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Shakespeare tragédiájának gyönyörű töredékeiből álomszerűen szővödik össze Júlia története. Júlia két hangon és nyelven (angol-magyar) szólal felidézve azt a sűrű, búja és végzetes hat napot, mely szenvedélyt és kétségbeesést, gyászt, nászt és halált hozott neki. A magyar nyelven játszó Ubrankovics Júlia, aki a 40. Magyar Filmszemlén elnyerte a legjobb színésznő díját és Sophie Thomson, aki Londonból érkezett Budapestre a nővévállás rítusaként, középkori dalokkal, hús-vér eleven erővel és bájjal idészik meg Shakespeare legszebb szellemét: Júliát. In this bilingual (English and Hungarian) performance beautiful fragments of Shakespeare's tragedy evoke Juliet as an eternal memory, as a waking dream. She re-lives those sweet, dense and dark six days that brought her passion and desperation, grief and joy and her untimely death. Ubrankovics Julia who plays in Hungarian has recently received the prize for best actress on the 40th Hungarian Filmweek. Together with Sophie Thompson from London they take you through this rite of passage into womanhood with rituals and medieval singing. This theatre-seance conjures up Shakespeare's most beautiful ghost: Juliet.

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  • gybala: I really liked the customes on the show!! Good ideas... (2009.04.20. 23:12) Magony Zsuzsanna
  • Natália: Why hmmmmm? Do elaborate. (2009.01.03. 02:06) Flowers
  • Natália: wow superb. I am very excited. Will write again soon. (2008.12.26. 23:24) Dramaturgy
  • Natália: First of Miss T: what does she mean to you? What motivates you to play her? And what is her dilemm... (2008.12.22. 14:40) First Meeting - Sophie

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Színházi Munkanapló / Performance Diary

2008.12.29. 18:01 Natália

The End and the Beginning

First impressions and last impressions count a lot. I think I have come up with an ending that was absolutely unique and fabulous. Will not tell. Just yet. Really bad at keeping secrets.

But I will share some of the dramaturgical perls I have been coming up lately.

In Act III - Scene 2. Juliet has a very long monologue waiting for Romeo, that I have transformed. This is the original text:

Gallop apace, you fiery-footed steeds,
Towards
Phoebus' lodging: such a wagoner
As Phaethon
would whip you to the west,
And bring in
cloudy night immediately.
Spread thy
close curtain, love-performing night,
That
runaway's eyes may wink and Romeo
Leap to these arms, untalk'd of and unseen.
Lovers can see to do their amorous rites
By their own beauties; or, if love be blind,
It best agrees with night. Come, civil night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play'd for a pair of stainless maidenhoods:
Hood my unmann'd blood, bating in my cheeks,
With thy black mantle; till strange love, grown bold,
Think true love acted simple modesty.
Come, night; come, Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven's back.
Come, gentle night, come, loving, black-brow'd night,
Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possess'd it, and, though I am sold,
Not yet enjoy'd: so tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them.

I didnt simply just want to edit it, so it is shorter, but I always felt that this scene should be like a ritual, as if she was enchanting her bedroom like a witch. I wanted it to sound like a pagan prayer for love, or a bit like Hunagrian folk-poetry. Since the two languages work in different ways I have achieved the desired effect with different lyrical methodes.

I highlighted the boldest changes:

 

Spread thy close curtain, love-performing night,
And bring in cloudy night immediately.
That runaway's eyes may wink and Romeo
Leap to these arms, untalk'd of and unseen.
Spread thy close curtain, love-performing night,
Lovers can see to do their amorous rites
By their own beauties;

Come, civil night thou sober-suited matron, all in black,
Hood my unmann'd blood, bating in my cheeks,
With thy black mantle;

Come, civil night thou sober-suited matron, all in black,
Till strange love, grown bold,
Think true love acted simple modesty.
Come, gentle night, come, loving, black-brow'd night,
And come, Romeo; my day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven's back.
Come, gentle night, come, loving, black-brow'd night,
And give me my Romeo!

 

And in Hungarian:

 

Robogjatok, parázs-patáju mének a

A napszekérrel napnyugat felé

Ó, bár Apollo ostorozna most

Hogy menten hullna ránk a sűrű éj

Kerítő éj bocsájtsd le kárpitod

Jöjj fátyolos matróna barna éj

Jöjj sötétpillájú édes éj

S vakítsd meg a napot  ne lássa senki

Kitárt karomba hogy száll Romeo

Nem kell világ az éji áldozathoz

szerelmeseknek szépségük világít
Kerítő éj bocsájtsd le kárpitod

Jöjj fátyolos matróna barna éj

Jöjj sötétpillájú édes éj

Sötét lepleddel, hadd higgyem vakon

Hogy szűz erény a teljesült gyönyör

Jöjj éj, jöjj Romeo – én napom

Kerítő éj bocsájtsd le kárpitod

Jöjj fátyolos matróna barna éj

Jöjj sötétpillájú édes éj

És add nékem Romeomat!

 

Lovely of blasphemous? You decide...

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