, so there were still repercussions from the church, but there was an escape in The New World. The 16th century is an extremely influential time for the world because it is the wane of the church’s absolute power and the beginning of education to the common man. Following the Italian Renaissance and the movement of Humanism in the 14th century, which had a new sense of artistic expression and encouragement for curiosity and observation of self, education was just the flame that the world needed to take the first steps towards the society that we know today.

 

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SCHOOL ACTIVITIES: BEFORE WATCHING Romeo and Juliet For s tudents who have not read the p lay :  

Sneak Prev iew Distribute a synopsis of the play for the students to read before viewing the play. Classroom Exerc ise: Romeo and Juliet’s balcony scene. Select three students and have them read Act II, scene II out loud. Hand out #1. After the reading, ask the class to discuss what happened in the scene, and how it establishes your expectations about what will happen later in the play. Here are a few questions you can ask to prompt discussion: What happens in this scene? Can you summarize the action and conversations in a few sentences? What are the key themes and images in this scene? Did you notice any particular images used by the Romeo or Juliet? What sort of mood does this scene establish? How does the scene change when the fourth wall is broken? Is there any noticeable foreshadowing in the scene? Why is the Nurse interrupting important to the scene? What purpose does she serve? What do you think will happen in the play based upon what happens in this scene? Writing Prompt Romeo and Juliet is one of Shakespeare’s most popular romantic tragedies. What do you know about tragedy? How about the theme forbidden love? Where can you connect these two themes to in today’s contemporary society? What other examples of tragic plays, novels, or movies have you previously encountered? What do you think are the key elements of a tragedy? Based on what you know about tragedy, what sorts of things do you expect to see in this play? To Discuss Most of Romeo and Juliet deals with extreme tactics to achieve a goal. The character’s problems usually occur do to a strict societal setting. What rules hold our society together? How do these things effect our daily lives? Have you ever broken a societal construct? How? What happened because of it? To Think About What other Shakespeare plays have you read or seen? What were your impressions of those plays? Based on those experiences, what do you expect to see in this production? What ideas do you think will be discussed in the play?

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For students who have read the play: Student Exerc ise : Shakespeare’s Art—The Soliloquy Translate one of Romeo’s soliloquies or Juliet’s soliloquy into modern English. Is anything lost in the translation? Compare your translation with those created by other students. Group Act iv i ty : Directing a Scene Break the class into groups and assign each group a scene from Romeo and Juliet. Each group will choose parts and read the scene aloud. After reading the scene, the students will discuss how they would stage the scene, including decisions about where characters would be positioned, gestures they would use, and how lines are to be delivered. If time permits, the students can act out their staging for the other groups in the class. Ask students to pay close attention to the assigned scene when viewing the performance of Macbeth, and think about the decisions made by the director in this version. Here are some scenes you may wish to assign: Act I, scene I Eleven characters In this scene, it sets up the conflict in Verona between the Capulets and the Montagues. The prince decrees that if the peace is disturbed again the death penalty will be used. In the end of the scene, we meet Romeo and learn of his affections for Rosaline. Act I, scene III Four characters Lady Capulet brings news to Juliet that Paris is seeking her hand in marriage. Act I, scene IV Three characters The Montague boys are about to sneak into the Capulet party. Mercutio’s soliloquy on Queen Mab. Act III, scene I Six characters Tybalt instigates a fight between Romeo, Benvolio, and Mercutio. Mercutio is slain by Tybalt while Romeo is attempting to break up the fight. Following this, Tybalt forces Romeo to dual and Tybalt dies. The prince and other members of Verona enter on the scene. The prince pronounces Romeo to be banished. Act III, scene V, start at Lady Capulet’s entrance Four characters Lady Capulet tells Juliet that she is to marry Paris Thursday. This is a big problem when she already married Romeo behind her parents back. She refuses to marry Paris, but does not tell her parents about Romeo. Her father tells her that if she does not marry Paris, he will kick her out into the street. Act V, scene III Eleven characters Paris and Romeo are both at Juliet’s grave. Paris starts to fight Romeo and he kills Paris. Romeo Sits by Juliet and drinks a poison to be with her eternally. She wakes up because her sleeping potion wore off and kills herself with Romeo’s dagger to be with him in death. The whole town shows up at the grave and Friar Laurence explains. The Capulet’s and Montague make peace

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over their dead children. Writ ing Prompts : What is Love? How is love portrayed by Shakespeare through the multiple relationships present within the show? Is it a mocking or serious take on love? Why? How does the society of the play influence the relationships within it? The Sky is the Limit: Romeo and Juliet has such a drastic ending. The play is operating at the high stakes of life or death at several points in the show. How does this effect the story? Is it practical? Do you see this today? Why do you think death is used as a threat as hastily as it is in the show?

After the play… To Discuss: First Impressions What did you think of the production? Did you like it? How did it compare to what you expected to see? Did anything surprise you? Writing Prompt: Pick a Scene, Any Scene Choose one scene from the production that really struck you. Analyze the choices made by the director and actors. Did they cut any lines from the script? What are the most important moments of the scene? What can you tell about the choices they’ve made about the thoughts and emotions of the characters? How have the characters been positioned to reflect those choices, and what gestures add to the ability to communicate those choices? Writing Prompt: The Critics Corner Write a review of this production. When you’re writing, consider the following questions: What did you expect to see in this production? Were there any surprises? Pick out an aspect of the design of the production—the costume, the lighting, the makeup—and think about how this element contributes to the overall effect of the play. What was your favorite part? What parts did you not like as much?

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Are you familiar with these famous lines from Shakespeare’s plays? “This above all: to thine own self be true” (Hamlet) “...All the world’s a stage, And all the men and women merely players.” (As You Like It) “Once more, into the breach, dear friends, once more.” (Henry V) “Now is the winter of our discontent.” (Richard III) “Parting is such sweet sorrow” (Romeo and Juliet) “What’s in a name? That which we call a rose By any other names would smell as sweet.” (Romeo and Juliet) “Friends, Romans, countrymen, lend me your ears! I come to bury Caesar, not to praise him.” (Julius Caesar) “Bubble, bubble, toil and trouble.” (Macbeth) “What’s done is done.” (Macbeth) “Out, damned spot! out, I say!” (Macbeth) “...I am a man more sinned against than sinning.” (King Lear) “...Then must you speak Of one that lov’d not wisely but too well...” (Othello) “We are such Stuff as dreams are made on; and our little life Is rounded with a sleep.” (The Tempest)

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Shakespearian Insult Kit Shakespearian language may sound odd to you if you are not familiar with it. Shakespeare was a brilliant artist known for his prose and his ability with words. How would you fare with Shakespeare’s words today? Use the charts below to form your own Shakespearian insults for some good laughs and enjoy the vivid adjectives! To create a Shakespearean insult... Combine one word from each of the three columns below, prefaced with "Thou": Column 1 Column 2 Column 3 artless base-court apple-john bawdy bat-fowling baggage beslubbering beef-witted barnacle bootless beetle-headed bladder churlish boil-brained boar-pig cockered clapper-clawed bugbear clouted clay-brained bum-bailey craven common-kissing canker-blossom currish crook-pated clack-dish dankish dismal-dreaming clotpole dissembling dizzy-eyed coxcomb droning doghearted codpiece errant dread-bolted death-token fawning earth-vexing dewberry fobbing elf-skinned flap-dragon froward fat-kidneyed flax-wench frothy fen-sucked flirt-gill gleeking flap-mouthed foot-licker goatish fly-bitten fustilarian gorbellied folly-fallen giglet impertinent fool-born gudgeon infectious full-gorged haggard jarring guts-griping harpy loggerheaded half-faced hedge-pig lumpish hasty-witted horn-beast mammering hedge-born hugger-mugger mangled hell-hated joithead mewling idle-headed lewdster paunchy ill-breeding lout pribbling ill-nurtured maggot-pie puking knotty-pated malt-worm puny milk-livered mammet qualling motley-minded measle rank onion-eyed minnow reeky plume-plucked miscreant roguish pottle-deep moldwarp ruttish pox-marked mumble-news saucy reeling-ripe nut-hook spleeny rough-hewn pigeon-egg spongy rude-growing pignut surly rump-fed puttock

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tottering shard-borne pumpion unmuzzled sheep-biting ratsbane vain spur-galled scut venomed swag-bellied skainsmate villainous tardy-gaited strumpet warped tickle-brained varlot wayward toad-spotted vassal weedy unchin-snouted whey-face yeasty weather-bitten wagtail

YOU’RE A POET AND YOU DIDN’T KNOW IT! Even if you’ve never read one of Shakespeare’s plays, you’ve spoken some of the Bard’s most famous lines. The long and the short of it is that unless mum’s the word, if you’re speaking the Queen’s English, it’s a foregone conclusion that you’re constantly quoting Shakespeare. Whether you’re in a pickle, wearing your heart on your sleeve, or simply fancy free, you’ve spoken the Bard’s words. Deny it, and in the twinkling of an eye you’d be a laughing stock. In fact, trying to avoid Shakespeare’s language would send you on a wild goose chase through the dictionary. That way madness lies! It’s true that spoken English has undergone a sea change, but the fame of the Bard’s language lives on forever and a day. So even if you’re not exceedingly well read, it’s likely that Shakespeare’s verse is like meat and drink to you. And while brevity is the soul of wit, Shakespeare had a lot to say. With 138 plays, 154 sonnets, and two narrative poems, the range of his work has beggared all description. The man was seldom tongue-tied. He could write like the dickens, it’s true, and in his comedies, he kept his audience in stitches. And what of lovers? After all, music is the food of love, and even if love is blind, Shakespeare has given hot-blooded wooers dainty phrases to send them down the primrose path. Yep, he could really lay it on with a trowel. And while all that glitters is not gold, Shakespeare’s golden language is hardly too much of a good thing. In fact, it’s a dish fit for the gods. Poets today wish they could write so well. Their plays often set your teeth on edge and send you packing! So, even though Shakespeare himself is as dead as a doornail and as cold as any stone, his language lives on. And, after you shuffle off this mortal coil, folks will still be quoting Shakespeare. So don’t give this dead poet short shrift. After all, all’s well that ends well!  

 

 

 

 

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Hand-­‐out  #1  

ROMEO He jests at scars that never felt a wound. JULIET (appears above at a window) But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off. It is my lady, O, it is my love! O, that she knew she were! She speaks yet she says nothing: what of that? Her eye discourses; I will answer it. I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars, As daylight doth a lamp; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek! JULIET Ay me! ROMEO She speaks: O, speak again, bright angel! for thou art As glorious to this night, being o'er my head As is a winged messenger of heaven Unto the white upturned wondering eyes Of mortals that fall back to gaze on him When he bestrides the lazy pacing clouds And sails upon the bosom of the air.

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JULIET O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. ROMEO [Aside] Shall I hear more, or shall I speak at this? JULIET 'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself. ROMEO I take thee at thy word: Call me but love, and I'll be new baptized; Henceforth I never will be Romeo. JULIET What man art thou that thus bescreen'd in night So stumblest on my counsel? ROMEO By a name I know not how to tell thee who I am: My name, dear saint, is hateful to myself, Because it is an enemy to thee; Had I it written, I would tear the word. JULIET My ears have not yet drunk a hundred words Of that tongue's utterance, yet I know the sound:

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Art thou not Romeo and a Montague? ROMEO Neither, fair saint, if either thee dislike. JULIET How camest thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here. ROMEO With love's light wings did I o'er perch these walls; For stony limits cannot hold love out, And what love can do that dares love attempt; Therefore thy kinsmen are no let to me. JULIET If they do see thee, they will murder thee. ROMEO Alack, there lies more peril in thine eye Than twenty of their swords: look thou but sweet, And I am proof against their enmity. JULIET I would not for the world they saw thee here. ROMEO I have night's cloak to hide me from their sight; And but thou love me, let them find me here: My life were better ended by their hate, Than death prorogued, wanting of thy love. JULIET By whose direction found'st thou out this place? ROMEO By love, who first did prompt me to inquire; He lent me counsel and I lent him eyes. I am no pilot; yet, wert thou as far As that vast shore wash'd with the farthest sea, I would adventure for such merchandise.

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JULIET Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak tonight Fain would I dwell on form, fain, fain deny What I have spoke: but farewell compliment! Dost thou love me? I know thou wilt say 'Ay,' And I will take thy word: yet if thou swear'st, Thou mayst prove false; at lovers' perjuries Then say, Jove laughs. O gentle Romeo, If thou dost love, pronounce it faithfully: Or if thou think'st I am too quickly won, I'll frown and be perverse an say thee nay, So thou wilt woo; but else, not for the world. In truth, fair Montague, I am too fond, And therefore thou mayst think my 'havior light: But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. I should have been more strange, I must confess, But that thou overheard'st, ere I was ware, My true love's passion: therefore pardon me, And not impute this yielding to light love, Which the dark night hath so discovered. ROMEO Lady, by yonder blessed moon I swear That tips with silver all these fruit tree tops-- JULIET O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable. ROMEO What shall I swear by? JULIET Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I'll believe thee.

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ROMEO If my heart's dear love-- JULIET Well, do not swear: although I joy in thee, I have no joy of this contract tonight: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet. Good night, good night! as sweet repose and rest Come to thy heart as that within my breast! ROMEO O, wilt thou leave me so unsatisfied? JULIET What satisfaction canst thou have tonight? ROMEO The exchange of thy love's faithful vow for mine. JULIET I gave thee mine before thou didst request it: And yet I would it were to give again. ROMEO Wouldst thou withdraw it? for what purpose, love? JULIET But to be frank, and give it thee again. And yet I wish but for the thing I have: My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite. Nurse calls within I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again. (Exit, above)

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ROMEO O blessed, blessed night! I am afeard. Being in night, all this is but a dream, Too flattering -sweet to be substantial. (Re-enter JULIET, above) JULIET Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable, Thy purpose marriage, send me word tomorrow, By one that I'll procure to come to thee, Where and what time thou wilt perform the rite; And all my fortunes at thy foot I'll lay And follow thee my lord throughout the world. Nurse [Within] Madam! JULIET I come, anon.--But if thou mean'st not well, I do beseech thee-- Nurse [Within] Madam! JULIET By and by, I come:-- To cease thy suit, and leave me to my grief: Tomorrow will I send. ROMEO So thrive my soul-- JULIET A thousand times good night! Exit, above ROMEO A thousand times the worse, to want thy light. Love goes toward love, as schoolboys from their books,

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But love from love, toward school with heavy looks. Retiring Re-enter JULIET, above JULIET Hist! Romeo, hist! O, for a falconer's voice, To lure this tassel-gentle back again! Romeo! ROMEO My love? JULIET At what o'clock tomorrow Shall I send to thee? ROMEO At the hour of nine. JULIET I will not fail: 'tis twenty years till then. I have forgot why I did call thee back. ROMEO Let me stand here till thou remember it. JULIET I shall forget, to have thee still stand there, Remembering how I love thy company. ROMEO And I'll still stay, to have thee still forget, Forgetting any other home but this. JULIET 'Tis almost morning; I would have thee gone: And yet no further than a wanton's bird; Who lets it hop a little from her hand, Like a poor prisoner in his twisted gyves, And with a silk thread plucks it back again, So loving jealous of his liberty.

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ROMEO I would I were thy bird. JULIET Sweet, so would I: Yet I should kill thee with much cherishing. Good night, good night! parting is such sweet sorrow, That I shall say good night till it be morrow. Exit above ROMEO Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace, so sweet to rest! Hence will I to my ghostly father's cell, His help to crave, and my dear hap to tell. Exit