Last workshop we began forming an aesthetic and understanding of the two opposing families. To further build the world of the play the company begins to consider the setting:
The first question we needed to answer is where/what is Verona?
The cast completed a brainstorming session, the results are as follows:
Although the main points are listed on the image above, the cast had a discussion about being on holiday in European cities that was really atmospheric. Considering many sensory elements that added to the understanding of the environment, such as the ‘warm hazy heat’ and the ‘mumbled chatter and chinking of glass and crockery as people eat outside in cafes’. ‘Maybe the soft sound of a solo busker not too far off in the distance?’ ‘The pace is slower and more chilled than here in England.’
According to this abridged version of Romeo and Juliet, much of the action takes place in 3 main locations: A Street, Friar Lawrence’s Cell and the Capulet’s household. From the previous task on the creation of Verona, we liked the idea of a main square, perhaps this could be where many of the scenes located on “A Street” could take place? We developed the idea of a main square:
Lily sketched out her understanding of this square as the cast discussed the space/location:
I love this idea of a fountain in the centre of the square. Could this be made of actors, painted in grey, dry, crumbly, stone-like paint? Where else can these ‘statues’ be used? Hmmm… could be very useful? Are they the entire set?!! What is this fountain in the centre of the main square? What does it symbolise? Do they become gothic-like gargoyle adorning the Capulet mansion? Are they the Capulet’s monument? The city walls? How would they feature in the Capulet’s Ball, when Romeo and Juliet meet? Are they the backdrop behind the alter at Friar Lawrence’s place? This scene in the film Devil’s Advocate comes to mind…
Lots of work-shopping of this to come!
As the Capulet house had already been imagined in the previous planning session, the other main location we needed to consider was Friar Lawrence’s Cell. The general picture that is forming for the overall feel and aesthetic, lead the group quite naturally, onto a very catholic and fairly gothic environment:
The cast has now created a response to the environment and atmosphere they wish to portray:
These two previous sessions have allowed me to get a strong sense of the collective vision towards the play. Interestingly, the setting has evolved as a very historical, classic and rich European city in which, a modern world inhabits. I love this as the classic setting really reflects the concept of ‘ancient grudge’ and presents a sense of old money, a world of characters that have lived in prosperity for decades, yet plagued by hate and violence. The play is therefore, very much the culmination of an epic story that has spanned generations. The contrast of modern identifiable characters against a classic background will put emphasis on this. The fusion of old and now will be interesting and help marry this old play script giving it relevance and keeping it fresh for a contemporary audience.
Exciting times ahead! I can now devise workshops that are a product of our collective vision; it’s going to be amazing! Very very well done to everyone who has turned up to these initial planning sessions. I’ve been so impressed with your hard work, dedication and attitude. Let’s keep this up and hit the ground running when we get back [refreshed?] in September!
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Continuing to learn the plot:
After this short session, I pull out giant bags of popcorn and we sat ourselves down to a screening of Baz Luhrmann’s 1996 interpretation of Romeo and Juliet. As we watch it I ask the students to be aware of their responses as an audience member at certain moments in the story:
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