NOTE TO TEACHERS
One of the greatest love stories ever written, Romeo and Juliet is a play that bears repeating and revising for each generation.
The screenplay of the contemporary film of Romeo and Juliet and the original classic version of the play are now available in one book for readers to enjoy. The screenplay is by Craig Pearce and Baz Luhrmann and the book includes notes on William Shakespeare's play by John Bettenbender. This major motion picture from Twentieth Century Fox stars Leonardo DiCaprio and Claire Danes.
The setting of the contemporary version is a modern city, and the characters carry guns instead of swords. The Montagues and the Capulets are gangsters who take their feuding to the streets. At a masked ball Romeo Montague meets and falls in love with Juliet Capulet, but, as in the original play, their love is ill-fated. In addition to love, violence and death play important parts in both versions. Although the dialogue is briefer in the contemporary version, the characters still speak the beautifully lyrical words of Shakespeare.
TEACHING IDEAS
Thematic Connections
Love -- Several types of love occur within the play. In the beginning, Romeo suffers from unrequited love: Rosaline did not return the love he bore her. Then he and Juliet experience love at first sight and pledge to marry. But they are star-crossed lovers and their love is destined to end in tragedy. Romeo may have had premonitions about unhappy outcomes, but neither he nor Juliet have any doubt that theirs is a forbidden love.
In addition, Juliet instructs Romeo in true love, love that does not rely upon convention or flowery oaths to heavenly bodies, such as the inconstant moon, but that binds person to person for its own sake. To explore the concept of love in Romeo and Juliet, suggest each of five students personify one of these kinds of love and discuss their significance concerning the young lovers' relationship.
Tragedy and the Consequences of Violence -- Both the play and the screenplay are heavily laden with violence. The audience knows from the beginning that the lovers will commit suicide, and indeed all violent acts lead to this tragic event. After reading both the play and the screenplay, ask students to discuss which version is more violent and which version offers more hope for overcoming violence by establishing peace between the two families. Remind students they should be prepared to defend their thoughts by citing specific scenes and passages.
Death -- An Elizabethan audience would have few doubts that Romeo and Juliet were completely in the wrong. They disobeyed and deceived their parents, were disloyal to their families, and damned their souls to hell by committing suicide.
A contemporary audience, however, is generally more sympathetic toward the young lovers and blames the adults in the play for their deaths. But perhaps Tybalt is to blame for challenging and pursuing Romeo, who clearly did not want to fight with his wife's cousin. Or maybe Mercutio is culpable for not following Romeo's lead. Or, perhaps, Romeo and Juliet were merely victims of the Fates and no mortal can to be held responsible for their deaths. If Shakespeare were giving a courtroom testimony about the deaths of the young lovers, which characters would he want to defend? How would he do this?
Interdisciplinary Connections
Language Arts -- Just understanding the basic storyline is difficult when students are unfamiliar with Elizabethan English. Journal entries in which they summarize each act in their own words can be helpful as students work to decipher the text.
After reading each version of Romeo and Juliet, have students record their thoughts in their journal, paying particular attention to their emotional responses and any questions they may have. Are there any aspects of the play which relate to their own lives? In a follow-up entry, have students describe a setting for the play which would have personal meaning for them.
Language Arts -- Suggest students research what life was like for Shakespeare in Elizabethan England and compare his career with that of a real or imaginary contemporary playwright living in New York City.
Much fiction and nonfiction has been written recently about street gangs. After reading the screenplay, students may want to read some of this literature and summarize it for a newspaper article.
The Appalachian Hatfields and McCoys and the Scottish Campbells and MacDonalds are historical examples of feuding families and clans. Harold B. Wright's The Shepherd of the Hills and Richard D. Blackmore's Lorna Doone are literary representations of this motif. What other famous historical or literary families could be listed along with the Montagues and Capulets in a Who's Who of Feuding Families?
Drama -- Invite students who have seen a Shakespearean play, visited Shakespeare's birthplace in Stratford-upon-Avon, or had other Shakespearean experiences to share their insights with class members.
In Greek drama the chorus is a group of singers and dancers that comments on the action of the play, often predicting or interpreting, so the audience knows more than the characters within the play. In Elizabethan drama, the chorus was often reduced to one actor who recited the prologue or epilogue. In Romeo and Juliet, Shakespeare has the chorus recite the prologue and assigns the epilogue to the Prince. Pearce and Luhrmann use the Anchorwoman as a contemporary chorus. Suggest students conduct further research on the chorus and decide whether or not the Anchorwoman is a logical extension of this dramatic convention.
Art -- The Globe Theatre was built in London during Shakespeare's time particularly for his plays. Encourage artistically inclined students to create a replica of the Globe that would help class members envision the original staging of Shakespeare's plays.
Film Studies -- Even though Luhrmann helped write the screenplay, he did not follow it exactly when directing the film. Students interested in the film version might identify deviations from the screenplay and discuss Luhrmann's reasons for changing it.
Students familiar with a production of West Side Story and/or Franco Zefferelli's 1968 film version of Romeo and Juliet might write critical reviews comparing these productions to the original play and to Luhrmann's screenplay and film.
SUGGESTED ACTIVITIES
Suggested Classroom Activities
Pre-Reading Activity
Students bring an array of experiences to the classroom that can enhance their study of Romeo and Juliet. In order to understand what these are and build upon them, have class members write a series of ungraded journal entries in which they describe their familiarity with (1) Shakespeare's life and plays, (2) feuding families, (3) street gangs, (4) film or stage productions of West Side Story, and (5) stories of forbidden love. Students can draw upon and share previous experiences with these topics as the class studies the various versions of Shakespeare's story.
VOCABULARY
Use of Language
The language of Shakespeare is rich in figurative speech. Have students select a passage that contains a simile, metaphor, or pun and translate this passage into contemporary language. Encourage them to share both the Shakespearean and revised versions of the passage with class members.
ABOUT THIS GUIDE
In the Classroom
Using William Shakespeare's Romeo & Juliet in the Classroom
Even the most reluctant reader is drawn to the tragic love story of Romeo and Juliet. Romeo and Juliet is often a student's first experience with Shakespeare and is traditionally taught in English or language arts classes. But there are obvious connections to the social studies, art, drama, and film studies curriculum that can expedite students' understanding of the text and context of both versions.