“Can a play show us the very truth and nature of love?” (Norman/Stoppard 94) This question, posed by the Queen in the form of a bet, serves as the basis for the play Shakespeare in Love. Although Shakespeare in Love was written as a screenplay in order to serve as the basis for the film of the same title, it can be analysed like a regular play...
Table of Contents
1. Introduction
2. The Shifting between Story World and Play-Within-The-Play
3. The Position beyond the Play
4. The Distinction between Play and Story
5. Fictional Story World and Play-Within-The-Play finally fade together
6. Key Function of the Final Stage Performance
7. Conclusion
Objectives and Topics
This essay explores how the "play-within-the-play" device in the screenplay "Shakespeare in Love" functions as a narrative tool to blur the boundaries between fictional performance and the characters' lived reality, ultimately questioning whether a theatrical performance can authentically convey the true nature of love.
- Analysis of the interplay between the story world and the internal Romeo and Juliet rehearsals.
- Examination of directorial authority and its role in framing theatrical authenticity.
- Investigation into how personal emotions and creative output merge for the protagonist.
- Evaluation of the final stage performance as a catalyst for proving the veracity of love.
Excerpt from the Book
The Shifting between Story World and Play-Within-The-Play
The shifting between the two levels becomes obvious when taking a close look at the passage on page 71. The setting is the Rose Theatre and the first scene begins right in the middle of rehearsal when “Romeo” and “Juliet” kiss for the first time. Sam enacts the part of Juliet and Viola is cross-dressed as Romeo. The love relationship between Viola and Will already exists and the amorous tension between them interrupts the rehearsal several times. The rehearsal grinds to the first halt when Viola forgets her lines because Will distracts her with an “intimate secret look”(72). The second interruption happens when Viola and Sam have to kiss onstage. Will is not content with their performance. He takes over Sam’s part as Juliet and shows him how to properly kiss Romeo. Will puts lots of effort in the execution of the kiss which annoys Alleyn: “Why do not I write the rest of your play while you – (73:19-20)“. The emotions shown in the play-within-the-play seem to force the protagonists to add their own real emotions to it. The play begins to mingle with the story world.
Summary of Chapters
Introduction: Outlines the core research question of whether a play can portray the true nature of love, focusing on the rehearsal and final performance scenes.
The Shifting between Story World and Play-Within-The-Play: Examines how real-life romantic tensions between characters disrupt the theatrical rehearsal process, causing the levels of reality and fiction to mingle.
The Position beyond the Play: Analyzes Will’s directorial role as a framing device that initiates and judges the performance, lending it necessary authenticity.
The Distinction between Play and Story: Discusses how the physical space of the stage versus the space behind the curtain delineates reality, and how these boundaries dissolve when Will enters the stage.
Fictional Story World and Play-Within-The-Play finally fade together: Illustrates how the integration of Viola’s bedroom as a setting leads to the complete blending of dialogue and personal affection.
Key Function of the Final Stage Performance: Argues that the final performance serves as the definitive proof for the Queen, as the lead actors perform their genuine love on stage.
Conclusion: Summarizes how the play-within-the-play acts as a catalyst for emotional expression, bridging the gap between historical characterization and plausible human feeling.
Keywords
Shakespeare in Love, Play-within-the-play, Meta-theatre, Romeo and Juliet, Story world, Performance, Truth of love, Directorial role, Narrative levels, Screenplay, Authenticity, Emotional exteriorization, Fictional reality, Rehearsal, Character likeness.
Frequently Asked Questions
What is the primary focus of this academic work?
The work focuses on the narrative function and development of the "play-within-the-play" device in the screenplay "Shakespeare in Love," specifically how it blurs the lines between reality and performance.
What are the central thematic fields covered?
The essay covers meta-theatrical structures, the intersection of authorial intent and personal experience, the definition of love through art, and the spatial dynamics of stage performance.
What is the main research question of the study?
The study seeks to answer whether a theatrical play can effectively demonstrate the true nature and reality of love.
Which scientific methods are employed in this analysis?
The author uses a textual analysis approach, closely examining specific scenes from the screenplay, identifying narrative shifts, and referencing established literary theories regarding meta-theatre.
What core elements are addressed in the main chapters?
The main chapters analyze the rehearsal processes, the director's perspective, the blurring of physical boundaries between story and stage, and the ultimate climax of the final performance.
Which keywords characterize this research?
Key terms include play-within-the-play, meta-theatre, narrative reality, theatrical authenticity, and emotional exteriorization.
How does the rehearsal scene contribute to the blurring of reality?
The rehearsal scene shows the protagonists' real-life romantic tensions interfering with the scripted lines, which causes the characters to project their actual emotions onto the fictional roles.
What role does the "position beyond the play" play for the narrative?
This position, occupied by the director (Will), provides the necessary framework to examine, judge, and initiate the performance, thereby granting the play-within-the-play its authentic status.
Why is the final performance considered the "key" to the Queen’s question?
The final performance is the decisive moment where the "real" lovers perform as fictional characters, making it impossible for the audience to distinguish between the play and their actual lives, thus proving the truth of their love.
- Quote paper
- Lisa Kastl (Author), 2009, Form and Function of the Play-Within-The-Play in Shakespeare in Love by M. Norman and T. Stoppard, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/267762
