Although the beautiful language elevates the central love story above the at times formulaic conduction of the feud, theatrical convention dictates that his lovers must be sacrificed in order for the feud to be resolved. The screenplay must attempt to convince audiences of the inevitability and inherent rightness of their deaths in spite of the numerous opportunities that exist within the narrative to challenge this fate. It will focus in particular on moments of conflict apparent in the screenplays, moments when it is clear that the narrative is trying to subvert the tragic ending.
Ce travail examine donc la construction de la fin dans trois adaptations, celles de Franco Zeffirelli , de Baz Luhrmann et de John Madden Shakespeare in Love , This would have made sense to the Elizabethan audiences for whom, as Muriel C. Identifying the creator of a text was never meant to exclude all but one interpretation as the correct one.
William B. On the contrary, many of the adaptations include intertextual references to other adaptations, thus siting themselves within a continuum of versions of the text. Baz Luhrmann also follows George Cukor in introducing his actors in character. Indeed, the movie abounds with references to other works by Shakespeare, including his sonnets and speeches from Two Gentlemen of Verona.
The tragic ending is, after all, what is best known about Romeo and Juliet. A big challenge for the screenplay is finding a way to surprise the audience with an ending they know is coming. Much of the suspense created in the adaptations is located in their exploitation of the potential resistance suggested in these moments, small gaps in the tragic plot in which the audience is given a hint that an alternative happy ending just might be possible.
Much critical attention has been paid to the contested generic classification of Romeo and Juliet. Genre functions as a significant stabilizing force in cultural texts. It both creates audience expectations and offers assurances that these expectations will be fulfilled. It is a guarantee, in other words, of the unity and completeness that Aristotle insists are central to the successful tragedy. The Prologue appears to establish the primacy of the civil war in the narrative of the play and states clearly that its resolution is the goal of the plot:.
