Beginning of the Play Analysis

Right at the beginning of the play, my character - Tybalt, walks on stage alongside the other
characters and lies down. From speaking with Gabbie (the other actor playing Tybalt), we decided to
add some form of detail to the lying down position. We chose to have Tybalt clutching his neck - this
foreshadows the method of his killing later on in the play. We based our reasons for the decision, on
the major given circumstances in act 3 scene 1/2 - when Tybalt has his throat slit. By making a
decision based on a future event, we are fitting within one of the play’s major themes - fate and free
will. This poses the question, is Tybalt’s death fate? Was his murder, a small, necessary part to a
much bigger story?

By asking questions about my character, I may build a psychological character profile. This will allow
me to justify decisions made on my character throughout the play. This Katie Mitchell technique I
adopted, so that I possess an arsenal of character information. I may reflect upon my psychological
character profile, to inform my decisions at any point. Such information would allow me to conjure a
backstory for my character. My answers to the questions listed above, in order, are the following. I
do believe Tybalt’s death is fated, it was bound to happen - only to cause Romeo’s exile and his
inevitable death. Tybalt needs to die to create the second half of the story. By choosing Tybalt’s
demise - a fated one, I may orchestrate a sickening show of emotions in act 3 scene 1 - that I believe,
really, depict the emotions swirling around in Tybalt’s mind.

Once, the characters Fate have said their opening prologue - Welcome to Verona, I awaken on the
last line “Welcome to Verona” with the rest of the bodies. The image of a floor, full of corpses,
relates to the theme of death. I have interpreted, this device to be a subtle foretelling of the many
casualties throughout the entire play. Each character arises in unison and looks around with puzzled
faces. At this point, once risen, I stroke my neck as if I am checking for a wound and scan the room
with a confused look. My actors gaze darts across the room. The intention behind this act, is that my
character is searching for an answer, as to what has happened to him. The idea is that Tybalt has
risen from the dead and he is struggling to recall the actions leading up to his demise. I exit the stage
along with the rest of the characters. I leave the stage at the left exit from the direction I am lying in.

As the stage is clearing, the servants begin the build up to the brawl. Sampson and Gregory
(Capulets) engage into conflict with Balthasar (Montague). Rather quickly, the tension increases as
the background music kicks in. A menacing beat starts, within the chosen song, which is my cue to
come back on stage. As one can imagine, the time between the bodies exiting the stage and when
Tybalt is beckoned back on, is a very short time. So, I found it necessary to wait in the wings (out of
sight of the audience.)

Once Tybalt enters back on stage, he makes his way to the far side of the stage, walking behind the
audience. This walk from either side of the stage, gave me the opportunity to stylise my walk. I chose
to have Tybalt appear for a purpose; he enjoys violence, and may even get to participate. Tybalt has
been given the chance to show off his combat ability. Taking these ideas into rehearsal, I wanted it
to seem prevalent to those watching that Tybalt is intrigued by the violence occurring on stage. I
found myself gripping the backs of seats and leaning forward, to show an interest to what’s taking
place on stage through body language.