A Character Study on Tybalt and Mercutio, and as Director What Instructions I would give the Actors Taking on their Parts.

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A Character Study on Tybalt and Mercutio, and as Director What Instructions I would give the Actors Taking on their Parts

Rachel Smith

Romeo and Juliet is a world famous play written by William Shakespeare. The tale is of two lovers suicide when their feuding families keep them apart. The families have been sworn enemies for generations they are wealthy, powerful and often violent. Some characters are quiet without much involvement, others the play revolves around, Tybalt and Mercutio are somewhere in the middle they do not greatly contribute to the main story line, however they form the base of it, even though they both are killed early on. They create the atmosphere and reality aspect in the story.

The prologue sets the scene, briefly summarizing the story and emphasising the trouble in Verona. We are told of the feud between two credential families, the Montague’s and the Capulet’s, there have been three civil brawls caused by them, ‘from ancient grudge beaks new mutiny’ the city is in chaos. This makes the environment for Tybalt ideal, as he relishes fighting.

Tybalt (A.K.A prince of cats) is a passionate swordsman. He was born to violent times in troubled Verona, therefore he lives and breathes fighting. He has known nothing but chaos throughout his life as he is a Capulet, sworn enemy to all Montague’s and their companions (including Mercutio, Romeo’s [Montague] best friend). Tybalt lives to the extreme, his mannerisms are eccentric and he repeatedly overreacts, he takes simple things out of context and always reacts violently as he knows nothing else. For example, in Act1 Scene1, as Benvolio seeks peace he cries ‘what, art tho drawn amongst these heartless hinds? Turn thee Benvolio and look upon thy death.’ This shows his willingness to kill without mercy, on the slightest pretence. Therefore considering first impressions, as director I would chose an actor to be Tybalt that has an Italian influence in his appearance, and accent. He would have ‘rugged’ features and deep, brown, fiery eyes to correlate with his delicate temper, this in my opinion, giving the impression of a key member in a Mafia. He would have brown/black short hair and a small ‘goatee’ but the rest of his face would be clean-shaven to show he takes great pride in his intimidating appearance. His clothes would also reflect this, wearing dark colours and always looking smart, again based on the stereotype of a gang member. He should be wearing a white shirt open at the top, black jacket and trousers with shiny back shoes, he would always look calm and collected as though he enjoyed life and hadn’t a care in the world, (especially not guilt). Tybalt would have a black belt with his crest on a chunky silver buckle (a pouncing cat) and a black leather sheath (again with his crest on it) with his lustrous silver and black sword handle protruding threateningly out the top. I have described how I would wish Tybalt to look so thoroughly as I think it is very important. Visual intimidation is, in my opinion, a key factor to influence first impressions on the audience, and make the play more realistic as stereotypes surround people’s appearances in everyday life.

I also think his mannerisms are important because the audience will not just listen to what he says but will be watching it so he has to feel what he is saying. I would as director tell the actor taking on the role of Tybalt to speed in excitedly, his eyes wide, with more colour to his cheeks than usual as the adrenaline rushes though his body, he is tense, poised, ready to strike, his sword drawn by his side, hush falls on the crowd as soon as he appears. He will smile mockingly, and snigger with disbelief and disgust, finding Benvolio’s weakness amusing, and I would ask him to glance at Benvolio’s sword with superiority and appal as his glints impressively in a spotlight, gleaming without so much as a smudge. I would do this to reinforce his love of violence. His sword is his pride and joy and he mocks the poor state of Benvolio’s. The atmosphere on the stage at this point is tense and unexpected, Tybalt is more ready to fight than look for peace in fact, he exclaims ‘peace? I hate the word as I hate all Montague’s and thee.’ I would have him speak with pure revulsion, through clenched teeth, a deep growling voice, and with an expression that appears as though it pains him to have the word pass his lips, his eyes would narrow, his sword raised, he speaks quickly to emphasise the rage surging though his veins. The lighting should be hot and harsh to induce greater tension. The reason I have chosen to make Tybalt react this way is to emphasise his pernicious nature, and help the audience to become involved by absorbing Tybalt’s radiating anger. However as Tybalt starts to fight the tension ebbs from his body he flows into his moves, these should all be carefully choreographed to give the appearance of a pouncing cat, toying mercilessly with his prey. He dances through the fight with an ecstatic smile, unblinking, he relishes fighting and is a professional at his job. All of this emphasises the passion in what he has to say. When the actor learns the script he should read ‘around’ Tybalt, so he can capture the essence of his character.

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Whenever Tybalt has any part in the play it is connected in someway with fighting, he is either in a fight, or seeking one, either way he is always the one to start it. Act1 Scene5 is the ball scene, here we are shown evidence of how Tybalt cares only for himself. He uses the family feud as a cover and would go against the wishes of his Lord, for the chance to fight over nothing.

   

Tybalt is self-centred. I know this because he is willing to jeopardise the peace at the ball for an unimportant incident. ...

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