Architecture Dissertation: Romeo and Juliet in the city

Romeo and Juliet in the city: Lessons on how to design ‘Drama’ in urban spaces

By Galina Dimova

Romeo and Juliet in the city: Lessons on how to design ‘Drama’ in urban spaces

By Galina Dimova Tutor Corine Delage

This paper to be presented to the Department of Architecture and Landscape at the University of Greenwich as part of the BA (Hons) Architecture course’ Except where stated otherwise, this dissertation is based entirely on the author’s own work

University of Greenwich ARCT 1014 Architectural Dissertation 2018/2019

Abstract

This paper examines the drama in the tragedy ‘Romeo and Juliet’ through the imagination of Shakespeare and lately, through contemporary art such as films and street photography. This dissertation explores the relationship between the play, cinema and architecture of urban spaces. How particular human drama is revealed. In reality, the observer is the human who replaces the camera from the films. Аll the research from the play and the movies could be taken as lessons for urban designers how to creates stage sets inviting people (actors) to feel they can be part of the drama ‘Romeo and Juliet’. What are the key elements forming this atmosphere? Following them, urban space will have more theatrical and interesting layout involving specific feelings.

Key words: Drama, Urban Space, Urban Designers, Cinematic Techniques, Stage Set

Acknowledgement I would like to express my sincere appreciation to my academic tutor, Corine Delage, for her support and feedbacks.

I am also grateful to my friends Ekaterina Staykova and Gabriel Ilie for posing in the photos at Trafalgar Square. I am thankful as well to Basak Su Sahin, for the support and some guides.

Finally, I would like to give thanks to my family, for their support and encouragement.

Contents Introduction ..............................................................................................................................................1

Chapter 1

The First Kiss .............................................................................................................................................6

Chapter 2

Juliet Monologue .....................................................................................................................................12

Chapter 3

Marcutio death..........................................................................................................................................18

Conclusion..................................................................................................................................................23 Figure Sources...........................................................................................................................................24 Reference list.............................................................................................................................................28 Bibliography...............................................................................................................................................30

Word count: 7186

Introduction and distances), lighting system and circulation of the ‘filmmaker shoes’ and design urban space. The sense from the urban spaces could be a series of stage sets inviting the passing people (or even actors) to feel they could be part of the drama ‘Romeo and Juliet’.

Common principle which describes the public nature of urban spaces is the metaphor ‘stage’. In 1992 in his book Public space Stephen Carr states, ‘Public space is a stage upon which the drama of communal life unfolds’ (Carr 3).

Theatrical production requires actors and audience, a performance platform and theatre, as well, public life request these elements. While, in 1999 Rajanti defines public place (piazza) as a functionally specific part of the contingent public area ‘a purpose-built stage for ritual and interaction’ (Rajanti 117-118).

Following that I could state that ‘acting’ and ‘viewing’ transform into one subject. Designing urban space reflecting this concept are rare and very specific.

However, designing piazza with sense of stage sets from ‘Romeo and Juliet’ is something promising but should cover specific requirements.

Possibly, architecture and film have much in common with each other. Both disciplines are timebase art. People move through building and space to experience architecture. In the movies, human is replaced by the camera which has the same function, to explore spaces and to creates atmosphere. Richard supports the relation between architecture and film.

He reminds that film is technical art which requiring skills in science and engineering, teamwork and it is inspiration in other art fields (Richard 224). Going back to element of drama in the space, both arts use spatial environments to create space, place and architecture forms which have specific atmosphere.

James Sander, author, architect and film scriptwriter, adds that urban landscape provides a ‘superb

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he remarkable tragedy ‘Romeo and Juliet’ written by William Shakespeare is unique because it is reflection of forbidden love which could be seen regardless of the period. The phenomenal author writes it in a way allows varied interpretation in the times: from staging at theatre through music, film, photography etc. As an initial point of the dissertation is how Shakespeare imagine Verona, Italy, the types of urban spaces and architectural languages he involved in the play. Gathering the conceptual architecture from the play, I am observing how the tragedy is staged the film in Romeo and Juliet(2013), William Shakespeare’s Romeo + Juliet (1996) and Romeo and Juliet (1968). André Bazin statement that key scenes with dramatic function of the city should be analysed by the spaces, narrative, the cinematography, lighting and any other relative factors (Bazin 77). Following his suggestion, the analyses from the films provides examples of how urban spaces are set and architecture is used in a way the specific drama of the moment to be seen.

Unfortunately, even following the play, everything in the films is pre-set. Further to that, each chapter examines key architecture elements which frame a particular ambiance, the role of the camera (angles 1

become a static actor reflecting the society antimoral. In the end of the chapter, Trafalgar square is examined as case study of urban space where these specific elements draw an image where ‘The death of Mercutio’ could be released.

Cinema could be used as very powerful tool for designing urban space-stages. All the lesson in the films could be extruded and import into the city design. In his book, The city and the moving image: urban projections, Richard reminds that film is already an interface for viewers to appreciate sophisticated spatial design. He also suggests, ‘to use movies as tool, improving the physical designed world in which we enact our lives’ (Richard 2010:226).

platform’ which include times of fresh glimpse of familiar terrain or at other time opening up dramatic new vistas (Sanders 10).Also, he agrees that moving pictures offers a new way to observe city space Undoubtedly, these spaces have significant influence on human emotions and environmental comprehension. Sometimes they could be design successfully or not fully developed.

Chapter 1 examine the intimacy world of Romeo and Juliet during the ‘The first kiss’. They inner world is split by ‘reality’ and each filmmaker directs in different way. Also, the chapter opens discussion for public spaces design as ‘outdoor room’. Gathering all key drivers supporting the drama from the tragedy, Trafalgar square is observed as a potential location where visitors could be part of the scene ‘The first kiss’.

Chapter 2 explores the architectural elements reflecting the hierarchy in the society during the Renaissance. The film directors put personal understandings about the role of women and man during 16th century. For instant, the newest version Romeo and Juliet (2013), provides interesting garden layout and sub-levels in which reflects the differences between the lovers and the fact that they are coming from two warring families for power. Collecting all elements establishing the atmosphere in the scene I am looking at Trafalgar square and how this urban space might unfold the drama from ‘The Juliet Monologue’ in real life.

Chapter 3 mainly discus the power. The power of the city and how architecture unfold it.

Each of the movies draw their own interpretation of power. For instant, William Shakespeare’s Romeo + Juliet, (1996), the city is crumbling down which leads to the idea that people overpower it. Here, architecture loose the monumental power but 2

Images of the main characters in the movies Juliet

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Tybalt

Marcutio

Chapter 1 The First Kiss ‘They create a private world set off by their dancelike movements, by the sonnet they speak, and by gestures of touching hands and kiss’ Jack D’Amico

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‘Capulet house’ (1.5) transforms the house from an enclosed space into a more open urban place. The expansivity of the public stage creates a sense where the hall is not a separated place from the city. It could be seen as an addition of the city’s piazza. Imagining the house as fortress closed within its walls. The inner space of the house is divided by walls. In a similar way, the city of Verona could be defined as a closed space where the inner world is divided by street walls. In his book, Jack D’Amico discuss how this idea could be represented in the theatres. He points that ‘We do not know what props Shakespeare’s company might have used to create a sense of the interior of an Italian household or piazza.’ Following his observation, help us to understand why we could see and read various of speculation about the Capulet’s house design.

The film ‘Romeo and Juliet’ (2013) explore the original play by Shakespeare. Unfortunately, Carlo Carlei involved his own interceptions of Verona, Italy during the Renaissance. The hall where masquerade takes place is bright, large-scale and rich in colours: yellow, red and orange. Walls contain varied geometrical frames. These create an aristocratic and lush atmosphere with a festive mood. This dynamic space is filmed by ‘bird’seye view’ shots. It is specified with the angle shot which is directly above and ‘tends to have a godlike, omniscient point of view; people look ant-like and insignificant’ (Mamer 2013:9). Unfortunately, the kiss between Romeo and Juliet is filmed in other room and there is contrast between spaces. In the background could be seen two medium sculptures, one table and one candlestick. A key element of the space is the embedded column. In architecture, this type of column is classified as an inserted or buried into a wall. (Curl 264). Its function is more decorative.

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he clan organise a masquerade in their house and many people are invited. On this event also is going Romeo with Mercutio. The family members and the citizens can stay together in a room and it looks like for a moment the enmity is forgotten. While people are dancing Romeo and Juliet make an eye contact and suddenly the surrounding things disappear for them ‘When Romeo and Juliet meet, they create a private world set off’ (D’Amico 2001:81). Initially, Shakespeare does not give more information on how and where they communicated. However, in the observed films the story is interpreted in three different ways. In the next paragraphs are highlighted key architectural, composition, lighting and shooting methods enhancing the drama. In parallel are compared the main space-hall and space where young people kiss for the first time. Following the analyses from the films, Trafalgar square is explored as example of urban space which allows the drama from the scene to be unfold and to invite people to feel as a part of it.

The remarkable hall of Capulet is ‘equivalent of the piazza within the urban microcosm of the household’. (D’Amico 2001:80). In fact, Shakespeare 6

In the movie, engaged column are in the background and the repetition of this element establishes a sense of multi framing: narrow and wide frames.

Create the impression of fragmenting in the room.

The action takes place between two frames: frontcamera and rear- the columns. It is a spatial enclose of Romeo and Juliet inner world supporting the Jack D’Amico statement of creating ‘private world set off’ (Amico 2001:81). The colours richness, illumination of the hall, the overpopulated ballroom is replaced by dark and empty room. The grey and black tones prevail. Metaphorically, gives a sense of death place.

The kiss scene might be presented in much brighter place, but this is suggestion about the end of their love story. Although the darkness takes over space this provides a privacy for the Romeo and Juliet.

Most of the time, Romeo is in the shadows and Juliet face the lights. This language of contrast between them predominate in most of the scenes with them.

The effect is made by using a back-light and low-key lighting system. Back-light creates a glowing effect on the edges of characters, while other areas are darker. Key lights itself usually is at a 45˚ angle to the camera axis and provides the main source of the illumination. The lighting gives a sense of mysteries and psychological dramas of the moment.

The action is shot by 4 cameras placed on specific distance. The role of camera 1 to 4 is to present the transition between the inner world of ‘Romeo and Juliet’ and the real world. Regarding to the filming techniques, predominated close-up views. On one side, provides both psychological identifications of the character. On another hand, increase the details around the action. In fact, ‘viewer is forced to confront the subject’ (Mamer 2013:7). However, camera 1 provides views which have a sense of dead space instead to establish

atmosphere of intimacy. The low-level angled camera transforms the space into longer and taller than it is (fig1-12; Diagram 1-4).

The William Shakespeare’s Romeo + Juliet (1996) edition, shows the richness in the interior and exterior design of Capulet’s house. Varied filming techniques are used. From close-up, zoomout led by zoom-in sequences, eye-level view to full body shots. Spuriously, the kiss scene take place at lift, allocated in the hall. The ‘house’ in this movie reflects not only the Capulet’s family but also the society itself. Explore the power of society with ruined morals. This concept is developed more in chapter 2 and 3. Regarding to the atmosphere in the hall, as in Romeo and Juliet (2013), the space has strong sense of aristocratic and lush condition. This space contains stage, religious symbols, paintings, icons, mirrors on the walls, luxury glazed chandeliers, central marble staircase with handrails covered with red silks and golden statues. It is a typical 20stcentury party atmosphere. Dominated colours are gold and red which is prove of high status in the society.

At the beginning of the action, Romeo and Juliet are talking in front of a lift. In that time, her mother appears with Paris and young lovers go into the lift through the opening door. While the door is closing Romeo kiss Juliet. In a similar way as in Romeo and Juliet (2013), the elevator cabin gives them some privacy and shelter. Also, this space is representation of their inner world. The space here is very bright. This effect come from the lighten LED boards attached on the lift walls. This type of light functionalities as a back-light. Usually, back-light is using to creates a glowing effect on the edges of characters, while other areas are darker. Here, the main function of it is to highlights the actors. Also, 7

Diagram 7: Plan showing cameras positions

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in the background could be seen many metal crosses, emphasizing the false religiosity of the period. Their loved is presented as pure and light, compared to the Romeo and Juliet (2013), where actors were hidden in the darkness. The concept of world into the world is used: lovers world into the real world. In this small space, action is caught by two cameras placed on rail track. Initially, 5 cameras are used. The main cinematic technique is close-up cadres of Romeo and Juliet. The specific methods here is that the track is circular, and cameras moves clockwise. Filmmaker provides 360 angled view of the dramatical moment and do not leave anything hidden for the viewer (fig13-24; Diagrams 5-8).

Franco Zeffirelli direct the masquerade ball in a way purely to reflect the Renaissance. The massive columns in the room turns the architecture as instrument showing the city power over people.

Beside columns are the citizens, tinny people. Also, the dimension of the room compared to the people scale support this ideology. This typology about city power and citizen voice power is discussed deeply in chapter 2 and 3. The hall is huge but in the same time looks empty. Predominate natural colour of which variation of brown tones. Generally, the hall consists colonnades on left and right, several candlesticks allocated in the corners, and central space which gather all guests. The walls have engraved details, symbols which again represent the Renaissance period. Regarding the illumination, the main lighting comes from the candlesticks. Also, it is supported by several soft lights are allocated in the central space. Although all additional works around the atmosphere, the space still has expression of darkness and death. The effect of darkness is preparation for the end of this story. The kiss scene is shot in a corner of the hall while guest attention is held by singer allocated in the central space

surrounded by them. The action is caught by 3 cameras. Mainly, camera 2 frames the kissing moment with extreme close-up views emphasize the dramatic moments of which some mimic and touches between the lovers (fig25-36; Diagrams 9-12).

To summarize, the action in ‘The first kiss’ emphasise the inner world which lover creates within the boundaries of the hall. On another hand, Shakespeare breaks down the borders between public piazza and Capulet’s house. The hall seems to be read as an extension to the piazza instead of separate architectural space. Regarding to Sitte, a successful designed urban space depends on its sense of enclosure: ‘The main requirements for a plaza, as for a room, is the enclosed character of its space’ (Sitte 1965: 32). Following this statement, urban spaces might be considered as an outdoor room. Gil Doron, the British Urban Task Force report Towards an Urban Renaissance (1999), supports the ideology of ‘outdoor room’.

Urban space seen as a ‘public living room’ might be Trafalgar square. I consider the piazza as room because has its boundaries. Beside the north side, where is National Gallery, other edges are enclosed by streets. Creates a sense of closed space.

Regarding to the function of Trafalgar square, it is a historic space manifesting the power of British empire. On other side, it is location for various events and concerts. Following that the square has sense not only of power but also a feeling of festivity.

Trafalgar square offers spots for intimacy for young people. The design of this large-scale piazza consists all elements involved in the movies, plinths, stairs, fountains used as sitting space, central space, many separated platforms and massive columns. It is almost always full of people. The character of this place might propose to visitors a stage where ‘The first kiss’ is set off and they could feel a part of it (p9).

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Selection of screenshots from the films

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Street photography at Trafalgar Square revealing drama from ‘Romeo and Juliet’

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Chapter 2 The Juliet Monologue “As places for erotic encounters, gardens had plenty to recommend them: The Fall of Man in Genesis, the licence of pastoral poetry, the respites in blissful bowers of a romantic epic, and the exigencies of early modern social life�

Terence Hawkes

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‘Capulet’s Orchard’ (2.2) the middle of an orchard. She appears from her window above and he is allocated in the garden.

Behind vertical elevation of different levels is involved another the concept of exchange where elements are boundless and dreamlike (D’Amico 82).

This ideology transforms garden into open urban space.

In the end of the Capulet’s masquerade, Mercutio and Benvolio are walking towards Montague’s house. Meanwhile, they are wondering where Romeo is. Suddenly, Romeo climbs an orchard wall and he enter Juliet’s garden. Facing the house, he sees a light. In his monologue, Romeo makes comparison between the sun and Juliet: ‘It is the east, and Juliet is the sun.’ (Shakespeare 1597 2.2:2).

Meanwhile, Juliet appears above at the window.

Unfortunately, at the beginning he does not realize that she is talking, and he stays hidden in the garden.

Staying in the shadows allows him to look at his lady and to hear her further monologue. He approaches her after a debate between himself, ‘Shall I hear more, or shall I speak at this?’ (Shakespeare 1597 2.2:40). His appearance leads to the famous dialogue between Romeo and Juliet. In the next paragraphs the films are observed according to key architectural elements, composition condition, lighting and shooting methods influencing the atmosphere.

Also, any street photography is used showing similar expressions as in the movies. The images are examples how urban space could propose a series of stage sets where visitors become a part of the same human drama examined in the tragedy.

Regarding to the lighting system in the three movies, nature light of the moon is key driver. Main artificial lighting in this scene is low-key technique.

It is highlighting the contrast between light and dark (Monaco 294). Garden is in black and Romeo is

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n the book Shakespeare and Italy: The City and the Stage, D’Amico defines Hortus(orchard) as a natural theatre, place for music, poetry, dialogue and entertainment of an urban elite (D’Amico 119).

Also, he suggests that Shakespeare may identifies Italy itself as a garden (D’Amico 120). Considering the urban design during the 16th, London became overcrowded and many great houses break up into smaller dwellings. Some of the green areas are replaced by tenements. The transformation in the urban landscape perhaps made the evocation of the garden world of Italy more attractive (Stow 338, 376; Stone 395). Terence Hawkes notes that the gardens offer a place for the early modern social life (Hawkes 107). John Evelyn also states that theatre and gardens could be described as microcosm of the city (Evelyn 210). Jack D’Amico suggests, the orchard could become a social and geographical axis which have influence for the city’s transformation (D’Amico 125). One of the specific elements for Renaissance design is garden. Shakespeare transforms orchard, an open architectural form, into multifunctional place. This space ensures a sacred moment for Juliet to share her thoughts to the empty night. In the play, Romeo overhears Juliet’s private monologue from 12

diagonal backside close-up scenes of Romeo.

Predominating are the close-up and extreme closeup shots providing a maximal closeness for the viewer to get in touch with the lovers’ emotions and vaults.

The low-angle views purpose the power of the values mentioned in the paragraph above. Juliet is allocated in the background but on the focus rather than Rome who is underemphasize in the front in the scene. Again, support the concept of hierarchy in the society where woman is more valuable than the men (fig37-48; Diagrams 13-16).

Baz Luhrmann have a different point of view how the balcony scene could be displayed for current audience. He completely changes the perspective of the original concept for the space. Starting with the arrangement of the garden, in the centre of it there is a modern medium swimming pool. A few full-scale human statues attached staircase leading to the 2nd floor and lift doors. The driven part, window of Juliet room and the additional layer- the balcony, have been saved for this addition as well.

All additional segments: light hanged under the balconies and on the staircase, create a festive and luscious atmosphere. Major influence on scene have natural colours: grey from the concrete elements, blue from the swimming pool water and white from the statues. The usual hierarchy in the space, Juliet above and Romeo down in the garden, is destroyed.

Luhrmann put them together which shows that they are equal in the hierarchy in society. Her monologue take place down on the G-floor where is Romeo hidden behind her. Architectural elements provide a shelter for the lover in a way Romeo and Juliet.

Three types of cinematic techniques establish the drama in the scene. Shifting between extreme long shot, eye-level shot and extreme close-

facing the light, or the light is on a side of him.

Regarding Juliet monologue, the illumination is two types: back-light, increasing the drama of the space and focusing on her, and fronted soft light- making her face more readable. Following this statement, Juliet is allocated on the balcony and Romeo is down in the garden. He is hidden using the shadows of the night and she is in the reflected light from the moon. Again, their moment is cover by the night: dark, unwelcomed for them. This is a guidance for the sorrowful end of their love story.

‘Romeo and Juliet’ (2013), provides an interesting interpretation of the original play.

This movie adds information about the layout of the landscape- the orchard is replaced by nicely arranged garden. The scene is shot during the night and predominates cold tones: black, dark green and brown. It gives a feeling of mysterious and moment of surprise. The condition of the night provides a shelter for Romeo. Concerning the composition of the space, there is a staircase leading to the garden, shaped bushes, fountains in the centre and statues within the garden. The house design consists 5 arches on the top of columns framing the 2-floor façade. These elements are highlighted by spotlights in the behind. The residential architectural language should create an atmosphere of safety. Although, the reality is that both lovers are in danger if Montague member caught them. The distance and the difference in the heights between Romeo and Juliet suggest for the hierarchy in the society during Renaissance. Also, the architecture elements in the scene highlight the power of the values of 16th century. For this scene, Carlo Carlei use various cinematic techniques: from zooming-out ‘bird’s-eye view’ shoots, close-up followed by extreme close-up front views of Juliet. Combination of front, side and 13

Diagram 19: Plans showing cameras’ position

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up. Extreme long shot is characterised extreme wide angle shot showing a panoramic view (Mamer 6).

Eye-level shot is eye levelled view of the character and this view more often have natural expression but in this movie are tool for catching the mainly dramatical elements. The scenes in which Juliet is in the from going through her thoughts and Romeo hidden behind her. Compare to Romeo and Juliet (2013), the space is lighter. Here, the light predominated the darkness (Fig 49-60; Diagrams 17-20).

Strictly following the original play and the Renaissance culture in 16th century, Franco Zeffirelli, introduce the closest interpretation to the reality. The house design, the typical wild orchard and the level hierarchy (Juliet above him and Romeo down hidden in the garden). As a night scene, do not provide variations of colours beside the dark green(vegetations), white from her clothes and the house itself and his blue cloths. There is no specific composition with this edition. Architectural elements are balcony, stairs and high parapet, orchard. The language of the architecture describes the hierarchy in the society and the influence of sub levels. Again, he is down, and she is above him.

Regarding to the shooting techniques, as a specific scene expressing deep emotions is used extreme close-up cadres. For the action filmmaker used 4 cameras. The sliding technique of camera 2 has influence of how drama is unfolded in this movie.

First, shows Juliet balcony without her and in the second sliding frames her sit on the handrail. This trick stimulates audience and enhance the drama.

(Fig 61-72; Diagrams 21-22).

However, Richard Koeck remarks that films cannot only show the physical form of architecture and city space but also how people use them (Koeck

226). In the case of ‘Romeo and Julie’, the architecture and the city have driven role in the love story. As Fredric Jameson highlights, the city itself and its architectural ‘settings’ are often not only physical tools for narrative but a ‘vehicle’ for communicating emotions, concepts and drama (Jameson 105).

Overall, the three movies follow the storyline but also add their own understanding of the atmospheres and compositions. Furthermore, additional layers help for the transitions in the spaces: from one to another. The analyses of these three films, showing the flexibility of the play which allows adaptations reflecting the society in the curtain period. However, it is an example how filmmakers use their own experience to create their filmic environment in personal and powerful way. In the play staged in the theatres, there is no border between the main spaces. The role of the architecture in this scene is to establish the power of the morals in the society during the Renaissance. The position of the man put down, underneath the woman. Also, this shows that these young people are coming from two different families which are not equal in the society.

Perhaps, Trafalgar square is good example of urban space which has these theatrical settings suitable for the scene ‘The Juliet Monologue’. The huge front square surrounded by street split the space from the city. The significant fountains on left and on right, central staircase and the platforms with handrail on its side, the statutes on the plinths.

Simultaneously, all architectural forms transfer to the large-scale garden from the Romeo and Juliet (2013). During the night, Trafalgar square looks empty, less populated and silent. These components at this urban space establish the dramatical atmosphere appropriate for ‘Romeo and Juliet’. The raised platforms completely reflect the idea of Juliet 14

staying at her ‘balcony’ and Romeo situated in the ‘garden’ down her in the shadows. The concept of hierarchy in the society is involved on this historical place. Perhaps, the layout and the lighting at this urban space have influences how the square is read but also the position of the visitor (who replace the camera from the films). Urban life is played out on an imagined stage. The surrounding buildings and roads, fountains, stairs, street furniture represents the ‘stage’ settings for ‘Romeo and Juliet’ in real life.

All of these are paraphernalia of the theatre. Richard Koeck advises urban designers to make a more appropriate intervention in urban environments in order to access the benefits of physical alterations made over time (p15.1).

15

Selection of screenshots from the films

0:27:35

(1968)

fig65: Long shot

(1996)

fig62: Full body

fig42: Low angle

(2013)

0:31:10

0:34:40

Image 6: Long shot

Image 5: Full body

Image 4: Low angle

Street photography at Trafalgar Square revealing drama from ‘Romeo and Juliet’

(2013)

(1996)

15.1

(1968)

Chapter 3 The death of Mercutio “Often spontaneous and uncontrolled, disturbances never intentionally challenged authority or even had as their object the attainment of specific, realistic goals�

Steve Rappaport

0:49:00 fig74: Long shot

0:49:35

18.1

fig75: Bird-eye view

0:48:20

fig78: Extreme close-up

fig73: Medium close-up

0:47:50

fig77: Bird-eye view

fig76: Long shot

Key moments from the scene (fig73-78)

0:48:35

0:50:10

Diagram 23: Plans showing cameras’ position

Diagram 24:Sections showing cameras’ level

Key:

C 18.2

Romeo Tybalt Marcutio Capulet members Montague members Camera

0:49:35

18.3

fig81

fig80

0:48:37

fig84

0:48:47

fig83

0:48:35

fig82

fig79

Camera 3: Bird-eye view (fig79-84)

0:48:45

0:49:37

Diagram 25: Plans showing cameras’ level

Key:

C 18.4

Romeo Tybalt Marcutio Capulet members Montague members Camera

A public place (3.1) of the Renaissance city, the open central space becomes a setting for another variation on ancient dissatisfaction. Literally, the central space of the citta ideale can be open and harmonious because it is reflection of balanced agreements between the citizens.

Act 3 begins with the appearance of Mercutio, Benvolio, Page, and Servants. The first replies from Benvolio are more like advices rather statements. Apparently, what the young men predict happens: Montague meets Capulets.

Suddenly, Romeo also join them. Essential role for Tybalt is to protect the family. He recognises Romeo as an enemy. Unfortunately, Montague challenge is decline it by Capulet son. After several verbal attacks between Tybalt and Mercutio follows the duelling.

Occasionally, in his wish to end the fight, Romeo goes between Mercutio and Tybalt. Accidentally, Mercutio gets a fatal wound in chest and the atmosphere become deadly. In the following paragraphs below, I am observing architectural influence, composition arrange, the lighting and shooting methods which maintain the drama in the tragedy. The decisions made by the filmmakers could be used as lesson for urban designer on how to design more theatrical urban spaces. Trafalgar square is example of urban space which might unfold the drama from the tragedy with its specific architectural elements.

Regarding to lighting, essential recourse is the sun. The natural condition has a key role of supporting the main the idea of overheating in the city involved by Shakespeare. The hot weather is judged for the wild temperament of the participants in the drama. In his movie, Carlo involved the idea of storm after Mercutio death. The weather condition switch from hot sunny day into a dark cloudy predicting a storm, add more dramatise in the

I

n the play Romeo and Juliet, Italian piazza is presented as an urban battlefield between two noble families: Capulet and Montague. In 3.1:1-4, regarding to Benvolio words: I pray thee, good Mercutio, let’s retire: The day is hot, the Capulets abroad, And, if we meet, we shall not scape a brawl; For now, these hot days, is the mad blood stirring draws piazza as area which merges characterized for the period heat of a Mediterranean summer and the Italian style of duelling, lately become popular in England. Regarding to Shakespeare’s understanding of city square, it supposed to bring citizens together.

Unfortunately, this unification become a cause for a challenge. Moreover, Mercutio interpreted the word ‘consortest’ as an insult abuse because immediately converts him as an essential public performer: ‘what, dost thou make us minstrels? (Shakespeare 1597 3.1:46-47). As usual Benvolio, an influencer of peace-making, reminds to the men that they are in a public place and suggests moving to more private spot. Unfortunately, the Italian citizens are driven by the code of honour and no one step back. This forcing them to respond instantly to either imaginative or real insult. Jack D’Amico highlight the fact the heart 18

moment. Metaphorically, this draws barrier between the life and death.

However, in 2013 edition the space is represented by repetitive element- towers and thick brick walls. Architecture of the scene is defensive(military) with these massive blocks.

One of the design drivers is scale shifting– largescale massive towers vs medium-scale towers.

Looking at the meanings behind the architecture forms,huge towers manifest the political power of the city. People in the scene could be described as insects (too small) compared to the dimensions of the monumentality elements. Humans are overpowered. The atmosphere is example for fascist style where architecture is dominant and creates repressive space. The concept of political power of the city manifests the architecture of (Drawing 1) In Germany with monumental scale. In his book Albert states that his design involved deepest ideological ambitions, political intent but also emotional effect (Speer 219). Also, it is monumental and colossal, grand and sublime, posing and embracing, maternal and virile. (Speer 225). On second hand, a Renaissance building such as churches (for example Westminster Abbey) with its tall and massive dimensions do to represents overpowering. It is about how people are empowered. The architectural elements in the movie have strong influence how Mercutio death is staged.

It is about Tybalt domination against Mercutio who is dying in the end. The scene proposes the consequences of unstoppable fighting for power in the city and all the drama is kept between the defensive city’s walls.

The action is caught by six cameras on different positions and levels. The dynamic is shown by medium and extreme close-up, on eye-level or on

human heights position. Director directly links the audience the actors. Essential shooting method unfolding the drama, is the bird-view. These frame views catch the actual action: the dialogue between Mercutio and Romeo but also the Tybalt victory. On one side, unfold key architectural driver in the film.

On second one, creates the feeling of powerless citizens, these small people fighting for something which is non-sensible. The city has the power and its architecture style prof it (Fig 73-84; Diagrams 2325).

As it is discussed above, Romeo and Juliet (2013) explores the power of the city thought the architectural forms and space. Following a similar direction in William Shakespeare’s Romeo + Juliet, (1996), the city is established by huge skyscrapers and tinny citizens beside them. However, in the key scene ‘The death of Mercutio’, architecture reflects the morals and ethics of society. The curiosity of the seaside space is the allocated Globe theatre.

First, it has a typical solid stage platform, walls and auditorium located at seaside. Secondly, it is surrounded by poor maintained entertainments and cafeterias. The role of ruined theatre is to highlights actual powerless of city. The crumbled down city proposes an atmosphere of death. The In her essay Reading the ruins, Catherine Slessor remarks that ‘ruins are a reminder of architecture’s transience, but they also embody often contested projections of meaning and memory’ (Slessor 2017). The massive hole in the theatre’s wall metaphorically leads to the main problem in the society: theatrical spaces are less influenced. Even more,it links to the fatal wound in Mercutio’s body. Here, architecture become actors in the film. Its main role is to reflects human desirers and in the same way to show failure of Mercutio against Tybalt. Again, the scene in the film 19

15

Diagram 27: Sections showing cameras condition

20

20

20

Key:

19.4

Romeo Mercutio Tybalt Tybalt Tybalt

1:13:14

19.3

fig93

1:13:11

fig96

1:13:13

fig92

1:13:10

fig95: Medium close-up

fig94

fig91

Camera 3: Sequences of Low-angle shots (fig91-96)

1:13:12

1:13:15

Key:

Diagram 26: Sections showing cameras condition

15

15

20

20

20

20

19.2

Romeo Mercutio Tybalt Tybalt Tybalt

fig88: Low-ngle

1:01:20 1:03:40

19.1

fig87: Long view

58:40

fig90: Bird-eye view

fig86: Low-angle

56:40

fig89: Full-body

fig85: Bird-eye view

Key moments from the scene (fig85-90)

1:00:40

1:05:20

fig100: Bird-view

1:13:00 1:17:00

20.1

fig99: Long shot

1:09:00

fig102: Zoom-in bird-view

fig98: Full-body shot

1:07:00

fig101: Full-body shot

fig97: Bird-view

Key moments from the scene (fig97-102)

1:11:00

1:19:00

Diagram 28: Sections showing cameras condition

Key:

C 20.2

Romeo Tybalt Marcutio Capulet members Montague members Camera

1:13:13

1:13:14

20.3

fig105

1:13:11

fig108

fig104 fig107

1:13:10

fig106

fig103

Camera 2: Sequences of the bird-views (fig103-108)

1:13:12

1:13:15

Diagram 29: Section showing cameras level

Key:

C 20.4

Romeo Tybalt Marcutio Capulet members Montague members Camera

unfold the language of overpowering but it is social power rather than city power.

According to the filming techniques, for these dramatical moments are used medium closeup and extreme close-up views. The beginning and the end are shown by bird-eye scenes, representing the atmosphere. The specific method emphasise Mercutio speech is low-angle shots. The camera is below the actor and angled upward. This makes the character powerful and intimidating (Mamer 7).

In that way, the director additionally increases the drama of his actions. It draws the power of single man against his enemies, friends and other citizens (Fig 85-96; Diagrams 26-27).

In the film Romeo and Juliet (1968), the space represents a characteristic piazza in Verona, surrounded by huge buildings and city walls. In fact, the language of architecture describes a military style: tall brick wall ending with small towers. These elements are highlighted in the Romeo and Juliet (2013) as well. Also, second repetitive driver from 2013 movies is the scale of the monumentality of the building. In fact, the political power of the city takes over the power of people. They are significantly smaller but compared to 2013 citizens are not that miniaturized. There is a direct link between human placed under the boot (Fascist architecture) of political and religion power (Renaissance style). It is fascinating how seconds before his death, Mercutio decides to take an advantage of the dramatical moment. He climbs the stairs in front of the church.

The platform immediately turns unto stage for him.

Mercutio is the actor and his audience are people below him. Mercutio is the actor and his audience are people below him. In my opinion, all elements put together, creates theatre in the boundaries of public piazza. Filmmaker Zeffirelli, provides a

platform from where he can say his final words in more dramatical expression. In this edition, architecture has multifunctional role.

The action is caught by medium and extreme close-ups scenes, on eye-level or on human heights position. These techniques help to express in successful way all expression of the moment. As well as in 2013 edition, the bird-views have huge influence in unfolding the drama. These frame views present the begging of the fight. On one side, unfold key architectural driver in the film. On second one, creates the feeling of powerless citizens, these small people fighting between each other for power.

Unfortunately, they do not realise that the actual power is the city hands.

Overall, the scene ‘The death of Mercutio’ discover the symbolic language of architecture in the films. The architecture manifests the political power of the city and powerless citizens. Even more, describe the unstoppable powerless fights between two families. It is an important relationship between city and citizens. Further to all, the architecture turns into a real actor in the scene and has influence how the drama is presented. Architecture enhance the drama in the tragedy. This concept of the city being itself and the location of main ‘actors’ is developed by Portuguese film director, Manuel de Oliveira (2003 50). In his film, Porto (1956), the city is a principal character. This understanding is closer to Andre Basin’s notion of décor (French film critic, investigating the realistic aesthetics). He states that ‘Cinema must threat the décor as an actor in the drama, insisting on the dramatic function of every element in the set (Bazin 1998:113).

Urban space with scale of monumentality reflecting the city power is Trafalgar square. The place consists fourth medium-scale plinth and the 20

Selection of screenshots from the films

Drawing 1

0:27:35

fig85: Bird-eye view

(1996)

0:56:40 (1968)

fig100: Bird-view

huge Nelson’s Column. The northwest pedestals were left empty until 20th.The massive stands role had to manifest the incredible power of British empire and navy. While in 21st century under the partnership of Royal Society of Arts and Fourth Plinth Commission the “Fourth Plinth” are now used as a spot displaying temporary artworks. This describe a new political power: the power of people voice.

Urban design reflects architecture not only in her tradition and history but also as a platform where human has its own influence and role. At the north side of Trafalgar square is situated the National gallery. On one side gives this sense of enclose of the urban space. On another hand the tall columns, part of the front façade facing the square, raise the concept of insignificant power of these small citizens. Trafalgar square have some elements like Italian piazza. It has a potential to unfold the scene ‘The death of Mercutio’ in close and attractive way (p21).

fig80

(2013)

Image 7: Bird-eye view

The Olympic games by Albert Speer

1:13:00 Street photography at Trafalgar Square revealing drama from ‘Romeo and Juliet’

(2013) 21

(1996)

(1968)

Conclusion David Clarke states that ‘the histories of the films and city are imbricated to such extent that it Is unthinkable that the cinema could have developed without the city (Clarke 1). The camera is a technological manifestation of an eye that records.

It is a virtual way to move through the spaces in more exciting and revealing method. In the reality observer is the human who replaces the camera from the films. Films shaped people’s perceptions of and anxieties about the environment in which they lived by following comparison with other spaces (Conde 22). Most of the time filmmakers address a specific filmic environment through their own experience in a way to shock or stimulate the film audience.

Another way to utilize film in architecture might be to improve the practice of architectural design by encouraging both architects and users to appreciate the language of film. Clearly, there is a potential to explore the relationship between architecture and films for practical benefits. As Richard Koeck states ‘it is not enough to see and enjoy architecture with your eyes solely, you must experience it in its authentic reality’ (Koeck 2010:267). An important question is whatever urban designers’ appreciation and understanding of space in the design process is enhanced by utilizing a filmic scene approach. For instant, urban designers should be aware during the design process that a city spaces could be a series of stage sets inviting people to be part of the tragedy.

In that way the place could have more theatrical and exciting characteristics. Trafalgar square is good example of existing urban space which its design elements could release several dramatical moments from the movies. This place has ‘drama’ concept elements seen in the three editions of ‘Romeo and Juliet’.

E

ssential point of my dissertation theme is the remarkable play ‘Romeo and Juliet’ written by William Shakespeare. He writes the tragedy in 16th century which reflects the Renaissance condition of the society. It is a phenomenal example because have it is applicable at any time and it has its own influence and reflection. Three key moments are observed in the tragedy: The first kiss (Shakespeare 1597 1.5), The Juliet monologue (Shakespeare 1597 2.2) and The Mercutio death (Shakespeare 1597 3.1). Initial problem with the play is the fact there is no detail description of the spaces in the play. The book ‘Shakespeare and Italy’ written by Jack D’Amico is an architectural analytical tool. From it are extrude an image of Shakespeare’s Verona, Italy: how he projects the city and how the city’s layout have role in framing the story.

Following André Bazin statement that key scenes with dramatic function of the city should be analysed by the spaces, narrative, the cinematography, lighting and any other relative factors (Bazin 77), the films ‘Romeo and Juliet’ were explored. The investigation about the movies provides an information how to create specific atmosphere reproducing a key moment from the tragedy. This prove the fact that architecture and cinema have deep connection. Also, elements such as form, colour, material have influence how human drama is unfolded. Sometimes watching a film could be case study how urban space should be design.

23

Figure Sources Figures

Chapter 1 • Screenshots from Romeo and Juliet (2013): Fig1: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig2: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig3: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig4: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig5: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig6: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig7: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig8: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig9: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig10: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig11: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig12: Screenshot from Romeo and Juliet 2013 by Galina Dimova • Screenshots from William Shakespeare’s Romeo + Juliet (1996): Fig13: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig14: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig15: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig16: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig17: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig18: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig19: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig20: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig21: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig22: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig23: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig24: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova • Screenshots from Romeo and Juliet (1968): Fig25: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig26: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig27: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig28: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig29: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig30: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig31: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig32: Screenshot from Romeo and Juliet 1968 by Galina Dimova 24

6.1 6.1 6.1 6.1 6.1 6.1 6.3 6.3 6.3 6.3 6.3 6.3 7.1 7.1 7.1 7.1 7.1 7.1 7.3 7.3 7.3 7.3 7.3 7.3 8.1 8.1 8.1 8.1 8.1 8.1 8.3 8.3

Fig33: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig34: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig35: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig36: Screenshot from Romeo and Juliet 1968 by Galina Dimova Chapter 2 • Screenshots from Romeo and Juliet (2013): Fig37: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig38: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig39: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig40: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig41: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig42: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig43: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig44: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig45: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig46: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig47: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig48: Screenshot from Romeo and Juliet 2013 by Galina Dimova • Screenshots from William Shakespeare’s Romeo + Juliet (1996): Fig49: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig50: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig51: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig52: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig53: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig54: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig55: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig56: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig57: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig58: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig59: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig60: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova • Screenshots from Romeo and Juliet (1968): Fig61: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig62: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig63: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig64: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig65: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig66: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig67: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig68: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig69: Screenshot from Romeo and Juliet 1968 by Galina Dimova 25

8.3 8.3 8.3 8.3

12.1 12.1 12.1 12.1 12.1 12.1 12.3 12.3 12.3 12.3 12.3 12.3 13.1 13.1 13.1 13.1 13.1 13.1 13.3 13.3 13.3 13.3 13.3 13.3 14.1 14.1 14.1 14.1 14.1 14.1 14.3 14.3 14.3

Fig70: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig71: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig71: Screenshot from Romeo and Juliet 1968 by Galina Dimova Chapter 3 • Screenshots from Romeo and Juliet (2013): Fig71: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig72: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig73: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig74: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig75: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig76: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig77: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig78: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig79: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig80: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig81: Screenshot from Romeo and Juliet 2013 by Galina Dimova Fig82: Screenshot from Romeo and Juliet 2013 by Galina Dimova • Screenshots from William Shakespeare’s Romeo + Juliet (1996): Fig83: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig84: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig85: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig86: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig87: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig88: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig89: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig90: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig91: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig92: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig93: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Fig94: Screenshot from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova • Screenshots from Romeo and Juliet (1968): Fig95: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig96: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig97: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig98: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig99: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig100: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig101: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig102: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig103: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig104: Screenshot from Romeo and Juliet 1968 by Galina Dimova 25

14.3 14.3 14.3

18.1 18.1 18.1 18.1 18.1 18.1 18.3 18.3 18.3 18.3 18.3 18.3 19.1 19.1 19.1 19.1 19.1 19.1 19.3 19.3 19.3 19.3 19.3 19.3 19.1 19.1 19.1 19.1 19.1 19.1 19.3 19.3 19.3 19.3

Fig105: Screenshot from Romeo and Juliet 1968 by Galina Dimova Fig106: Screenshot from Romeo and Juliet 1968 by Galina Dimova

19.3 19.3

Diagram1: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram2: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram3: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram4: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram5: Based on a scene fromWilliam Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram6: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram7: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram8: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram9: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram10: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram11: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram12: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram13: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram14: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram15: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram16: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram17: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram18: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram19: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram20: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram21: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram22: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram23: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram24: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram25: Based on a scene from Romeo and Juliet 2013 by Galina Dimova Diagram26: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram27: Based on a scene from William Shakespeare’s Romeo + Juliet 1996 by Galina Dimova Diagram28: Based on a scene from Romeo and Juliet 1968 by Galina Dimova Diagram29: Based on a scene from Romeo and Juliet 1968 by Galina Dimova

6.2 6.2 6.4 6.4 7.2 7.2 7.4 7.4 8.2 8.2 8.4 8.4 12.2 12.2 12.4 12.4 13.2 13.2 13.4 13.4 14.1 14.3 18.2 18.2 18.4 19.2 19.4 20.2 20.4

Diagrams

Images

Image 1: Based on a figure 5 from Romeo and Juliet 2013 taken by Galina Dimova Image 2: Based on a figure 13 from Romeo and Juliet 2013 taken by Galina Dimova Image 3: Based on a figure 25 from Romeo and Juliet 2013 taken by Galina Dimova Image 4: Based on a figure 42 from William Shakespeare’s Romeo + Juliet 1996 taken by Galina Dimova Image 5: Based on a figure 62 from William Shakespeare’s Romeo + Juliet 1996 taken by Galina Dimova Image 6:Based on a figure 65 from William Shakespeare’s Romeo + Juliet 1996 taken by Galina Dimova Image 1: Based on a figure 80,85,100 from Romeo and Juliet 1968 taken by Galina Dimova

9 9 9 15 15 15 21

Drawing 1: 1935, Architecture 1932-1942: Aux Archives d’architecture moderne, p81

9

Drawings

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Reference list Books

• Beckerman, B., 1962, Shakespeare at the Globe, 1599-1609, Collier Macmillan ltd, London, p74 • Curl,J., Wilson, S., 2016, The Oxford Dictionary of Architecture, 3rd Edition, Oxford University Press, p.370 • Cramer, M., 2014, The complete works of William Shakespeare, Canterbury Classics, p269-305 • D’Amico, J., 2001, Shakespeare and Italy: The City and the Stage, University Press of Florida, Florida • Dobson, A., 1906, The Diary of John Evelin Vol.1, Macmillan and CO LTD, Mew York, p210 • Koeck, R., Roberts, L., The City and the Moving Image: Urban Projections, Palgrave Macmillan UK, New York, p9,223-227,238,268-69 • Mamer, Bruce, 2014, Film production technique: creating the accomplished image, 6th edition, CT Cengage Learning, Stamford, p5-10,283,291295 • Monaco, J., 2009, How to read a film: movies, media, and beyond: art, technology, language, history, theory, 4th edition, Oxford: Oxford University Press, New York, p216 • Nagler, A., 1996, Shakespeare’s stage, Yale University Press, New Heaven, p52-66 • Lehtovuori, P.,2010, Experience and conflict: the production of urban space, Farnham: Ashgate, p36-39,42 • Speer, A., 1985, Albert Speer, Architecture 19321942, Aux Archives d’architecture moderne, A Bruxelles, p81,219,225

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Films

• Romeo and Juliet, 2013, [DVD] Directed by Carlo Carlei, Echo Lake Entertainment • William Shakespeare’s Romeo + Juliet, 1996, [DVD] Directed by Baz Luhrmann, Bazmark Productions • Romeo and Juliet, 1968, [DVD] Directed by Franco Zeffirelli, Franco Zeffirelli, John Brabourne Anthony Havelock-Allan

Bibliography Books

• • • • • • •

Books Cullen, G., 2009, The Concise Townscape, Elsevier, Burlington Gurr, A., 2009, The Shakespearean stage, 1574-1642, Cambridge University Press, Cambridge Harvie, J., 2009, Theatre & the city, Palgrave Macmillan, New York Keeble, N, 1998, ‘Romeo and Juliet: York Notes Advanced, York Press, London Leggatt, A., 1992, Jacobean public theatre, New York: Routledge, London McKinnie, M., 2007, City Stages: Theatre and Urban Space in a Global City (Cultural Spaces), University of Toronto Press, Toronto • Tonkiss, F., 2005, Space, the city and social theory: social relations and urban forms, Cambridge: Polity, Cambridge • Whyte, W., 2001, The social life of small urban spaces, Project for Public Spaces, New York

Articles

• Blumberg, N., Street photography, Encyclopaedia Britannica, August 2014 Available at: https://www.britannica.com/art/street-photography • Eriksen, R., 2017, Introduction: The architecture of Shakespeare, Shakespeare, vol. 13, no. 2, 107-113 Available at: https://www.tandfonline.com/doi/pdf/10.1080/17450918.2017.1324514 • Eriksen, R., 2011, Embedded Urbanism: Shakespeare in the city, Actes des congrès de la Société française Shakespeare, issue 28, 67-80 Available at: https://journals.openedition.org/shakespeare/1610 • Leveen, L., 2017, Putting the “where” into “wherefore art thou”: Urban Architectures of Desire in Romeo and Juliet, Shakespeare, vol 13, issue 2, 155-163 Available at:https://www.tandfonline.com/doi full/10.1080/ 17450918.2017.1338307?scroll=top&needAcc ess=true • Slessor, C., 2017, Reading the ruins, The Architecture Review Available at: https://www.architectural-review.com/essays/reading-the-ruins/10026503.article

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