Scene 5.3 Log

Day 1:

On the first day of studying scene 5.3 I primarily focused on determining who Romeo was as a character fundamentally. I began to read other parts of the book where I remembered pivotal changes, to attempt at fully grasping his development. I especially looked at the scene where Romeo killed Tybalt, and compared the two balcony scenes. This method allowed me to chip away at breaking down the layers of Romeo. I looked at the text of his scenes and patterns in is language to try an identity Shakespeare's intent in Romeo's motives/emotions. I also dug into Romeo's beliefs and morals as a human. I tried to understand his point of view in important scenes, and dissect his relationships with Juliet and Friar Lawrence. I did this by re-reading scenes and trying to use Uta Hagen's questions of 'what do I want' and 'what will I do to get what I want' to define Romeo's aspirations and/or reasonings.

Day 2:

The second day, I focused on staging and began the process of research. I watched several clips,  read adaptions and focused on Shakespeare as an author and how his biases/influences could shape Romeo's motives. I watched how others saw Romeo's movements in this scene and chose things that I felt aligned with my previous thoughts. I took notes on things I saw happen a lot, and analyzed the things I didn't like by asking myself 'why'. Reaching for inspiration from other actors often helps me to find my own interpretation by comparisons. As far as actual staging goes, I worked closely with my partner Nadya in analyzing the intent of Romeo and Juliet and attaching how we would move/walk in their positions to put actual stage directions to the scene. We went through the scene and annotated almost every line by attaching an action/adjective/active verb that gave our staging purpose.

Day 3:

Day three has been focusing on memorization. When I memorize Shakespeare I often try to memorize the images rather than the words. Shakespearean text is not the way I usually speak, therefore piecing ideas together is difficult. Thus, I must know what each line means and attach a motivation to it to follow my train of thought. Going back to images, I try to see my actions and how Romeo is standing or where is he is to memorize my lines. Using blocking to memorize lines helps me to know the words and understand the connection between my movements and my lines. Also, this method forces me to truly intertwine my movement, motives and text into one single idea or emotion. I think that memorizing lines fast is important to moving on with character work, though at the same time taking the moments to understand and memorize in a way that sets your acting up for success is crucial. I can often memorize my lines in a way that gets me caught in the words themselves rather than the meaning, this is dangerous and a mistake I do not want to make.

My scene is basically all monologue, the movements and reactions are primarily done with myself, therefore, I believe using Uta Hagen's theories to understand my motivations will be important. Romeo changes a lot in the monologue, there are small moments of reflection and fear that I believe using Uta Hagen's nine questions to interpret will be useful. I think asking myself what Romeo wants and what is in his way, even if it is before his death, I can grasp his intentions better. The questions will help me to define the physical changes in my character as the scene progresses. I want to use Uta Hagen's theory to use the text as a tool to display intentions, rather than rely on the text to show me the motivations. Questioning my surroundings will allow me to work in the limited set. The question 'what will I do to get what I want' will help me in understanding why Romeo kills himself, which is a heavy thing to analyze.

Consider your scene, your character's personality, the given circumstances, and the motivation for your character specifically. How will you portray this character and achieve this motivation?

This scene is very heavy. Romeo's lines all take place over Juliet's dead body and his text is very dark. He works his way through the monologue touching upon, love, his family and eventually ends with his own suicide. The whole timeline of the scene seems fast, but the writing provides clear moments of character change and decision making. Motivation is a big word for understanding Romeo's huge process of coming to terms  with killing himself. The majority of his motivation derives from his passion and love. The way he feels for Juliet consumes his whole body. It fills his brain so he can't think about anything else and clouds his judgment. I looked for intentions from previous scenes where he chose Juliet over family, honor and loyalty, it is a consistent theme of his love driving him towards change as a character. Romeo is driven by his emotions, he is rational but also very head strong. I have decided that dividing my scene into WHO/WHAT/WHEN/WHERE/WHY will allow me to clearly identify Romeo's intentions and understand both the mental and physical aspects of the scene.

WHO: Romeo Montague; head strong, impulsive, idealistic, not interested in violence. He is tall and probably handsome, though in this scene, he holds himself lower because of his fear. 

WHAT: Romeo has just found Juliet's 'dead' body and is in complete shock. He is scared and sorrowful beyond comprehension, he is hysterical but his words are slow as is still trying to understand his loneliness without her. He is frightened by the harsh cold of her skin and sickened at how he cannot look in her eyes or hear her voice. He holds a potion in his right hand the whole scene, he wholeheartedly believes he must die to be with Juliet again. He is willing to die to see his love again. 

WHEN: This scene takes place during the height of the feud between two families. The fact that Romeo does not seem fazed by what his death could mean for others gives insight to his motivations. He is not driven at all by his family, but only by Juliet.

WHERE: This scene is at the alter of the church. Juliet is laid in her coffin with flowers and candles, Romeo kneels beside her. This scene being in a church to me shows that one of Romeo's motivations must be his faith and belief in fate. He is also driven by the pure and holy love he see in Juliet, which to me can be associated with the church.

WHY: The why of this scene is the overall interpretation of the play itself. The love and death of these two 'star-crossed lovers' tells a stronger story of hope, compassion and love above all. This scene drives home those morals and reiterates the call of action to society (gender roles and dangerous social constructs).

To show these motivations in my body I will have to clearly the identify the changes in tone and theme of the text. I will have to look closely at the words and understand why Romeo felt compelled to say them. I will then have to physically portray the intentions through contrasted movements. When talking about hate, violence or death, the line delivery must be sharp and the physical movements fast. Although, when saying lines having to do with love or Juliet, I will be soft, swift and sensitive. Pauses to look at Juliet or simply leave room for suspended breathes with allow the audience to follow and feel the scene with me. Understanding the WHO/WHAT/WHEN/WHERE/WHY enables me to look closer at the intentions of Romeo beyond what is on the surface of the text. 

Uta Hagen

• Born in Germany, raised in Wisconsin 
• Began her career in 1937 at age 18
• Won Tony's, Drama Critics Awards, and Honarary Doctorates from several universities
• Starting in 1947 Hagen has taught acting at the Herbert Berghof Studio
• Taught many generations of actors
• Died in 2004 in NYC

Uta Hagen is considered one of the most fiercest and legendary women to ever grace the American Stage. After being 'blacklisted' in Hollywood from her affiliation with communism, she started a lifelong career in arts education. She spent her whole life teaching her acting theories to young actors made for the stage. She believe that when she can see acting, she will not like their performance. She encouraged her actors to physically and mentally embody their characters to an extent so extreame they would get lost in the text and forget the audience was present. Her main philosophy taught actors to discover their character's intentions on a deeper level. She often encouraged writing down your character's physical and mental destination. (http://www.wic.org/bio/hagen.htm) Uta Hagen's famous nine questions to prepare characters are:

• "1.  WHO AM I?  
  
  (All the details about your character including name, age, address, relatives, likes, dislikes, hobbies, career, description of physical traits, opinions, beliefs, religion, education, origins, enemies, loved ones, sociological influences, etc.)  
  
  

  2.  WHAT TIME IS IT?  

  (Century, season, year, day, minute, significance of time)  

  
  

  3.  WHERE AM I?  

  (Country, city, neighborhood, home, room, area of room)  

  
  

  4.  WHAT SURROUNDS ME?  

  (Animate and inanimate objects-complete details of environment)  

  
  

  5.  WHAT ARE THE GIVEN CIRCUMSTANCES?  

  (Past, present, future and all of the events)  

  
  

  6.  WHAT IS MY RELATIONSHIP?  

  (Relation to total events, other characters, and to things)  

  
  

  7.  WHAT DO I WANT?  

  (Character's need.  The immediate and main objective)  

  
  

  8.  WHAT IS IN MY WAY?  

  (The obstacles which prevent character from getting his/her need)  

  
  

  9.  WHAT DO I DO TO GET WHAT I WANT?  

  (The action: physical and verbal, also-action verbs)" 

  
  

  (http://sites.pittsgrove.net/play/uta-hagen-s-9-questions)

5.3 Final Draft and Possible Staging/Constuming/Prop Ideas

Costumes:

• Simple, modern clothing
• Dark colors to match tone of the scene
• Potentially all black..?

Possible Props:

• Dagger (Juliet)
• Bed/Tomb area
• Poison (Romeo)
• Potion (Juliet)

Possible Staging:

• Juliet taking Poison: Juliet sitting on Bed/Tomb with Dagger, Potion
• Says lines while gesturing to Dagger, Potion
• Drinks Potion, falls onto Bed/Tomb
• Does not move while Romeo says his lines
• Romeo dragging Paris in: Invisible object he is dragging, Talking to himself/audience?
• Leaves Paris when he sees Juliet on Bed/Tomb
• Says his lines, sitting next to Juliet, looking at her, touching as necessary
• Takes Poison, falls onto Bed/Tomb, lying next to Juliet
• Juliet killing herself: Wakes up to see Romeo lying next to her
• Calls out to emptiness of Tomb but does not get out of Bed/Tomb or out of her position
• Says lines to Romeo/audience?
• Uses Dagger to kill herself, falls back onto Bed/Tomb next to Romeo 

 FINAL DRAFT OF SCENE TEXT:

Juliet:
I have a faint cold fear thrills through my veins,
That almost freezes up the heat of life.
I’ll call them back again to comfort me.
Nurse!—What should she do here?
My dismal scene I needs must act alone.
Come, vial.
What if this mixture do not work at all?
Shall I be married then tomorrow morning?
No, no, this shall forbid it. Lie thou there.
(Laying down her dagger.)

What if it be a poison which the friar
Subtly hath minist’red to have me dead,
Lest in this marriage he should be dishonor’d
Because he married me before to Romeo?
I fear it is, and yet methinks it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There’s a fearful point!
Shall I not then be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle,
O, if I wake, shall I not be distraught,
And madly play with my forefathers’ joints,
As with a club, dash out my desp’rate brains?
O, look! Methinks I see my cousin’s ghost
Seeking out Romeo, that did spit his body
Upon a rapier’s point. Stay, Tybalt, stay!
Romeo, Romeo, Romeo! Here’s drink—I drink to thee.
(She falls upon her bed)

Romeo:
Let me peruse this face.
Mercutio’s kinsman, noble County Paris!
I think
He told me Paris should have married Juliet.
Said he not so? Or did I dream it so?
Or am I mad, hearing him talk of Juliet,
To think it was so? O, give me thy hand,
One writ with me in sour misfortune’s book!
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
(Laying Paris in the tomb)

O my love, my wife,
Death, that hath suck’d the honey of thy breath,
Hath had no power yet upon thy beauty:
Thou art not conquer’d, beauty’s ensign yet
Is crimson in thy lips and in thy cheeks,
And death’s pale flag is not advanced there.
Ah, dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial Death is amorous,
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that, I still will stay with thee,
And never from this palace of dim night
Depart again. Here, here will I remain
With worms that are thy chambermaids; O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last!
Arms, take your last embrace! And, lips, O you
The doors of breath, seal with a righteous kiss
A dateless bargain to engrossing death!
Come, bitter conduct, come, unsavory guide!
Here’s to my love!
(Drinks poison) 

 O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
(Dies.)

 (Juliet rises.)

Juliet:
Where is my lord?
I do remember well where I should be,
And there I am. Where is my Romeo?
(sees Romeo)
What’s here? A cup clos’d in my true love’s hand?
Poison, I see, hath been his timeless end.
O churl, drunk all, and left no friendly drop
To help me after? I will kiss thy lips,
Haply some poison yet doth hang on them,
To make me die with a restorative.
Thy lips are warm.
(hears noise outside)
Yea, noise? Then I’ll be brief. O happy dagger,
(Taking dagger.)
This is thy sheath;
(Stabs herself.)
there rust, and let me die.
(Falls on Romeo’s body and dies.)

Scene 5.3

Juliet:
I have a faint cold fear thrills through my veins,
That almost freezes up the heat of life.
I’ll call them back again to comfort me.
Nurse!—What should she do here?
My dismal scene I needs must act alone.
Come, vial.
What if this mixture do not work at all?
Shall I be married then tomorrow morning?
No, no, this shall forbid it. Lie thou there.
(Laying down her dagger.)

What if it be a poison which the friar
Subtly hath minist’red to have me dead,
Lest in this marriage he should be dishonor’d
Because he married me before to Romeo?
I fear it is, and yet methinks it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There’s a fearful point!
Shall I not then be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle,
Where for this many hundred years the bones
Of all my buried ancestors are pack’d,
Where e Tybalt, yet but green in earth,
Lies fest’ring in his shroud, where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking—what with loathsome smells,
And shrikes like mandrakes’ torn out of the earth,
That living mortals, hearing them, run mad—
O, if I wake, shall I not be distraught,
Environed with all these hideous fears,
And madly play with my forefathers’ joints,
And pluck the mangled Tybalt from his shroud,
And in this rage, with some great kinsman’s bone,
As with a club, dash out my desp’rate brains?
O, look! Methinks I see my cousin’s ghost
Seeking out Romeo, that did spit his body
Upon a rapier’s point. Stay, Tybalt, stay!
Romeo, Romeo, Romeo! Here’s drink—I drink to thee.
(She falls upon her bed)

Romeo:
Let me peruse this face.
Mercutio’s kinsman, noble County Paris!
 I think
He told me Paris should have married Juliet.
Said he not so? Or did I dream it so?
Or am I mad, hearing him talk of Juliet,
To think it was so? O, give me thy hand,
One writ with me in sour misfortune’s book!
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.


(Laying Paris in the tomb)

O my love, my wife,
Death, that hath suck’d the honey of thy breath,
Hath had no power yet upon thy beauty:
Thou art not conquer’d, beauty’s ensign yet
Is crimson in thy lips and in thy cheeks,
And death’s pale flag is not advanced there.
Ah, dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial Death is amorous,
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that, I still will stay with thee,
And never from this palace of dim night
Depart again. Here, here will I remain
With worms that are thy chambermaids; O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last!
Arms, take your last embrace! And, lips, O you
The doors of breath, seal with a righteous kiss
A dateless bargain to engrossing death!
Come, bitter conduct, come, unsavory guide!
Here’s to my love!
(Drinks poison)

O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
(Dies.)

(Juliet rises.)

Juliet:
Where is my lord?
I do remember well where I should be,
And there I am. Where is my Romeo?
(sees Romeo)
What’s here? A cup clos’d in my true love’s hand?
Poison, I see, hath been his timeless end.
O churl, drunk all, and left no friendly drop
To help me after? I will kiss thy lips,
Haply some poison yet doth hang on them,
To make me die with a restorative.
Thy lips are warm.
(hears noise outside)
Yea, noise? Then I’ll be brief. O happy dagger,
(Taking Romeo’s dagger.)
This is thy sheath;
(Stabs herself.)
there rust, and let me die.
(Falls on Romeo’s body and dies.)

Blog Post #4

Watch the Baz Luhrmann version of Romeo and Juliet. How does the film adapt the last two acts of the play? What emotion & message is the audience left with and how does the film create this emotion/send this message?

The last two acts of this movie are staged much darker and eerier than the first three. The beginning and most of the middle of the movie use modern music, brighter lighting and more colorful scenery. The movie took a darker turn as the plot of the text itself began to involve death, politics and violence. The movie makes this change very obvious to the viewers yet still keeps the change simultaneously subtle and gradual. Slowly, scene by scene, the lighting gets darker and the music gets more intense. The soundtrack follows the shift in mood and carries the musical themes from the earlier portion of the movie but holds them in a heavier or darker way. The themes are often played slower or with more low instruments to illustrate the feelings of the characters. These feelings include sorrow, fear and especially grief, which are translated through all these aspects of film and through the staging/acting to the audience in a truly profound way.

The last death scene is very different in this adaption from the play, although I believe it fits the movie well. The last scene evokes strong emotions from the audience through a very important idea which is often hard to put into words. The scene emotes a feeling almost everyone has felt but cannot explain, the idea of being so close yet so far away. The moment when Romeo enters the church and after what he believe to be his last moments of life, the camera focuses on Juliet’s hands as she begins to wake up. This is crucial to the build up of the sorrow felt by both Romeo and Juliet, as a complete lose of hope and joy will overcome the screen when Romeo drinks the poison. These few seconds where the couple is so close to being together yet somehow the timing is still wrong, is essentially gut wrenching. This leaves the audience in complete grief and disbelief as it seems unfathomable to be so close to happiness but in seconds have it all disappear. When Juliet shoots herself, the theme of the ‘star-crossed’ lovers is reemphasized to an aching extent for the audience. This scene plays into the drama of the tragedy and caters to the modern audience’s thirst for love, disaster and misfortune to be represented in one movie.

The most troubling and heartbreaking moment of the last scene which evoked a strong sense of sadness in myself, was the few seconds of eye contact and conscious touch the two had. When Romeo asks Juliet to kiss him, both understanding it was their last moments together, it is so incredibly tragic, the audience can only help but feel the pain of the characters, and thus the purpose of the movie has been completed. The film does a great job of conveying emotions in a truthful and accessible way. The modernization of the text allows for the audience to connect to the Shakespeare text and relate to the pain involved in the love. The weeping of Juliet and soft, slow death of Romeo contributed to the movie’s sentiment and sincerely told the romance.

Blog Post #3

Reflect on the world-creating and meaning-making that we have been exploring this week. Discuss the shape of the play and how the patterns and images change.

When thinking about Romeo and Juliet most believe the story simply centers around the romance of the two teens, though through this exercise we have uncovered more depth to the characters, plot and climate of the play. To begin, the patterns within the play express clear themes of the text. We talked in class about the way each act alternates between beginning with violence and love. Act one begins with violence and act five ends with violence. The love between the characters are all essentially ‘within’ the violence of these other acts, symbolising an idea of love being trapped or intertwined with conflict. The story centers around a hope of love overcoming all barriers, though with the ending mostly having to do with death, it seems as though Shakespeare is making a point of the cruel social structure within his society. The images of the beginning, middle and end of the play go along with this idea as well. The start of the play centers around the conflict and chaos within Verona. The Montagues and Capulets are the center focus and the feud’s impact on the city sets up the social construct of the play. All the characters are introduced and how they fit in the plot based on their economical or social standing defines their importance. The violence of the families is also set up in this part of the play. As the scenes go on, Shakespeare begins to zoom in on Romeo and Juliet’s love as well as their internal conflicts of family vs. love. The centralized aspect of the play circles around the ‘star crossed lovers. The teens maintain the ‘magical’ tone of the play almost allowing the audience to forget the two can never be together. This is quickly contrasted as the play reaches the end by the deaths of Tybalt, Mercutio and eventually Romeo and Juliet. This change in tone brings the characters and the audience back to reality as Romeo and Juliet face the consequences of their actions. For example, in the first balcony scene in the middle of the play Romeo and Juliet speak using kind and gentle words, their lines are also in rhyme showing a sense of purity. “O, speak again, bright angel, for thou art As glorious to this night, being o’er my head, As is a winged messenger of heaven” (2, 2, 26-29) This language is far different from the text in the ending where the words are harsh and fearful “Death, that hath sucked the honey of thy breath, Hath had no power yet upon thy beauty” (5,3,92) While in both of these lines Romeo is discussing Juliet’s beauty, the language is much sharper and even darker in it’s intent towards the end of the show. The word “sucked” to me holds a negative connotation different than the words “bright” and “glorious”. Obviously, the content of the chapters are different, though it still shows the contrast between the ideas of love and violence throughout the play. 

This to me expresses an important aspect of Romeo and Juliet. As mentioned above the show tackles a theme of love overcoming all obstacles, though I don’t think this is the true intent of the patterns, character changes, and images of the show. What we talked about in class proves to me that Shakespeare wasn’t simply telling a story about love, but drawing inspiration from the injustices and cruelty he saw in his own community. I believe Shakespeare was drawing attention to unfortunate truth of his world. The depth we were able to draw from just simply the structure of the play validates an idea of strong intent in the text. The foreshadowing used and powerful character contrasts having to do with both power (Juliet and Lord Capulet) or gender (Paris and Juliet) justify the concept of the story mirroring Shakespeare’s perspective on love and society. I believe this is crucial in analyzing Romeo and Juliet as more than a romance but a story with a web of characters bridged by morals, conflict, violence and love. 

Acts Four and Five Notes

Act Four:

Scene 1:

• Does Paris see the marriage as truly just a financial contract or does he care about?
• He wants her mourning period to end because he thinks it's about Tybalt, though how does he believe rushing the marriage will help?
• Friar Laurence knows the true reason Juliet is sad, is he less of a holy person for lying and helping the two?
• Paris is somewhat condescending/arrogant towards Juliet, she is annoyed by this
• She reminds him that they are not yet married, couldn't her attitude be dangerous??
• Juliet threatens to kill herself rather than marry Paris, this is extremely intense, though the way the play is set up with death and love, the suicide is believable 
• Juliet begs Friar Laurence for help, does he do it because he wants to help or because he doesn't want Juliet to kill herself?
• Juliet is desperate in this scene, I can imagine her on her knees begging Friar Laurence to help, she truly has chosen Rome over her family
• Friar's plan- Juliet agrees to marry Paris, though the night before the wedding she will drink a sleep potion (Science, magic vs Religion) this is where the flowers/science of Friar Laurence becomes intricate in the plot not just Friar Laurence as a character
• She will be buried in the Capulet tomb and Friar will send Romeo in to wake her and they will live together in Mantua
• Juliet and Romeo will live without their family forever.. Their love is the only thing they are thinking about, their cities, their families' grief, all of this isn't apart of their decision making, could this be seen as selfish?
• Juliet leaves Friar with the sleeping potion

Scene 2:

• Juliet returns home to find her family preparing for the wedding
• She apologizes for her disobedience, she knows her family will think she is dead so she wants a clear conscious when she's gone?
• Wedding is moved up a day to tomorrow 
• Lady Capulet and Lord Capulet seem more excited than Juliet could ever be for the marriage

Scene 3:

• Juliet requests to spend her last night alone
• She contemplates the trustworthiness of the potion and Friar Laurence
• She worries she may die or wake too soon, she is afraid of the consequencesShe has a has a vision/dream/out of body experience where she sees Tybalt's ghost looking for revenge on 
• Romeo
• She begs Tybalt to leave Romeo alone, maybe this is foreshadowing of the lover's doom full end and death
• She drinks the potion and falls asleep

Scene 4-5:

• The Capulet home is filled with joy which is contrasted by the wailing of the Nurse when Juliet is found
• Her parents also wail and the home becomes filled with sorrow
• When Paris arrives he joins the sadness
• Friar Laurence consoles the family telling them how Juliet was beautiful and will be remembered
• The Capulet servant Peter forces the musicians to play a piece to lighten the mood

Act Five:

Scene 1:

• Romeo has a dream/vision that he is dead but Juliet kisses him back to life, interesting contrast from the nightmare Juliet had about Tybalt
• Balthasar tells him that Juliet is dead, "Then I defy you, stars"
• Romeo plans to return to Verona, Balthasar is worried about him and is afraid of him acting irrationally
• Romeo purchases a potion from an Apothecary when he is so desperate and distraught, he plans to kill himself with it

Scene 2:

• Friar Laurence discovers that's Friar John couldn't deliver the letter to Romeo because they thought he had the plague
• He orders Friar John to open the tomb so someone will be with Juliet when she wakes up from her sleep
• Friar Laurence sends another letter to Romeo in an attempt to explain the scenario

Scene 3:

• Paris enters the churchyard and with a servant and begins putting flowers around Juliet's grave, maybe he really did love her?
• When he hears someone coming he leaves and Romeo enters with a crowbar and the intention of seeing Juliet and getting his ring back
• Paris recognizes Romeo as the man who killed Tybalt and thus infers that since Juliet died from grief, Romeo is indirectly the man who killed her
• He believes Romeo has come to dishonor Juliet and her grave
• Paris draws swords with Romeo
• They fight and Romeo kills Paris, though before he dies he requests to be buried next to Juliet and Romeo says he will make sure it happens
• Romeo enters the tomb with Paris's body and wonders how Juliet can still be so beautiful while dead
• He kisses her then takes his own life with the potion
• Friar Laurence enters the tomb and sees both the men dead, Juliet wakes up right when he arrives
• Friar Laurence tries to convince her to leave with him but she refuses, Friar leaves without her
• In shock to see Romeo dead next to her, she kisses him and stabs herself
• Chaos reigns in Verona after the deaths are exposed
• The prince scolds the families saying how their violence brought this death
• The prince says how there will never be a story "more woe"