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  • 莎士比亚: 罗密欧与朱丽叶
    SHAKESPEARE: Romeo and Juliet
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• • 莎士比亚: 罗密欧与朱丽叶 / SHAKESPEARE: Romeo and Juliet
  • [ 读物介绍 ]
  • William ShakespeareRomeo and Juliet Shakespeare had already explored tragedy in his historyplays, including Richard III, and in Titus Andronicus. The great series oftragedies, beginning with Hamlet, dates from four or five years later, and inmany ways Romeo and Juliet does not belong with them. For a start, it is not atragedy in the conventional sense because the fate of its protagonists is not adirect consequence of inherent characteristics or failings—whereas (forinstance) Lear himself, through his own folly, initiates a chain reaction,which leads to his downfall and death. Romeo and Juliet, by contrast, are muchmore the victims of ill fortune than of their own vice or weakness, even ifmoralists may seek to suggest that the young lovers are punished for theirintemperate lust or failure to obtain parental consent. This moralistic view isin any case certainly not Shakespeare’s: in fact he lavishes upon his subjectsextraordinary tenderness of language and feeling. They are ‘star-crossed lovers’ who ultimately bring good toVerona because their deaths shock their feuding families into reconciliation. The Sources Shakespeare derived his play almost entirely from TheTragicall History of Romeus and Juliet, a poem by Arthur Brookepublished in 1562. Brooke, in turn, found the story in a French version of anItalian tale whose origins go back at least to the mid-15th century. Brooke,who writes in clumsy couplets, is keen to stress the moral deficiencies of hishero and heroine—they are in thrall to ‘dishonest desire’, rely on ‘superstitiousfriars’ and thus are suitably punished—whereas Shakespeare, as we have alreadynoted, is entirely in sympathy with his characters and derives much of hisemotional effect from the acuteness of our identification with a couple who areromantically defiant, risking all for the sake of their love. Synopsis of the Plot Act 1, Scene 1: A quarrel breaks out between servants andmembers of two rival families, Capulets and Montagues. The Princebreaks up the fight. Romeo tells Benvolio of his love for Rosaline. Scene 2:Capulet, encouraging Paris to woo his daughter Juliet, invites him to a partythat night. Romeo hears about the party and decides to go, hoping to seeRosaline. Scene 3: Lady Capulet finds Juliet apparently indifferent to the ideaof marriage. Scene 4: Romeo, Mercutio and Benvolio will gatecrash the maskedball but feel a sense of foreboding. Mercutio delivers his ‘Queen Mab’ speech.Scene 5: At the party Tybalt recognizes Romeo and has to be restrained byCapulet. Romeo sees and falls in love with Juliet, discovering her name fromthe Nurse. Juliet dances with Romeo and is equally smitten. Act 2, Scene 1: Romeo enters Juliet’s garden, while hisfriends look for him. Scene 2: Romeo overhears Juliet acknowledge her love forhim. He reveals himself, confesses his love for her, and undertakes to makearrangements for their marriage the next day. Scene 3: Romeo finds FriarLawrence gathering herbs and requests his help in marrying Juliet. Scene 4:Tybalt has challenged Romeo. The Nurse finds Romeo who sends her back to Julietwith the message that she is to come to Friar Lawrence’s cell that afternoonfor their marriage. Scene 5: The Nurse returns to the impatient Juliet to tellher of the arrangements. Scene 6: Romeo and Juliet depart to be married by theFriar. Act 3, Scene 1: Mercutio and Romeo meet Tybalt. Romeo failsto prevent the others from fighting; Mercutio is killed, and Romeo swiftlyavenges his friend by slaying Tybalt. When the Prince discovers these events,Romeo is banished from Verona. Scene 2: The Nurse tells Juliet the bad news,but adds that Romeo will still visit her that night. Scene 3: Romeo hears thenews of his exile from the Friar. The Nurse finds Romeo beside himself withgrief. Scene 4: Capulet promises Juliet to Paris and sets the wedding datethree days hence. Scene 5: Romeo and Juliet part in the morning. Juliet’sparents threaten to disown her if she will not marry Paris. Act 4, Scene 1: Paris tells the Friar that he must officiateat his and Juliet’s wedding on Thursday—two days away. Juliet asks the Friarfor help and he outlines a plan involving a sleeping draught whereby themarriage with Paris may be avoided and she may join Romeo. Scene 2: Julietmakes no apparent difficulty when her father arranges the wedding with Paris.Scene 3: Juliet, not without anxiety, drinks off the potion provided by theFriar. Scene 4: At dawn Capulet oversees preparations for the wedding-party.Scene 5: Juliet appears to be dead. The Friar advises her family to make readyfor her funeral. Act 5, Scene 1: Romeo, in exile at Mantua, hears that Julietis dead in the family vault. He buys poison from an apothecary and determinesto join her. Scene 2: The Friar hears from a colleague that his message neverreached Romeo and thus decides to be with Juliet when she wakes from theeffects of the potion. Scene 3: Romeo, arriving at the tomb so that he may diewith her, finds Paris (who has brought flowers for the seemingly dead Juliet)and kills him. He takes the poison. Now the Friar comes, discovers the deadRomeo and Paris and begs Juliet, now awake, to flee the place. She, findingRomeo dead, kisses him and then kills herself with his dagger. When the Princeand the fathers of the dead lovers arrive, reconciliation between the warringfamilies is at last achieved. Commentary Romeo and Juliet is the play, which, in English literatureat least, effectively invented the modern love story. Its charm and its powerderive from the romantic setting (Verona, an Italian Renaissance city). Theyouthful innocence and ardor of the lovers, and (perhaps crucially) theexcitement and drama created by the opposition (which they have to contendwith)— an opposition which does not simply stem from the older generation butwhich is starkly present in the feud between their two families, and whichseems to be supported by the malignity of Fate. The richly realized context oftheir love is additionally enhanced by (for example) the superbly concretecharacter of Juliet’s old Nurse, who fondly encourages the pair, until the‘better’ offer of Paris’ love comes along. The Nurse’s sentimentality andmaterialism are all too convincing, and are symptomatic of the way in whichShakespeare suggests that none of the other characters can match the lovers forsincerity and steadfastness, especially once the brilliant and impulsiveMercutio has gone. Youthful as they are, we see that they are the people whogrow and mature as the play progresses: Romeo, as sensitive and intelligent asthe later Hamlet, realizes that his ‘love’ for Rosaline is no such thing butmerely infatuation: however instant the development of his love for Juliet maybe, it is ‘the real thing’, as is Juliet’s for him. The imagery of light andreligion which Shakespeare consistently bestows upon the lovers is suggestiveof the truth and value of their feelings: at the masked ball where they firstmeet, Romeo’s immediate reaction to Juliet is that ‘she doth teach the torchesto burn bright’, and their first words to each other are all built on theconceit that he is a ‘pilgrim’ and she a ‘saint’. The wit, tenderness, dramaticvariety and poetic beauty of this play continue to work their spell: it hasproved a perennial favorite inspiring, even in our century, works such as themusical West Side Story. Notes by Perry Keenlyside Cast of Romeo and Juliet Romeo MichaelSheen Juliet Kate Beckinsale Chorus PhilipMadoc Prince Norman Rodway Capulet DavidBradley LadyCapulet FrancesBarber Montague Edward de Souza LadyMontague JudyLoe Nurse Fiona Shaw FriarLawrence HeathcoteWilliams Mercutio AntonLesser Tybalt Jasper Britton Paris Ronan Vibert Benvolio SimonHarris FriarJohn/Apothecary/Cousin Capulet PeterYapp Balthasar/Servant John Paul Connolly Peter/Abram Jason Cheater Samson/SecondServingman JohnSummerfield Gregory/SecondServingman HywellSimons MICHAEL SHEEN (Romeo) has worked in the West End and acrossthe UK in Look Back In Anger, Romeo and Juliet, Ninagawa’s Peer Gynt, Moonlightand the Royal National Theatre’s Ends of The Earth and The Homecoming. He isincreasingly active as a director (The Dresser, Badfinger) and has appeared inthe films Mary Reilly and Wilde. KATE BECKINSALE (Juliet) made her screen debut in KennethBranagh’s film Much Ado About Nothing, which was followed by other filmsincluding Cold Comfort Farm and Haunted. She played the lead in television’sEmma and her theater credits include The Seagull and Faithless.PHILIP MADOC’s (Chorus) extensive theater work includes theroles of Othello, Iago, Faust, and Macbeth and, with the Royal ShakespeareCompany, The Duke in Measure for Measure and Professor Raat in The Blue Angel.Television roles include Lloyd George and Magua in The Last of the Mohicans. Healso stars in his own detective series, A Mind to Kill.NORMAN RODWAY (Prince) is an Associate Artist of the RoyalShakespeare Company, where his many roles have included Richard III, Mercutioin Romeo and Juliet and Gloucester in King Lear. He has also worked for theRoyal National Theatre in The Seagull and Hedda Gabler, and other majortheaters nationwide. His television credits include Rumpole of the Bailey and AMonth in the Country.DAVID BRADLEY (Capulet) won an Olivier Award for BestSupporting Actor for the role of The Fool in King Lear and other awards for hisextensive work for the Royal Shakespeare Company, which has included roles suchas Cassius in Julius Caesar, Polonius in Hamlet and Mephistopheles in Dr.Faustus. He has been seen on television in Our Friends in the North, Cracker,Band of Gold and Reckless. EDWARD DE SOUZA (Montague) is one of the Britain’s leadingclassical actors and has worked many seasons for the Royal Shakespeare Company,Royal National Theatre and Old Vic. His film credits include The Thirty NineSteps and The Spy Who Loved Me. FRANCES BARBER (Lady Capulet) is well known for her roles infilms such as Prick Up Your Ears, Sammy and Rosie Get Laid and Young SoulRebels. Her television performances include Inspector Morse, Hancock and TheIce House. After an Olivier Award for Most Promising Newcomer in 1984, she wenton to win acclaim for many theatrical roles including leading roles inPygmalion and Insignificance. JUDY LOE (Lady Montague) has appeared on stage across the UKand on television in The Gentle Touch, The Home Front and Life After Death. Herfilm credits include Monty Python’s The Meaning of Life. FIONA SHAW (Nurse) has won the Olivier Award for Best Actressfour times, as well as a clutch of other awards, for her roles in As You LikeIt, Electra, The Good Person of Sechuan, Hedda Gabler and Machinal. Herinterpretation of Richard II was widely acclaimed, as is her work in filmssuch as My Left Foot, Jane Eyre and Anna Karenina. HEATHCOTE WILLIAMS (Friar Lawrence) is a poet, playwrightand actor, best known for his extended poems on environmental subjects: WhaleNation, Sacred Elephant and Autogeddon. As an actor he has taken memorableroles in Orlando, Wish You Were Here, The Odyssey and Derek Jarman’s TheTempest. Whale Nation and Sacred Elephant are also available on NaxosAudioBooks, read by Heathcote Williams. ANTON LESSER (Mercutio) has played many of the principalShakespearean roles for the Royal Shakespeare Company, including Petruchio,Romeo and Richard III. His other theater credits include Wild Oats and Art.Appearances in major television drama productions include The Mill on the Flossand The Politician’s Wife. JASPER BRITTON (Tybalt) took the lead in the Regents ParkOpen Air Theatre production of Richard III and has also worked for the RoyalNational Theatre and the Royal Shakespeare Company in The Wind in the Willows,Unfinished Business, The Beggar’s Opera and Anthony and Cleopatra. His televisionappearances include The Bill, The Upper Hand and Peak Practice. RONAN VIBERT (Paris) has worked for the Royal NationalTheatre in A Matter of Life and Death and The Mother, and across the UK inplays as varied as Secret Rapture and Ninagawa’s Peer Gynt. He has been seen ontelevision in The Cloning of Joanna May, Jeeves and Wooster and TheBuccaneers and his film credits include Empire State and Queen ofHearts. SIMON HARRIS (Benvolio) has appeared on stage across the UKin numerous plays including Hamlet, Coriolanus, Macbeth and The Dresser. He isalso a playwright and his debut play Badfinger opened the Donmar Warehouse“Four Corners” season in 1997. PETER YAPP (Friar John/Apothecary/Cousin Capulet) hasappeared in plays and theaters across Britain and in the West End includingRosencrantz and Guildenstern are Dead and The Black Prince. His televisioncredits include House of Elliot, Martin Chuzzlewit and Poirot.
  • • 作品列表
    • • CD01
      • 作品编号：23334  Romeo and Juliet

      • Romeo And Juliet - The Prologue - Chorus

      • Act 1 Scene 1: A Street In Verona

      • Act 1 Scene 1: (Prince) Rebellious Subjects, Enemies To Peace

      • Act 1 Scene 1: (Montague) Who Set This Ancient Quarrel New Abroach?

      • Act 1 Scene 2: A Street

      • Act 1 Scene 3: A Room In Capulet's Mansion

      • Act 1 Scene 3: (Nurse) Even Or Odd, Of All The Days

      • Act 1 Scene 4: A Street Outside Capulet's Mansion

      • Act 1 Scene 4: (Mercutio) O Then I See Queen Mab Hath Been With You

      • Act 1 Scene 5: The Great Hall In Capulet's Mansion

      • Act 1 Scene 5: (Capulet) Welcome, Gentleman! Ladies That Have Their Toes

      • Act 1 Scene 5: (Romeo) If I Profane With My Unworthiest Hand

      • Act 1 Scene 5: (Chorus)

      • Act 2 Scene 1: Outside Capulet's Mansion

      • Act 2 Scene 2: Outside Capulet's Mansion

      • Act 2 Scene 3: Outside Friar Lawrence's Cell

      • Act 2 Scene 4: A Street In Verona

      • Act 2 Scene 4: (Nurse) I Pray you Sir What Saucy Merchant Was This...

      • Act 2 Scene 5: Capulet's Mansion

      • Act 2 Scene 6: Friar Lawrence's Cell

      • CD02
      • 作品编号：23334  Romeo and Juliet

      • Act 3 Scene 1: Verona, A Public Place

      • Act 3 Scene 1: (Prince) Where Are The Vile Beginners Of This Fray

      • Act 3 Scene 2: Juliet's Bedroom

      • Act 3 Scene 2: (Juliet) Shall I Speak Ill Of Him That Is My Husband

      • Act 3 Scene 3: Friar Lawrence's Cell

      • Act 3 Scene 3: (Romeo) 'Tis Torture, And Not Mercy.

      • Act 3 Scene 3: (Friar Lawrence) Hold Thy Desperate Hand!

      • Act 3 Scene 4: Capulet's Mansion

      • Act 3 Scene 5: Juliet's Bedroom

      • Act 3 Scene 5: (Lady Capulet) Ho, Daughter, Are You up?

      • Act 3 Scene 5: (Capulet) When The Sun Sets, The Earth Doth Drizzle Dew

      • Act 3 Scene 5: (Juliet) O God! - O Nurse , How Shall This Be Prevented?

      • Act 4 Scene 1: Friar Lawrence's Cell

      • Act 4 Scene 1: (Friar Lawrence) Hold Then, Go Home, Be Merry, Give Consent

      • Act 4 Scene 2: Capulet's Mansion

      • Act 4 Scene 3: Juliet's Mansion

      • Act 4 Scene 4: A Room In Capulet's Mansion

      • Act 4 Scene 5: Juliet's Bedroom

      • Act 4 Scene 5: (Friar Lawrence) Come, Is The Bride Ready To Go To Church?

      • CD03
      • 作品编号：23334  Romeo and Juliet

      • Act 5 Scene 1: A Street In Mantua

      • Act 5 Scene 1: (Apothecary) Who Calls So Loud?

      • Act 5 Scene 2: Friar Lawrence's Cell

      • Act 5 Scene 3: A Churchyard Outside The Tomb Of The Capulets

      • Act 5 Scene 3: A Churchyard Outside The Tomb Of The Capulets

      • Act 5 Scene 3: (Romeo) How Oft When Men Are At The Point Of Death

      • Act 5 Scene 3: (Friar Lawrence) Saint Francis Be My Speed! How Oft Tonight

      • Act 5 Scene 3: (Prince) What Misadventure Is So Early Up - Act 5 Scene 3: (Friar Lawrence) I Will Be