Shakespeare in love

Una película bonita, con un Shakespeare improbable.
Pongo la parte más "movida".
Se puede ver en Youtube. Subieron una doblada al español de España. Abominable.



PARTE DEL SCREENPLAY QUE CORRESPONDE A ESTE VIDEO
(Si quieren el guión completo, basta escribir en el buscador "Shakespeare in Love" "Screenplay by Marc Norman and Tom Stoppard")

INT. THE CURTAIN THEATRE. STAGE. DAY.

Swordplay. An amazing performance that holds the audience
spellbound. "TYBALT" kills "MERCUTIO."

ALLEYN AS MERCUTIO
(to ROMEO)
"I am hurt.

WILL AS ROMEO
Courage man. The hurt cannot be much.

ALLEYN A MERCUTIO
Ask for me tomorrow and you shall find
me a grave man."

A roll of thunder. Over the heads of the audience, far
above the thatched roof of the theatre, clouds are
gathering in the sky. On stage "MERCUTIO" is in 'ROMEO'S"
arms, but the tone of the playing is unlike anything we
have seen before: without bombast, intense and real. And
the audience is quiet and attentive.

ALLEYN AS MERCUTIO (CONT'D)
"…--Why the devil came you between us?
I was hurt under your arms."

EXT. THE CURTAIN THEATRE. DAY.

In the semirural view towards the City of London, there
can be discerned a gaggle of approaching MEN and three is
something orderly about them. As they come closer, we see
that they are a company of PIKE MEN, marching toward the
theatre, led by the Master of the Revels, TILNEY. Thunder
rolls.

INT. THE CURTAIN THEATRE. STAGE. DAY.

Figures are running across the stage, in the panic that
follows "TYBALT" death.

ACTOR AS BENVOLIO
"Romeo, away, be gone! The citizens
are up and Tybalt slain. Stand not
amazed. The prince will doom thee
death If thou art taken. Hence, be
gone away!"

WILL AS ROMEO
"I am fortune's fool!"

ACTOR AS BENVOLIO
"Why dost thou stay!"

INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.

WILL has just 'killed' "TYBALT." He is still breathless
from fighting. he stands face to face with VIOLA.

WILL
I am fortune's fool.

They stare at each other, transfixed.

WILL (CONT'D)
You are married?

PAUSE. She cannot answer.

WILL (CONT'D)
If you be married, my gave is like to
be my wedding bed. The implication of
her silence fills the air. WILL does
not move.

INT. THE CURTAIN THEATRE. STAGE. DAY.

We cannot tell whether this is the play or their life.
The audience, and the rest of the world, might as well
not exist. WILL turn from her and begins to descend from
the 'balcony.'

VIOLA AS JULIET
"Art thou gone so?

WILL stops.

VIOLA AS JULIET (CONT'D)
Love, lord, ay husband, friend, I must
hear from thee every day in the hour,
For in a minute there are many days.
O, by this count I shall be much in
years Ere I again behold my Romeo…"

WILL as "ROMEO" seems unable to speak. Then he says:

WILL AS ROMEO
"…Farewell…"

All other sounds drain away, and time seems to stop.

VIOLA AS JULIET
"O think'st thou we shall ever meet
again…? Methinks I see thee, now thou
art so low, As one dead in the bottom
of a tomb. Either my eyesight fails,
or thou lookest pale."

WILL AS ROMEO
"Trust me, love, in my eyes so do you.
Dry sorrow drinks our blood. Adieu.
Adieu"

INT. THE CURTAIN THEATRE. STAGE. DAY.

Now the FRIAR is giving "JULIET' his potion.

EDWARD AS FRIAR
"No warmth, no breath shall testify
thou livest And in this borrow'd
likeness of shrunk death Thou shall
continue two and forty hours And then
awake as from a pleasant sleep…"

INT. THE CURTAIN THEATRE. STAGE. DAY.

It's FENNYMAN'S moment. The "APOTHECARY" and "ROMEO."

WILL AS ROMEO
"Come hither, man. I see that thou art
poor. Hold, there is forty ducats. Let
me have A dram of poison--"

FENNYMAN AS APOTHECARY
"Such mortal drugs I have but Mantua's
law is death to any he that utters
them!"

FENNYMAN has cut in several lines early, but his
conviction is astonishing.

FENNYMAN AS APOTHECARY
"My poverty but not my will consents."

WILL AS ROMEO
"I pay thy poverty and not thy will."

EXT. STREET. NEAR THE CURTAIN THEATRE. DAY.

TILNEY, on the march. His hand grips a copy of the
Curtain flyer.

INT. THE CURTAIN THEATRE. STAGE. DAY.

"JULIET" lies "dead." She lies on top of her tomb, "lying
in stage," her best dress, her hair done, her hands in
prayer at her breast, her eyes closed. "ROMEO" has found
her like this.

WILL AS ROMEO
"Eyes, look your last! Arms, take your
last embrace! and lips, Oh you The
doors of breath, seal with a righteous
kiss A dateless bargain to engrossing
death! Come, bitter conduct; come,
unsavory guide! Thou desparate pilot,
now at once run on The dashing rocks
thy seasick weary bark!"

As WILL embraces her, VIOLA'S eyes flicker open (shielded
by WILL from the audience) and the lovers look at each
other for a moment as WILL and VIOLA rather than as
"ROMEO" and "JULIET." Their eyes are wet with tears.

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

BURBAGE and ROSALINE are watching.

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

KEMPE is watching.

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

We see that in the audience are several of the WHORES we
recognise from the brothel. They are weeping openly.

INT. THE CURTAIN THEATRE. STAGE. DAY.

WILL is raising the fatal drug in a last toast.

WILL AS ROMEO
"Here's to my love (he drinks) O true
Apothecary."

INT. THE CURTAIN THEATRE. THE WINGS. DAY.

FENNYMAN, moved but proud in the wings.

FENNYMAN
(whispers to himself)
I was good. I was great.

INT. THE CURTAIN THEATRE. STAGE. DAY.

WILL AS ROMEO
"Thy drugs are quick. Thus with a kiss
I die." (and he dies)

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

The NURSE is weeping too.

INT. THE CURTAIN THEATRE. STAGE. DAY.

"JULIET" wakes up with a start.

VIOLA AS JULIET
"…Where is my lord?

I do remember well where I should be, And there I am.
Where is my Romeo?"

INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.

NURSE
(involuntarily)
Dead!

INT. THE CURTAIN THEATRE. STAGE. DAY.

VIOLA AS JULIET
"What here? A cup clos'd in my true
love's hand? Poison, I see, hath been
his timeless end."

INT. THE CURTAIN THEATRE. STAGE. DAY.

"JULIET" takes "ROMEO'S" dagger.

VIOLA AS JULIET
"…O happy dagger

This is thy sheath. There rust, and let me die."

She stabs herself and dies. The "inner curtain" closes
over the tomb.

INT. THE CURTAIN THEATRE. STAGE/AUDITORIUM. DAY.

HIGH ANGLE on audience and stage. "THE PRINCE" played by
WABASH is having the last word.

THE PRINCE
"For never was a story of more woe
Than this of Juliet and her Romeo."

The end. There is complete silence. The ACTORS are
worried. But then the audience goes mad with applause.

INT. THE CURTAIN THEATRE. THE INNER CURTAIN/STAGE. DAY.

The inner curtain opens, but WILL and VIOLA, are in a
play of their own…embracing and kissing passionately,
making their own farewell. HENSLOWE is too stunned and
moved to react at first. Then he looks at the audience
and the penny drops. It's a hit.

INT. THE CURTAIN THEATRE. AUDITORIUM/STAGE. DAY.

The audience roars. WILL, VIOLA, and THE COMPANY come
forward to meet the applause. TILNEY and his MEN burst
in. TILNEY jumps up onto the stage, where the ADMIRAL'S
MEN are taking their bows. TILNEY'S "COPS" ring the
stage, facing inwards.

TILNEY
(shouts triumphantly)
I arrest you in the name of Queen
Elizabeth!

The AUDIENCE goes quiet. BURBAGE jumps out of the
audience onto the stage.

BURBAGE
Arrest who, Mr. Tilney?

TILNEY
Everybody! The Admiral's Men, The
Chamberlain's Men and everyone of you
ne'er-do-wells who stands in contempt
of the authority invested in me by her
Majesty.

BURBAGE
Contempt? You closed the Rose--I have
not opened it.

TILNEY is at a loss but only for a moment.

TILNEY
(he points a "j'accuse"
finger at VIOLA)
That woman is a woman!

The entire audience and the actors, recoil and gasp. The
NURSE crosses herself.

ALLEYN
What?! A woman?! You mean that goat?!

He points at VIOLA, brazening it out without much chance.

TILNEY
I'll see you all in the clink! In the
same of her Majesty Queen Elizabeth

And an authoritative voice from the audience interrupts
him.

VOICE
Mr. Tilney…!

It is QUEEN ELIZABETH herself, descending now, her hood
and cloak thrown back. She is an awesome sight. A shaft
of sunlight hits her.

QUEEN
Have a care with my name, you will
wear it out.

There is a general parting of the waves, soldiers and
actors, a general backing off and bowing as QUEEN
ELIZABETH takes the limelight.

QUEEN (CONT'D)
The Queen of England does not attend
exhibitions of public lewdness so
something is out of joint. Come here,
Master Kent. Let me look at you.

VIOLA comes forward, and is about to curtsey when she
catches the QUEEN'S eye, an arresting eye, which arrests
the curtsey and turns it into a sweeping bow.

QUEEN (CONT'D)
Yes, the illusion is remarkable and
your error, Mr. Tilney, easily
forgiven, but I know something of a
woman in a man's profession, yes, by
God, I do know about that. That is
enough from you, Maser Kent. If only
Lord Wessex were here.

VOICE
He is, Ma'am.
****************************************************
WILL notices a thirteen-year-old actor,
the URCHIN we met before.

WILL
Who are you, master?

URCHIN
I am Ethel, sir, the Pirate's
daughter.

WILL
(furiously)
I'll be damned if you are!

And he helps the URCHIN off with a kick. The URCHIN
glowers with resentment.
Later: The
URCHIN, the short-lived Ethel, is sitting in the alley.

WILL
Better fortune, boy.

URCHIN
(shrugs)
I was in a play. They cut my head off
in Titus Andronicus. When I write
plays, they will be like Titus.

WILL
(pleased)
You admire it?

The URCHIN nods grimly.

URCHIN
I like it when they cut heads off. And
the daughter mutilated with knives.

WILL
Oh. What is your name?

URCHIN.
John Webster. Here, kitty, kitty.

Because a stray cat is nearby. The cat show an interest.
The URCHIN passes a white mouse to the cat and watches
the result with sober interest.

URCHIN
Plenty of blood. That is the only
writing.

WILL backs away, unnerved by the boy.

URCHIN
Wait, you'll see the cat bites his
head off.

WILL
I have to get back.

******
Menéndez y Menéndez opus
El pariente bueno transcribe en
http://www.menendezymenendez.com/2008/09/shakespeare-una-nueva-biografa.html
una entrevista con Peter Ackroyd, autor de una biografía del Bardo.

Tito Andrónico

Romeo and Juliet

Los videos son de la Reduced Shakespeare Company (RSC, sigla igual que la Royal Shakespeare Company), integrada básicamente por los actores Reed Martin, Adam Long y Austin Tichenor. Hay más cómicos, pero siempre actúan en tríos.
Su sitio:
http://www.reducedshakespeare.com/index.php

Texto:

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,

And one man in his time plays many parts.

That´s true.

Ladies and gentlemen,

We are about to begin a – in the complete works of the greatest of all English playwrights, then in Verone-

These two beloved characters

Romeo and Juliet

We begin with the prologue:

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventur'd piteous overthrows
Doth, with their death, bury their parents’ strife.

Thank you very much.

Act one, scene one

In the street meet two men

One, Benvolio; the other, Montague

SAMP:

No, sir, I do not bite my thumb at you, sir; but I bite my
thumb, sir.

GREG:

Do you quarrel, sir?

ABR:

Quarrel, sir? No, sir.

SAMP:

But if you do, sir, I am for you. I serve as good a
man as you.

ABR:

No better.

SAMP:

Yes, better, sir.

ABR:

You lie.

Montague!

I am twisting your hand.

PRINCE:

Rebellious subjects,(oh oh, it is the Prince) enemies to the peace,
Profaners of this neighbour-stained steel—
You, Capulet, shall go along with me;
Benvoglio, come you this afternoon,
To know our farther pleasure in this case,

Sorry

M. WIFE:

O, where is Romeo? Saw you him to-day?

Right glad I am he was not at this fray.

BEN:

Ah, but see, he comes. Romeo, he cried,
I'll know his grievance, or be much denied.

Good morrow, coz.

ROM:

Is the day so young?

BEN:

But new struck nine.

ROM:

Ay me! sad hours seem long.

BEN:

What sadness lengthens Romeo's hours?

ROM:

Not having that, which, having, makes them short.

BEN:

In love?

ROM:

Out—

BEN:

Of love?

ROM:

Out of her favour, where I am in love.

BEN:

Alas love, so gentle in his view,
Should be so rough and tyrannous in proof!

ROM:

Alas that love, whose view is muffled still,
Should without eyes see pathways to his will!
BEN:

Go, it´s the feast of Capulet's
there Sups the fair Rosaline whom thou so lov'st;
With all the admired beauties of Verona.
Go thither, and compare her face with some that I shall show, oh baby,
And I´ll show thee think thy swan a crow.

ROM:

I'll go along, no such sight to be shown,
But to rejoice in splendour of my own.

(Exeunt)

And so much for Act one.

It wasn´t that good.

…now doomed to meet his Juliet

ROM:

O, she doth teach the torches to burn bright!
Did my heart love till now? Forswear it, sight!
For I ne'er saw true beauty till this night.

If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.

JUL:

Oh good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.(105)

ROM:

Have not saints lips, and holy palmers too?

JUL:

Ay, pilgrim, lips that they must use in prayer.

ROM:

O, then, dear saint, let lips do what hands do!

JUL:

Saints do not move, though grant for prayers’ sake.

ROM:

Then move not while my prayer's effect I take.

JUL:

Then have my lips the sin that they have took.

ROM:

Sin from my lips? O trespass sweetly urg'd!
Give me my sin again.

JUL: I don´t wanna kiss you.

ROM:

It´s in the script.

JUL:

You kiss by th’ book.

I’m coming, mother!

ROM:

Is she a Capulet? Ay, so I fear; the more is my unrest.

(pretend you are not there)

What are you doing?

JUL: The balcony scene.

ROMEO

But, soft! what light through yonder window breaks?

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.

OK. What´s in a name aniway?

that which we call a nose
By any other name could still smell;
So Romeo without Romeo, doff thy name,
And for that name which is no part of thee
Take all myself. (OK, dear)

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 are not Romeo?

ROMEO

And the Montague?

ROMEO

Neither, fair maid, if either thee dislike.

JULIET

Dost thou love me then? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false;

--

ROMEO

Lady, by yonder blessed moon I swear

JULIET

O, swear not by the moon.

--ROMEO

What shall I swear by then?

JULIET

I don´t know

Lady,

I don´t think so

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.

ROMEO

If my heart's dear love --

-JULIET

Do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.'

Oh Romeo!

ROMEO

O, wilt thou leave me so unsatisfied?

JULIET

What satisfaction canst thou have?

ROMEO

The exchange of thy love's faithful vow for mine.

JULIET

I gave thee mine before thou didst request it.

Three words, gentle Romeo, and then good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send word to-morrow,
One, two, three

Good nights, good nights! parting is such
sweet sorrow
By

[Exit]

ROMEO

Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!

[Exit]

Act III, scene 1

TYBALT

Romeo, the love I bear thee can afford
No better term than this -- thou art a villain.

Therefore turn and draw.

ROMEO

Tybalt, I do protest, I never injured thee,
But love thee better than thou canst devise---

TYBALT

Oh, Thou, wretched boy, I am for you. Oh, I´m slain.

ACT III, ESCENA 2

[Capulet's orchard.]

[Enter JULIET]

JULIET

Gallop apace, you fiery-footed steeds,
And bring in cloudy night immediately.
Come night, come civil night,
come, Romeo; thou day in night;
Come, gentle night, come, loving, black-brow'd night,
Come come come come come

(I didn’t write it)

And bring me my Romeo!

Enter Nurse, with cords]

JULIET

Ay me! what news? why dost thou wring thy hands?

Nurse

Ah, well-a-day! he's dead, he's dead, he's dead!
We are undone, lady, we are undone!
Alack the day! he's gone, he's kill'd, he's dead!

JULIET

Can heaven be so envious?

Nurse

Romeo can,
Though heaven cannot: O Romeo, Romeo!
Who ever would have thought it? Romeo!

JULIET

What storm is this that blows so contrary?
Is Romeo slaughter'd, and is Tybalt slain?

Nurse

Tybalt is gone, and Romeo banished;
Romeo kill'd Tybald, he is banished.

JULIET

O God! did Romeo's hand shed Tybalt's blood?

Nurse

It did, it did; alas the day, it did!

ACT IV SCENE 1

FRIAR LAURENCE

Ah, Juliet, I already know thy grief;.

Take thou this vial,
And this distilled liquor drink thou off;
And presently through all thy veins shall run
A cold and drowsy humour

JULIET

O I feel a cold and drowsy humour when—

(Later she drinks the vial and vomits)

“Just say No”

ROMEO

O, no!

O my love! my wife!
Death, that hath suck'd the honey of thy breath,
Had no power yet upon thy beauty:
Why art thou yet so fair?

JULIET

I don´t know

ROMEO

Shall I believe
That unsubstantial death is amorous,
keeps thee here in dark to be his paramour?
Here's to my love!

Drinks

O true apothecary!
Thy drugs are quick. Thus with a kiss I die.

(You overact)

Dies

JULIET

Good morning! where is my lord?

What's this poison, I see it been my true love´s timeless end:
O churl! drunk all,O churl! drunk all, and left no friendly drop
To help me after? I

Then I'll be brief. O happy dagger!

Snatching ROMEO's dagger

This is thy sheath;

(that´s Romeo, for you)

Stabs herself

there rust, and let me die.

Falls on ROMEO's body, and dies

(PRINCE)

A glooming peace this morning with it brings;
The sun, for sorrow, will not show his head:
Go forth, to have more talk of these sad things;
Some shall be pardon'd, and some punished:
For never was there a story of more woe
Than this of Juliet and her Romeo.

And Romeo and Juliet are dead.

THE END

KING JOHN

ACT 1 (ver "Youtube" "Shakespeare" "King John" "chunk 1"-es de la BBC y trae el texto)

With a magnificent performance from Leonard Rossiter as King John and superb supporting roles by John Thaw and Claire Bloom, this production illuminates the themes of legitimacy and loyalty that run through one of Shakespeare's lesser-known plays, in which the reign of England's King John is threatened by Philip of France.

PARA LAS NOTAS:

http://books.google.com.mx/books?id=8fAjAAAAMAAJ&pg=PA295&lpg=PA295&dq=%22Good+den,+sir+Richard%22&source=bl&ots=P4KFGX16x9&sig=EmjjL_DfC3rjZ07CxxVOZ42aHR0&hl=es&ei=61RGSqT2OorkNcvNxJ8B&sa=X&oi=book_result&ct=result&resnum=1

QUEEN ELINOR

(to the King, her son)

Your strong possession much more than your right,
Or else it must go wrong with you and me:
So much my conscience whispers in your ear,
Which none but heaven and you and I shall hear.

(to the King, her son)

He hath a trick of Coeur-de-lion's face;
The accent of his tongue affecteth him.
Do you not read some tokens of my son
In the large composition of this man?

(to the bastard, her grandson)

Whether hadst thou rather be a Faulconbridge
And like thy brother, to enjoy thy land,
Or the reputed son of Coeur-de-lion,
Lord of thy presence and no land beside?

(to the bastard, her grandson)

I like thee well: wilt thou forsake thy fortune,
Bequeath thy land to him and follow me?
I am a soldier and now bound to France.

BASTARD

Brother, take you my land, I'll take my chance.
Your face hath got five hundred pound a year,
Yet sell your face for five pence and 'tis dear.
Madam, I'll follow you unto the death.

QUEEN ELINOR

Nay, I would have you go before me thither.

-----

KING JOHN

From henceforth bear his name whose form thou bear'st:
Kneel thou down Philip, but rise more great,
Arise sir Richard and Plantagenet.

BASTARD

Brother by the mother's side, give me your hand:
My father gave me honour, yours gave land.
Now blessed by the hour, by night or day,
When I was got, sir Robert was away!

QUEEN ELINOR

The very spirit of Plantagenet!
I am thy grandam, Richard; call me so.

BASTARD

Madam, by chance but not by truth; what though? (by chance but not by honesty)

……

BASTARD

Brother, adieu: good fortune come to thee!
For thou wast got i' the way of honesty

toasting iron -CHEESE TOASTER - a sword.

Like rivers of remorse and innocency -“Remorse” significa aquí pity.

A rush (un junco) will be a beam to hang thee on

The unowned interest of proud-swelling state - the interest which has no owner to claim it

The imminent decay of wrested pomp (greatness obtained by violence)

Thimbles - dedales

Welkin - el cielo

Beshrew - maldecir*

Susan Herbert es una artista inglesa especializada en gatos.