It’s such an emblematic text that we all carry a little bit of it in us.
In an approach that is intended to be contemporary, and with such great strength in the value of words, all I have to do is create a scenic play that is as simple as possible so that the text gains its just dimension and breathing space.
The proposal for an austere and rational geometric play presents us with two symmetrically placed ramps that inevitably flow into each other. The bodies that sit on them precipitate and confront each other, an inexorability that has no meeting point or vanishing point, determined by the parallel placement of the ramps. The plot is created, as if they were two edged swords, the ramps are mirrored, reflecting the power and coldness of each of the powerful houses in tension.
This atmosphere is only broken by the appearance of the emotional side, in a reinterpretation of Juliet’s balcony as an anatomical heart. In this emblematic scene, Juliet speaks from the top of her heart and Romeo declares himself to it. An emotion that grows and conquers us.
This heart was sculpted by hand in brass leaf. A golden heart warms up the atmosphere, contrasting with the cold metallic colour of the previous one.
Only one other element tears the scene apart when Juliet and Romeo die. A long screen, also gilded, punctuates an idea of religion: verticality and ascension.