莎翁情史
莎翁情史观后感分析主角
莎翁情史观后感分析主角《莎翁情史》是一部描写莎士比亚生平的小说，通过对主角莎士比亚情感世界的展现，揭示了他的爱情观和人生观。
本文将从主角的成长与变化、情感体验以及与其他人物的关系等方面进行分析，并就此进行个人观后感的总结。
首先，莎士比亚是一个非常有天赋的戏剧家和诗人，同时也是一个追求爱情的浪漫主义者。
他在小说中展现出了情感的丰富与变化。
莎士比亚在情感上经历了从初恋到成熟的转变。
在他的青年时期，他对爱情充满了幻想和追求，通过写诗和戏剧来表达自己的爱意。
然而，随着年龄的增长和生活经历的积累，他逐渐发现了现实并开始理解了爱情的复杂性。
莎士比亚的成长与变化与他身边的人物密切相关。
他与不同的女性有过多次的感情纠葛，包括他的初恋Annie和他的妻子Anne。
通过与这些女性的感情交往，莎士比亚逐渐认识到了爱情的多变和无法捉摸的本质。
这种感情的变化和颠沛流离，不仅在莎士比亚的作品中有所呈现，也直接影响了他个人的情感观和生活态度。
在小说中，莎士比亚与其他人物的关系也展示出了他的情感特点。
与他人的亲密关系在莎士比亚的情感成长中起到了重要的作用。
他与父亲的关系给了他安全感和信心，而与儿子的血缘关系则增加了他的责任感和家庭情感。
此外，莎士比亚与戏剧团队成员之间的合作也培养了他在创作上的思维和情感的表达方式。
通过对莎士比亚情感观后感的分析，可以得出这样的结论：莎士比亚是一个充满情感与浪漫的人。
他在创作和人生中都表现出了对爱情的追求和深入思考。
通过对他与不同女性之间的感情矛盾的描写，可以看出他对于爱情的理解逐渐成熟。
他通过写作和戏剧来表达自己的情感，寻找内心的坚持和愿望。
在我个人看来，莎士比亚的情感观和人生观给我带来了深刻的启示。
我从他的作品中学到了不同情感的表达和理解方式。
同时，他对于爱情的思考也让我意识到了爱情并非一成不变，而是需要不断调整和成长的。
在今天这个快节奏的社会中，很容易迷失在爱情的世界中。
而莎士比亚的情感观让我明白了，爱情需要耐心和付出，同时也需要我们不断成长和转变。
莎翁情史_M_诺曼
① 威廉·莎士比亚生于 1564 年 , 卒于 1616 年 , 1593 年他 29 岁 。 — — — 译者 ② 理查德·伯比奇( Richard Burbage , 约 1567 — 1619) , 在英国上演莎 士比亚戏 剧中 主要角色的最早扮演者 。 — — — 译者 ③ 爱德华·艾莱恩( Edward A lleyn , 1566 — 1626) , 伊丽莎白时代戏 剧舞台上最 杰出 的演员之一 , 在 C . 马洛的戏剧中扮演主角 , 与剧院经 理 P . 亨 斯洛的继 女结婚 , 成 为亨 斯洛创建的几家剧院的股东和业主 。 — — — 译者
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被他揉成一团抛向旁边 。 忽然他变得烦躁起来 , 猛地站起身走向 斜顶下他平 时睡觉的地方 , 开始穿靴子 。 正在这时 , 房门打开 , 亨斯洛走了进来 。 他气喘 吁吁 , 脚疼得一跛一拐 。 亨斯洛 : 威尔 ! 我的剧本 怎么 样 了 ? 你 是不 是快 写 好了 ? 你已 经在 写 了?( 绝望地) 你已经开了头 ? 威尔( 费力地穿着靴子): 你以为星星不在闪烁 , 太阳不在运行吗 ? 亨斯洛 : 不 , 不 , 我们现在顾不上这个 。 实话跟我说 , 我的剧本怎么样了 ? 威尔( 用手拍着额头 , 向门口走去) : 牢牢地锁在这里哪 。 亨斯洛 : 谢天谢地 ! ( 忽然又感到疑惑) : 锁在那里 ? 威尔 : 只要我找到了我的缪斯女神 … … 外景 , 威尔住所外的街道 , 白天 。 威尔的住处是本城人口密集的地段 。 到处是小贩叫卖着他们的货物 , 报 童兜售着新闻小册子 , 送货人匆 忙送货 , 各色 商贩做 着种种 生意 。 威尔 头也 不回地大步向前 , 亨斯洛紧紧追赶 。 亨斯洛( 追上来): 这次又是哪一个 ? 威尔 : 从来就是阿佛洛狄忒 。 亨斯洛 : 阿佛洛狄忒·巴戈特 , 那个拿狗和喇叭当招 牌的女人 ? 威尔 : 亨斯洛 , 你是个没有灵魂的人 , 你怎么能理解空虚的心 灵需要精神 的寄托 ? 亨斯洛 : 好 , 我没 有灵魂 , 而且 倒霉 透顶 。 这 场瘟 疫弄 得我 的剧 院已 经 12 个星期不开门 , 我的剧团在全英格兰四处流 荡 , 可 人家伯比奇 和宫内 大臣 供奉剧团却被召进宫里 , 演一场你的戏领到 10 个金镑 , 可你的戏是给 我的剧 院写的呀 , 你是我的作者 , 你刚出道时全仰仗我的扶持呀 … … 威尔 : 我的哪一出戏 ? 是驼背理查 ①吗 ? 亨斯洛 : 不 , 人家要喜剧 , 威尔 ! 是喜剧 ! 就像罗密欧和埃塞尔那样的 ! 威尔 : 谁写的 ? 亨斯洛 : 没谁写 ! 不是你正在为我写吗 ! 我每月付了你 3 个金镑哪 。 威尔 : 那只是你该付的一半 。《 维洛那二绅士》 的酬金你还欠 着我哩 。
《莎翁情史》的纯朴与靡丽
《莎翁情史》的纯朴与靡丽厘厘厘【期刊名称】《南腔北调：上半月》【年(卷),期】2006(000)007【摘要】<正> 很早就知道这部影片,但是,一直没有选择去看。
原因之一,影片对于莎士比亚感情生活的浪漫描述,那清晰的虚构和粗糙的解释,是可以望得见,可以触模到的。
从剧照和情节梗概来看,是纯粹的对于莎士比亚内心世界的假设和浮泛泡沫般的想像。
让人觉得,这不过是一个邻家女孩对于一个漂亮、整洁、让人幻想的幽深花园善意的揣度和猜测,应该与我们喜爱的大师的表象与内心真实相去甚远。
就像是隔岸纷纭的景色,雾霭弥漫之中,那美丽曲折的地方,普通的路人,只想像着一些野草闲花、山川河流,谁能知道那寂静安详的地方有着怎样的波动与跌宕,又有着怎样的沧海桑田和永恒回望?一个淡淡的早晨,我坐下来仔细观赏了这部影片。
影片编织了这样一个有点传奇的故事:英国女皇伊丽莎白一世时期,莎士比亚,一个年轻苦恼的剧作家,在灵感的坠落之中不安地挣扎着。
枯竭干燥的艺术源泉,使莎士比亚几乎变成了一条冲上河岸的鱼。
在剧院老板的一次选择演员的活动之中,贵【总页数】1页(P27-27)【作者】厘厘厘【作者单位】【正文语种】中文【中图分类】J905【相关文献】1.《莎翁情史》:一个经典爱情故事的巧妙重述 [J], 侯夏雯2.媒介融合时代的莎士比亚传播——以电影《莎翁情史》为例 [J], 张慧宇3.《莎翁情史》对伊丽莎白时代的越界书写 [J], 隋丹4.《莎翁情史》与“缪斯女神”的风花雪月 [J], 赵凤云5.元戏剧与《莎翁情史》中的身份表演 [J], 张罗因版权原因，仅展示原文概要，查看原文内容请购买。
莎翁情史英文
Shakespeare In LovePart ⅠBasic information of the film(by :霍婷婷)Shakespeare in Love is a 1998 British-American romantic comedy-drama film directed by John Madden, written by Marc Norman and playwright Tom Stoppard. The film depicts a love affair involving playwright William Shakespeare(Joseph Fiennes) at the time that he was writing the play Romeo and Juliet. The story is fiction, though several of the characters are based on real people. In addition, many of the characters, lines, and plot devices are references to Shakespeare's plays. Shakespeare in Love won seven Oscars, including Best Picture, Best Actress (Gwyneth Paltrow) and Best Supporting Actress(Judi Dench).Introduction of the filmChinese name:《恋爱中的莎士比亚》或《莎翁情史》English name:Shakespeare in loveProduction area:the United StatesDirector:John MaddenWriter:Marc Norman Tom StoppardStyle:romance,gut,comedy,historyLength:123minRelease time:12/03/98Grade:USA:RLanguage:EnglishTint:multi-coloredCast∙Joseph Fiennes as William Shakespeare∙Gwyneth Paltrow as Viola de Lesseps∙Colin Firth as Lord Wessex∙Ben Affleck as Ned Alleyn∙Geoffrey Rush as Philip Henslowe∙Judi Dench as Queen Elizabeth I.∙Tom Wilkinson as Hugh Fennyman∙Rupert Everett as Christopher 'Kit' Marlowe∙Imelda Staunton as Nurse∙Daniel Brocklebank as Sam Gosse|Juliet∙Antony Sher as Dr. Moth∙Martin Clunes as Richard Burbage∙Simon Callow as Edmund Tilney∙Jim Carter as Ralph Bashford∙Jill Baker as Lady de Lesseps∙Patrick Barlow as Will Kempe∙Mark Williams as Wabash∙Simon Day as First Boatsman∙Joe Roberts as John WebsterProductionThe original idea for Shakespeare in Love came to screenwriter Marc Norman in the late 1980s. He pitched a draft screenplay to director Edward Zwick. The screenplay attracted Julia Roberts who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz & Guildenstern Are Dead).The film went into production in 1991 at Universal Pictures, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Julia Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin. The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay. Eventually, Zwick got Miramax interested in the screenplay, but Miramax chose John Madden as director. Miramax boss Harvey Weinstein acted as producer, and successfully persuaded Ben Affleck to take a small role as Ned Alleyn.The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play. References to Shakespeare's workThe main source for much of the action in the film is Romeo and Juliet.Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty . In addition, the two lovers are equally "star-crossed" — they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while Shakespeare himself is poor and already married). There is also a Rosaline, with whom Will is in love at the beginning of the film.Many other plot devices used in the film are common in various Shakespearean comedies and in the works of the other playwrights of the Elizabethan era: the Queen disguised as a commoner, the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery, the appearance of a "ghost", and the "play within a play".The film also has sequences in which Shakespeare and the other characters utter words that will later appear in his plays:∙On the street, Shakespeare hears a Puritan preaching against the two London stages: "The Rose smells thusly rank, by any name! I say, a plague on both their houses!" Two references in one, both to Romeo and Juliet; first, "A rose by any other name would smell as sweet" (Act II, scene ii, lines 1 and 2); second, "a plague on both your houses" (Act III, scene I, line 94).∙Backstage of a performance of The Two Gentlemen of Verona, Shakespeare sees William Kempe in full make-up, silently contemplating a skull, a reference to Hamlet.∙Shakespeare utters the lines "Doubt thou the stars are fire, / Doubt that the sun doth move" (from Hamlet) to Philip Henslowe.∙As Shakespeare's writer's block is introduced, he is seen crumpling balls of paper and throwing them around his room. They land near props which represent scenes in his several plays: a skull (Hamlet), and an open chest (The Merchant of Venice).∙Viola, as well as being Paltrow's character in the film, is the lead character in Twelfth Night who dresses as a man after the supposed death of her brother.∙At the end of the film, Shakespeare imagines a shipwreck overtaking Viola on her way to America, inspiring the second scene of his next play, Twelfth Night, and perhaps also The Tempest.∙Shakespeare writes a sonnet to Viola which begins: "Shall I compare thee to a summer's day?" (from Sonnet 18).∙Shakespeare tells Henslowe that he still owes him for "one gentleman of Verona", a reference to Two Gentlemen of Verona, part of which we also see being acted before the Queen later in the film.∙In the boat, when Shakespeare tells Viola, disguised as Thomas Kent, of his lady‘s beauty and charms, she dismisses his praise, as no real woman could live up to the ideal. This is a set up for Sonnet 130, ―My mistress‘ eyes are nothing like the sun‖.Christopher Marlowe appears in the film as the master playwright whom the characters within the film consider the greatest English dramatist of that time — this is accurate, yet also humorous, since everyone in the film's audience knows what will eventually happen to Shakespeare.A reference is also made to Marlowe's final, unfinished play The Massacre at Paris in a scene wherein Marlowe (Rupert Everett) seeks payment for the final act of the play from Richard Burbage (Martin Clunes). Burbage promises the payment the next day, so Marlowe refuses to part with the pages and departs for Deptford, where Marlowe was killed. The only surviving text of The Massacre at Paris is an undated quarto that is too short to represent the complete original play and in all probability it is a memorial reconstruction by the actors who performed the work.The child John Webster who plays with mice is a reference to the leading figure in the Jacobean generation of playwrights. His plays (The Duchess of Malfi, The White Devil) are known for their blood and gore, which is why[citation needed] he says that he enjoys Titus Andronicus, and why he says of Romeo and Juliet when asked by the Queen "I liked it when she stabbed herself."When the clown Will Kempe (Patrick Barlow) says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it," a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy.Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently.InaccuraciesThe film is "not constrained by worries about literary or historical accuracy" andincludes anachronisms such as a reference to Virginia tobacco plantations, when therewas no Virginia.[8] The most apparent deviation from the actual literary history is themade-up play title "Romeo and Ethel" allegedly preceding the present version. In fact,the story of Romeo and Juliet had been invented before Shakespeare (for instance,Arthur Brooke employed it).ReceptionJanet Maslin made the film an "NYT Critics' Pick", calling it "pure enchantment";according to Maslin, the film is "far richer and more deft than the other Elizabethanfilm in town (Elizabeth); she notes "Gwyneth Paltrow, in her first great, fully realizedstarring performance, makes a heroine so breathtaking that she seems utterly plausibleas the playwright's guiding light."[8] According to Roger Ebert, who gave the film fourstars."The contemporary feel of the humor (like Shakespeare's coffee mug, inscribed"Souvenir of Stratford-Upon-Avon") makes the movie play like a contest between"Masterpiece Theatre" and Mel Brooks. Then the movie stirs in a sweet love story,juicy court intrigue, backstage politics and some lovely moments from "Romeo andJuliet"... Is this a movie or an anthology? I didn't care. I was carried along by the wit,the energy and a surprising sweetness."Shakespeare in Love was among 1999's box office number-one films in the UnitedKingdom. The U.S. box office reached over $100 million; including the box officefrom the rest of the world, the film took in over $289 million.AccoladesAward Category Recipient(s) Outcome71st Academy Awards[9]Best PictureDavid Parfitt, Donna Gigliotti,Marc Norman, Harvey Weinsteinand Edward ZwickWonBest Actress Gwyneth Paltrow WonBest Supporting Actress Judi Dench WonBest Art Direction Martin Childs and Jill Quertier WonBest Costume Design Sandy Powell WonBest Original Musical orComedy ScoreStephen Warbeck WonBest Original Screenplay Marc Norman and Tom Stoppard WonBest Director John Madden Nominated Best Supporting Actor Geoffrey Rush Nominated Best Cinematography Richard Greatrex Nominated Best Film Editing David Gamble NominatedBest Makeup Lisa Westcott and VeronicaBrebnerNominatedBest Sound Robin O'Donoghue, DominicLester and Peter GlossopNominated52nd British Academy Film Awards BAFTA Award for Best Film Won BAFTA Award for BestActress in a Supporting RoleJudi Dench Won BAFTA Award for BestEditingDavid Gamble Won BAFTA Award for BestDirectionJohn Madden Nominated BAFTA Award for BestActress in a Leading RoleGwyneth Paltrow Nominated BAFTA Award for Best Actorin a Leading RoleJoseph Fiennes Nominated BAFTA Award for Best Actorin a Supporting RoleGeoffrey Rush Nominated BAFTA Award for Best Actorin a Supporting RoleTom Wilkinson Nominated BAFTA Award for BestCinematographyRichard Greatrex Nominated BAFTA Award for BestOriginal ScreenplayMarc Norman and Tom Stoppard Nominated BAFTA Award for BestMakeup and HairLisa Westcott NominatedBAFTA Award for BestSoundRobin O'Donoghue, DominicLester, Peter Glossop, and JohnDownerNominatedAnthony Asquith Award forFilm MusicStephen Warbeck NominatedBAFTA Award for BestCostume DesignSandy Powell NominatedBAFTA Award for BestProduction DesignMartin Childs Nominated49th Berlin International Film Festival[10]Golden Bear Nominated Silver Bear Marc Norman and Tom Stoppard WonDirectors Guild Outstanding Directorial John Madden NominatedImpact It has been reported by The Sunday Telegraph that the film had an impact on the British Royal Family in prompting the revival of the title of Earl of Wessex , which had been extinct since the 11th century. Prince Edward was originally to have been titled Duke of Cambridge following his marriage to Sophie Rhys-Jones in 1999, the year after the film's release. However, after watching Shakespeare in Love , he reportedly became attracted to the title of the character played by Colin Firth, and asked Queen Elizabeth II to be given the title of Earl of Wessex instead.of America Awards 1998 Achievementin MotionPictures 56thGolden Globe Awards Golden Globe Award for BestMotion Picture – Musical or ComedyWon Golden Globe Award for BestActress – Motion Picture Musical or ComedyGwyneth PaltrowWon Golden Globe Award for Best Screenplay Marc Norman and Tom Stoppard Won Golden Globe Award for Best DirectorJohn Madden Nominated Golden Globe Award for BestSupporting Actor – Motion PictureGeoffrey RushNominated Golden Globe Award for BestSupporting Actress – Motion PictureJudi DenchNominated 5th Screen Actors Guild Awards Outstanding Performance by a Cast in a Motion Picture WonOutstanding Performance by a Male Actor in a Leading Role Joseph Fiennes Nominated Outstanding Performance bya Female Actor in a Leading RoleGwyneth PaltrowWon Writers Guild ofAmerica Awards 1998Best Original ScreenplayMarc Norman and Tom Stoppard Won 1998 New YorkFilm Critics Circle AwardsBest ScreenplayMarc Norman and Tom Stoppard WonThe writers of Shakespeare in Love were sued in 1999 by Faye Kellerman, author of the book The Quality of Mercy. Kellerman claimed that the story was lifted from her book, a detective novel in which Shakespeare and a cross-dressing Jewish woman attempt to solve a murder. Miramax Films derided the claim of similarity as an "absurd...publicity stunt".After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team,but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work.The film's plot also bears a resemblance to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804),[citation needed] in which Shakespeare falls in love with an actress who is playing Richard III.Cultural influence▪The film was spoofed and homaged, along with Star Wars, in the 1999 short film George Lucas in Love.▪The film was seen and frequently interrupted by Brenda Meeks in Scary Movie.Stage adaptationIn October 2011 the show-business paper Variety reported that Disney Theatrical Productions, linked to Miramax through former owners Disney Corporation, intend to mount a stage version of the movie in London. Co-producer will be Sonia Friedmann Productions. The writer will again be Stoppard and he will be joined by director Jack O'Brien and designer Bob Crowley, who worked with Stoppard on his Coast of Utopia trilogy and The Invention of Love.References1^ a b c"Shakespeare in Love (1998)". Box Office Mojo. IMDb. Retrieved 2012-02-19.2^ a b Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 327.3^ Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 328-30.4^ Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 330-1.5^ a b Ebert, Roger (December 25, 1998). "Shakespeare in Love". Chicago Sun-Times. Retrieved 2012-02-16.6^Greenwich 2000 (2010-01-05). "Greenwich England: Deptford".. Retrieved 2010-07-05.7^Probes, Christine McCall (2008). "Senses, signs, symbols and theological allusion in Marlowe's The Massacre at Paris". In Deats, Sara Munson; Logan, Robert A.. Placing the plays of Christopher Marlowe: Fresh Cultural Contexts.Aldershot, England: Ashgate. pp. 149. ISBN0754662047.8^ a b Maslin, Janet (December 11, 1998). "Shakespeare Saw a Therapist?". The New York Times. Retrieved 2012-02-16.9^"The 71st Academy Awards (1999) Nominees and Winners". .Retrieved 2011-11-19.10^"Berlinale: 1999 Prize Winners". Berlinale.de. Retrieved 2012-02-04.11^"AFI's 100 Years... 100 Passions" (web). Retrieved 2012-03-30.12^"AFI's 100 Years...100 Laughs Nominees" (PDF). Retrieved 2012-02-16.13^Richard Eden (12 December 2010). "Royal wedding: Prince William asks the Queen not to make him a duke". The Telegraph. Retrieved 12 December 2010.14^"Novelist sues Shakespeare makers". BBC News. 1999-03-23. Retrieved 2008-06-30.15^"Writer sues makers of 'Shakespeare in Love'".CNN. 1999-03-23. Archived from the original on 2008-04-04. Retrieved 2008-06-30.16^"Closed government". The Spectator. 6 February 1999. Retrieved 2009-04-13.17^Gordon Cox (21 October 2011). "'Shakespeare' to take stage". Variety (London). Retrieved 25 October 2011.External links▪Shakespeare in Love at the Internet Movie Database▪Shakespeare in Love at AllRovi▪Shakespeare in Love at Box Office Mojo▪Shakespeare in Love at Rotten TomatoesOther information1.About the companiesManufacturing company :Bedford Falls Production,USA ;Miramax Films ,USA;Universal Pictures ,USA;Publisher:Alliance Atlantis Communications,CanadaArgentina Video Home (A VH) (Argentina) (VHS)CIC Vídeo(Brazil) (VHS)CIC-Taft Home Video(Australia) (VHS)Columbia Home Video(Brazil) (DVD)Filmes Lusomundo(Portugal)LK-TEL(Argentina) (DVD)United International Pictures (UIP)(2006) (Germany) (theatrical)United International Pictures (UIP) (2006) (Argentina) (theatrical)United International Pictures (UIP) (Argentina)Special design companyThe Magic Camera Company,eng.(visual effects)United Special Effects ,USA (visual effects)Other companies2020 Casting Ltd.eng,extras castingAJM Systems computersARRI Mediacamera rentalAeroshoot Film Services ..... transport managementAir-Edel Associates Ltd. music supervisionAngels & Bermans costumesAnimals Okay animalsAnvil Post Productionfoley mixed atAon Entertainment Risk Services Ltd, production insuranceBBC Wig Store,wigsCheck In for Business ,travel arrangementsChoir of St. George's School, Windsor,group cast membersCine Image Film Opticals Ltd.,(digital front and end titles) (subtitles) Cornejo S.A. ,costumesCostumi d'Arte,costumesFeasible Films,electronic press kitGamba , shoesGioielli L.A.B.A. Roma ,jewelleryHyperactive,editing equipmentLee Lighting Ltd,lightingLondon Editing Machines Ltd,editing equipmentMarquees Over London, marqueesMidnight Transfer,transfersOlswang,legal advisorPompei Vidéo,shoesRay Marston Wig Studio,wigsSapex Scripts,post-production scriptsSet Meal,cateringShaun Webb Design,titlesShepperton Sound , sound re-recording mixingSony Classical,soundtrack published byStudios CTS,music recorded and mixed atSylvia Wheeler Film Services,negative cuttingTelefilm,transfersThe Machine Room,transfersTurk Film Services Ltd,boatsWitney Marquees,marquees2,About the film makingBreadth :35mm film deformation widescreenaudio mixing:Dolby Digital surround soundRating number:Rated R for sexuality.Grade:Portugal:M/12 Canada:G Argentina:13 Australia:M UK:15 France:U Peru:14 USA:R Canada:PG Sweden:7 Italy:T Hong Kong:IIB Chile:14 Canada:14 Finland:K-12/9 South Korea:18 Singapore:R Canada:AA Ireland:15 Germany:6 Netherlands:AL Singapore:M18 Canada:14A New Zealand:M Hungary:14 Switzerland:12 Denmark:7All right reserved:Miramax Films Corp. and Universal StudiosShooting date:March,1998Camera:Arriflex CamerasPanaflex Cameras and Lenses by Panavision:35 mm (Kodak)3.About Joseph FiennesHis full name is Joseph Twisleton Wykeham Fiennes.He is an English film and stage actor. He is perhaps best known for his portrayals of William Shakespeare in Shakespeare in Love, Sir Robert Dudley in Elizabeth, Commisar Danilov in Enemy at the Gates, Martin Luther in Luther, Merlin in Camelot, and his portrayal of Mark Benford in the 2009 TV series FlashForward.CareerStage and filmHis first professional stage appearance was in the West End in The Woman in Black, followed by A Month in the Country opposite Helen Mirren. Fiennes then became a member of the Royal Shakespeare Company for two seasons.He made his television debut as Willy in The Vacillations of Poppy Carew. His first feature film was 1996's Stealing Beauty, co-starring Liv Tyler. In 1998, Fiennes appeared in two films that were nominated at the Academy Awards: he played Robert Dudley opposite Cate Blanchett in Elizabeth and he portrayed William Shakespeare opposite Gwyneth Paltrow in Shakespeare in Love, which won the Academy Award for Best Picture. He and Paltrow were reunited onscreen in Running with Scissors (2006). In 2002 he starred in the independent film, Killing Me Softly.In 2003 he lent his voice as Proteus in the DreamWorks animated film Sinbad: Legend of the Seven Seas opposite Brad Pitt. The same year he starred in the limited-release film Luther, playing Martin Luther, and he also appeared in The Merchant of Venice, in which he portrayed Bassanio. Fiennes returned to the theatre in 2006 to perform in the one-man play Unicorns, Almost about World War II poet Keith Douglas at the Old Vic.In 2006, he appeared in the films The Darwin Awards and Goodbye Bafana. Goodbye Bafana was filmed by director Bille August in South Africa, and released in 2007. Fiennes portrayed James Gregory, author of the book Goodbye Bafana: Nelson Mandela, My Prisoner, My Friend.TelevisionFiennes starred in the ABC science fiction series FlashForward, which debuted on 24 September 2009 and ran through 27 May 2010, as Mark Benford. Fiennes stars inStarz's 10-part series, Camelot, as the wizard Merlin.4.About Gwyneth PaltrowGwyneth Kate Paltrow is an American actress and singer. She made her acting debut on stage in 1990 and started appearing in films in 1991. After appearing in several films throughout the decade, Paltrow gained early notice for her work in films such as Seven(1995) and Emma(1996) (in which she played the title role). Following the films Sliding Doors (1998) and A Perfect Murder (1998), Paltrow garnered worldwide recognition through her performance in Shakespeare in Love(1998), for which she won an Academy Award for Best Actress, a Golden Globe Award and two Screen Actors Guild Awards, for Outstanding Lead Actress and as a member of the Outstanding Cast. She also won an Emmy Award for Outstanding Guest Actress in a Comedy Series in 2011 for her role as Holly Holliday on the Fox hit TV show Glee in the episode "The Substitute".Paltrow has portrayed supporting as well as lead roles in films such as The Talented Mr. Ripley(1999), Shallow Hal(2001), and Proof(2005), for which she earned a Golden Globe nomination as Best Actress in Motion Picture Drama. Since 2008, she has portrayed Pepper Potts in the Marvel Cinematic Universe, starring in Iron Man and its sequel, Iron Man 2 (2010), and also appearing in The Avengers (2012). Paltrow has been the face of Estée Lauder's Pleasures perfume since 2005. She is married to Chris Martin, the lead vocalist of Coldplay. They have two children together, Apple and Moses. She is also the face of American fashion brand Coach, owner of the lifestyle company and author of the cookbook My Father's Daughter: Delicious, Easy Recipes Celebrating Family & Togetherness.CareerAfter spending several summers watching her mother perform at the Williamstown Theatre Festival in Massachusetts, Paltrow made her professional stage debut there in 1990. Her film debut followed with Shout (1991), starring John Travolta, and she was cast by Steven Spielberg in his film Hook(1991), as the young Wendy Darling. Paltrow's next roles were in two made-for-television films: Cruel Doubt (1992) and Deadly Relations (1993). Her first plum supporting role in a big-screen film was in the 1993 drama Flesh and Bone, where she played the much-younger girlfriend of James Caan. In the hit thriller Seven(1995), she played Brad Pitt's wife. Paltrow's character was the high school sweetheart of Pitt's, even though she is nine years younger than him in real life. Her performance earned her a Satellite Award nomination. Also in 1995, she appeared in Moonlight and Valentino and Jefferson in Paris.1996–2001: Breakthrough and film stardomPaltrow's first role as the central lead was the title role in Emma (1996), for which she received critical acclaim. She had leading roles in several films throughout 1998, including Sliding Doors and the adaptation of the Charles Dickens novel Great Expectations with Ethan Hawke, Robert De Niro, Anne Bancroft and Chris Cooper. She also appeared in two thrillers, Hush opposite Jessica Lange and A Perfect Murderinspired by Alfred Hitchcock's 1954 film, Dial M for Murder. Paltrow appeared opposite Michael Douglas as Emily Taylor, based on Grace Kelly's character from the original film, though the film was met with mixed reviews.In 1998, Paltrow starred in Shakespeare in Love, portraying the fictional lover of William Shakespeare, played by Joseph Fiennes. The film earned more than US$100 million in box office receipts in the United States, and Paltrow gained critical acclaim for her portrayal. Entertainment Weekly commented, "Best of all is Gwyneth Paltrow, who, at long last, has a movie to star in that's as radiant as she is." The New York Times summed up her turn as Viola as such: "Gwyneth Paltrow, in her first great, fully realized starring performance, makes a heroine so breathtaking that she seems utterly plausible as the playwright's guiding light." The award-winning Shakespeare in Love earned Paltrow the award for Outstanding Performance by a Female Actor in a Leading Role from the Screen Actors Guild, the Golden Globe Award for Best Actress[24] and the Academy Award for Best Actress, among other honors.[23] Her Pink Ralph Lauren dress worn at the 71st Academy Awards in collecting her Oscar was extremely popular and was credited for bringing pink back into fashion.In 1999, Paltrow co-starred alongside Jude Law, Matt Damon and Cate Blanchett in The Talented Mr. Ripley, which earned $80 million domestically and received positive reviews.She showcased her singing ability in 2000's Duets, which was directed by her father and co-starred singer Huey Lewis. The same year, Paltrow co-starred with Ben Affleck in the romantic drama Bounce as Abby Janello. In 2001, she played Margot Tenenbaum as part of an ensemble cast in the Wes Anderson film The Royal Tenenbaums and starred with Jack Black in the comedy Shallow Hal, where she had to wear a specially designed 25-pound fatsuit and heavy make-up.2002–2007: Career downSince the Oscar for Shakespeare in Love, Paltrow's film success has been less noteworthy. She said she was unequipped for the pressure, leading to several bad movie choices,agreeing with peers who believe the win is, in some ways, a curse.During this time, Paltrow rarely appeared in films, having taken a career hiatus to raise her family.In The Guardian, she said she divided her career into movies for love and films for money: The Royal Tenenbaums, Proof, and Sylvia fell into the former category, while she did View from the Top and Shallow Hal for the latter. In 2004, she appeared in the science-fiction film Sky Captain and the World of Tomorrow opposite Jude Law. The same year, she was recognized as an outstanding woman in entertainment by Women in Film Los Angeles with the Crystal Award. In 2005, she appeared in the film Proof as the depressed daughter of a brilliant, eccentric mathematician. The movie is based on the play of the same name, in which Paltrow also played the same character at London's Donmar Warehouse in 2002. For her performance Paltrow earned her second Golden Globe nomination for Best Actress –Motion Picture Drama. In 2006, she had small roles in Running With Scissors and Infamous, in which she sang Cole Porter's "What Is This Thing Called Love?". 2008–present: Career comeback。
莎翁情史观后感
莎翁情史观后感《莎翁情史》观后感《莎翁情史》是一部由莎士比亚改编的经典舞台剧，该剧以莎士比亚戏剧中的爱情故事为基础，融入了现代元素和情感维度，展现了人性的复杂与矛盾。
剧中的角色塑造和情节设计极具深度和张力，给观众带来了强烈的触动和共鸣。
演员们的精湛演技与导演的精心布置相互呼应，共同打造了这部引人入胜的作品。
首先，这部戏的剧情设置了一个时代背景，融合了莎士比亚戏剧中的历史和现实元素。
观众可以看到不同的社会阶层和文化背景的人们之间发生的爱情纠葛。
这使得整个剧情更具复杂性和真实性，不再像莎士比亚时期的剧作那样只关注贵族的爱情。
剧中的人物形象塑造也非常出色。
角色的个性、行为和情感反应都异常真实，观众可以很容易地理解他们的内心世界。
这让我产生了一种强烈的共鸣，仿佛能亲身感受到他们的欢乐、痛苦和困惑。
例如，在剧中，女主角朱丽叶在她的父母安排的婚姻中不情愿地与一个她不爱的男人结婚。
她被迫面对社会的压力和亲情的纠葛，她的内心矛盾和挣扎触动了我。
观众可以看到这个角色在不同的情绪和局势下的演变与成长，这让人心疼也让人敬佩。
此外，剧中的爱情描写也非常精彩。
不同的爱情关系，如朱丽叶和罗密欧、奥菲莉亚和哈姆雷特，都展现了不同的爱情形式和个性化。
这些爱情故事深入人心，触动了人们对爱情的思考和理解。
它们展示了爱情的美好与痛苦，同时也反映了现实中人们在爱情中的选择和矛盾。
通过观看《莎翁情史》，我深深体会到莎士比亚作品的魅力所在。
他超凡的文笔和对人性的洞察让这些经典戏剧依然具有强大的感染力。
《莎翁情史》将莎士比亚戏剧与现代元素相结合，成功地延续了这一传统，并以全新的方式呈现给观众。
尽管我无法将莎翁戏剧的精髓完全表达在这篇观后感中，但我相信每个观众在观看《莎翁情史》时都会被深深吸引。
这部作品让人思考人性的复杂性和矛盾性，也让人感受到爱情的美好与痛苦。
它是戏剧艺术的杰作，值得我们细细品味和欣赏。
总之，《莎翁情史》给我留下了深刻的印象。
[莎翁情史]莎翁
![[莎翁情史]莎翁](https://img.taocdn.com/s3/m/611def0e854769eae009581b6bd97f192279bf80.png)
[莎翁情史]莎翁(1) [莎翁]梁实秋散文《莎翁夫人》品读引导语：梁实秋是中国著名的散文家、翻译家，是国内第一个研究莎士比亚的权威，下文是他的散文《莎翁夫人》，我们一起来阅读学习。
五十八年十一月廿四日报载：(中央社英国斯特拉福顿二十二日合众国际电)今天一场大火烧毁了莎士比亚夫人童年故居的三分之一，但官员们希望能在明年游季以前，及时修复损坏部份。
莎士比亚纪念中心主任福克斯说，调查证明火灾是因电线走火而起，他又说，纵火的可能性“并未排除”。
福克斯称赞救火员，拯救了一座最具历史性，保存了五百年的茅草屋顶的农舍，该农舍自一八九二年来，则为英国重要的名胜。
据推测在十六世纪末期，哈塔威小姐嫁给莎士比亚以前，一直居住在那里。
每年大约有二十五万人参观该农舍。
莎翁夫人安·哈塔威是一个不幸的女人。
她比莎士比亚大八岁。
莎氏在《第十二夜》第二幕第四景写下这样的句子：女人永远要嫁一个比她大些的，她才能适合他，才能在她丈夫心里保持平衡。
女人像玫瑰，美丽的花儿一经盛开立刻就谢。
这一段话也许是有感而发的罢莎氏夫人在婚前就已怀孕，所以在降临节(Advent)前几天匆匆忙忙的请求教会举办手续，而且迫不及待的请求特准免去三次预告的手续，因为降临节一开始直到封斋期是不准结婚的。
在伊利沙白时代，订婚即具有法律约束力，婚礼是可以展缓举行的，所以在婚前的性关系并不违法，但与善良风俗究竟不合，而且在双方心理上将永远是一个负担，将觉得婚姻(至少那婚礼)是被逼迫举行的。
哈塔威一家人有清教的倾向，清教徒厌恶剧院，而莎士比亚正好走上戏剧一途，不仅是作者，而且是演员，这志趣的不调和在婚姻上必有很大影响。
所以莎士比亚一去伦敦，二十余年从来没有把妻子接到城里去同居，——这是不寻常的事。
莎氏在伦敦黑僧剧院附近置产，想尽方法使将来不至于落入妻室之手。
莎氏遗嘱留赠给妻的东西是“我的次好的一张床”，即是他死时睡着的那张床。
有人说“次好的床”表示亲热，因为那时代家中最好的床通常是预备客人睡的。
莎翁情史
繁华而惨淡的爱情——————影片《莎翁情史》观后感莎士比亚是文学史上公认的大师，他的作品流传至今已有近五百年，对世界文学及文化的影响深远，但是他一生的故事却仍是一个谜，世人对他的了解并不多，甚至有人认为并没有这个人的存在。
影片《莎翁情史》以假想的《罗密欧与茱丽叶》的诞生过程为线索，向观众讲述了一个真正的爱情故事，它如此完美，足以抵挡一切世俗的阻隔、强权的压迫。
真正的莎翁在这里反倒成为了一个符号，成为故事发生的背景。
1593年的夏天，伦敦剧场界的闪亮新星威廉莎士比亚面临一个重大的危机，他失去写作的灵感，伟大的莎翁却江郎才尽，不管他用什么方法，不管剧场老板和债主给他多大的压力，他就是没有创作下一出戏的灵感和动力，这出戏叫作「罗密欧与海盗之女阿丝」。
莎士比亚需要一名女神激发他的灵感，没想到现实生活竟然反映他的创作，他爱上一个女孩，并将他带入他自己写的戏剧之中。
一名薇拉夫人不顾当时女人不能粉墨登场的禁令，假扮成男人，前去剧场为莎士比亚试演，不过年轻的莎翁很快就发现她是女人，他们俩立刻坠入爱河，这时候莎翁的灵感如泉涌，将他们的爱情付诸成文字，薇拉成为他生命中的茱丽叶，而他这个罗密欧也找到生存的意义。
可是莎翁的运气没那么好，虽然他下笔如神，可是他却得面对薇拉必须嫁给魏瑟爵士的残酷事实。
《罗密欧与茱丽叶》获得空前成功，薇奥拉如愿以尝与男爵解除婚约，但薇奥拉最终离去，他们终于没能走到一起。
这场义无反顾，超越现实的爱情，没有留下完美的结局。
留有一丝希望的结尾或许是为了满足观众的需要。
一场爱情何以无法完美无缺？发人深省。
也许是让我们去享受爱情的过程，而不是它的结局。
莎士比亚将自己经历的现实写进了《罗密欧与朱丽叶》，为了与相爱的人在一起，他们做了许多努力与斗争，然而家族深积的仇怨同女王的命令一样可怕且无法改变。
最终莎士比亚认清了，在强大力量的压迫下，坚贞的爱情是无法实现的。
他失败了，正如罗密鸥与朱丽叶无法冲破家族仇恨一样，他也无法与相爱的人长相厮守，这样的苦痛这样的痛心更胜于死亡。
《莎翁情史》影评
《莎翁情史》影评——轻巧所不能承受之重首先我想说的是，《莎翁情史》是一部好片。
它不是杰作更不是神作，而且它的风格也注定没办法使其变得宏大抑或震撼人心。
但不可以否认的是，它的的确确是一部好片。
这不是一部传记片，它的核心是迸发的灵感是那种激烈的喷薄欲出的爱，这也是编剧和导演共同想要抓住的亮点。
也因为如此，影片的整体基调诙谐轻松不带有正剧的严肃和刻板，这使得影片雅俗共赏，没有任何的门槛很轻松的就将观众带入故事发生的时代中。
就像《寻找梦幻岛》一样，《莎翁情史》聚焦的不是莎翁这个人，所以影片没有深入的人物刻画，没有任何的情感升华，导演也没有赋予影片一种高贵的悲剧感。
它只是追寻莎士比亚的灵感迸射带着观众一同去看著名的《罗密欧与朱丽叶》的诞生。
这是一个很出色的创意和想法，也是一个很讨喜的切入口，省去了对人物心里纠结痛苦的心路写照，呈现的是一出幽默讨喜有趣的喜剧。
虽然影片中时不时会响起只有历史剧情片才有的恢弘的配乐，也时不时的会渲染一种悲伤和营造悲剧的气氛，但影片的整体基调是诙谐的。
也因为如此，《莎翁情史》在影史中注定不尴不尬，它不可能像《莫扎特》一样高雅有趣，又深刻迷人；也不会像《甘地》，《阿拉伯的劳伦斯》或是《末代皇帝》一样，给予观众一个饱满的极为深刻的人物，当然它也同样无法达到他们的艺术高度。
这或许是这部影片的宿命，一个出色的创意和定位使得这部影片让人眼前一亮心情舒坦但也是这个定位使得它弱小的身躯没办法支撑过多的荣誉，并在影史中兀自隽永。
说到这部影片，创意和剧本是一个亮点，而另一个不得不提的亮点便是出众的集体表演。
朱迪丹奇，杰弗里拉什，汤姆威金森，伊梅尔达斯文顿。
何所谓老戏骨，看看这部影片就知道了，这部影片中没有一个角色是深刻的，但是这些老戏骨就是有办法凭借自身修养将一个个无所依据的配角演的诙谐有趣到令人由衷赞叹。
由于这是一部喜剧，表演也就没必要太过严肃，于是乎，老戏骨们便奉献出怯弱，神经质，尖刻，飞扬跋扈等各种各样讨人喜爱的表演。
永恒的爱(看莎翁情史)
永恒的爱莎士比亚说过：爱是没有阶级之分的，皇后与可怜的流浪汉之间也会擦出火花。
爱情是很神圣的。
有人说，爱一个人不一定要和他在一起，但我觉得，相爱的人要有勇气在一起，《莎翁情史》就是这样的。
《莎翁情史》讲述了1593年夏天，作为新晋剧作家的威廉·莎士比亚此时面临才思枯竭的窘境，创作《罗密欧与海盗之女埃塞尔》的过程也不尽如人意。
此时的他毫无激情可言，生活陷入迷惘！伯爵之女维奥拉热爱表演，而当时的英国社会却不允许女子出现在戏剧表演中，维奥拉不得不女扮男装去参加莎士比亚戏剧的面试。
而两人的爱情就起源于一场漫长的追逐。
当维奥拉假扮成一个男子前来应征演员的时候，莎士比亚似乎有所察觉，他试图拦住这个化名汤玛士·肯德的“男子”，但心中早已暗藏的仰慕之情却使得“他”如同受惊的鸟儿一般落荒而逃。
之后二人就陷入了热恋。
这时候莎翁的灵感如泉涌，将他们的爱情付诸成文字，薇拉成为他生命中的茱丽叶，而他这个罗密欧也找到生存的意义。
可是莎翁的运气没那么好，虽然他下笔如神，可是他却得面对薇奥拉必须嫁给魏瑟爵士的残酷事实。
她在给莎士比亚的书信中悲苦地写道：“请你忘记我。
这是女皇的旨意，是身为女皇子女应尽的义务。
”而在父母出游的三个星期里，维奥拉一如既往地前往剧院进行排练，爱情在隐秘的角落里继续滋长。
而后她的身份被拆穿，剧院面临被查封的命运，由此进入影片最后一场长达三十分钟的戏，讲述《罗密欧与茱丽叶》初次上演的情境。
接下来发生的一切让人愉悦：《罗密欧与茱丽叶》获得空前成功，维奥拉如愿以尝与男爵解除婚约，莎士比亚得到女皇的另眼相看……。
唯一的遗憾是，维奥拉最终离去，他们终于没能走到一起。
的确很遗憾。
莎士比亚和维奥拉在一开始就知道他们的爱情没有结局，但他们还义无返顾的在一起。
我并不想对西方某些国家的风俗说什么，但是我还是接受不了维奥拉就这样把自己交给了一个拖家带口的男人。
（这句可以忽略）但他们的爱情还是很，不说伟大至少是令人难以忘记的。
莎翁情史（共5篇）
莎翁情史（共5篇）第一篇：莎翁情史《莎翁情史》读后感这部影片讲述的是莎士比亚在创作《罗密欧与朱丽叶》的时候与薇奥拉的感情生活，莎士比亚的爱情成就了他日后所有的伟大著作。
同时，在这部影片中运用了艾布拉姆斯的文学构成四要素——世界、作者、作品和读者。
首先，文学活动所反映的是主要世界和客观世界，客观的自然作为文学活动的构成世界，必须经过人的观察、体验、分析、研究等，与人的思想感情发生这样那样的关系，最终成为文学活动所反映的世界。
即使主观想象的超验世界等，也都是人对客观世界不同形态的折射。
在《莎翁情史》这部影片中，莎士比亚创作的《罗密欧与朱丽叶》其实就是对于他的生存环境的经历的一个展现。
本片讲述了两段爱情，但是其实只是一段爱情，舞台上的罗米欧与朱丽叶的爱情完全是莎士比亚和薇奥拉爱情的衍生品。
一个女孩从小生长在富足的贵族家庭中，虽是独生女，但是她却感受不到父母的疼爱和理解，唯一可以听他诉说心事，愿意帮助她，宠爱她的就只有最亲近的奶妈。
面对的都是权势，金钱买卖，这一切在她看来都很肮脏，生活中逃离不了，她便开始追求在戏剧中感受人性的感情，爱情，即使她明知是虚假的，她也情愿永远做那个梦，永不醒来。
面对莎士比亚，一个创造了这个美梦给她的人，一个让她觉得自然不是假，有真爱存在的人，这燃起了二十年来人生新的希望，活着不是为了责任，不是为了女王的命令，哪怕只是短暂的一瞬间，她也愿意用自己整个生命去付出，像如此一个天真，单纯，心灵纯净的女孩儿，她似乎生就是为了等待这份爱情，一份，抓不住但却可以永远的爱情。
《罗米欧与朱丽叶》的结局真是莎士比亚为自己的爱情所设计的最美丽的结局，虽然他们最终死了，但是他们的爱情得到了永恒，得到了世人为他们留下的泪水，也得到了女王的认可，真爱的确是存在的。
其次，在文学活动中，作者也通过文学创作来表达他的感受和感情，并试图以此唤起读者相应的感受和感情。
在西方，变现论强调作者对作品意义的生成作用，模仿论不否认这一点，但是更加强调作品所描写的世界和写作背景。
莎翁情史(Shakespeare in love)纯英对白剧本
1--Henslowe, do you know what happens to a man who doesn't pay his debts? 2--His boots catch fire!3--Why do you howl... when it is l who am bitten?4--- What am l, Mr. Lambert? - Bitten, Mr. Fennyman.5--How badly bitten, Mr. Frees?6--Twelve pounds, one schilling and four pence, Mr. Fennyman, including interest. 7--- Aaah! I can pay you! - When?8--Two weeks! Three weeks at the most! Oh, for pity's sake!9--Take them out.10--Where will you find...11--Sixteen pounds, five schillings and nine pence.12--Including interest, in three weeks?13--- I have a wonderful new play. - Put them back in.14--- It's a comedy! - Cut off his nose.15--It's a new comedy by William Shakespeare.16--- And his ears. - And a share!17--We will be partners, Mr. Fennyman!18--Partners?19--It's a crowd- tickler.20--Mistaken identities. Shipwreck. Pirate king.21--- A bit with a dog, and love triumphant. - I think I've seen it.22--I didn't like it.23--- But this time it is by Shakespeare. - What's it called?24--Romeo and Ethel, the Pirate's Daughter.25--Good title.26--A play takes time. Find the actors, rehearsals.27--Let's say we open in two weeks.28--That's, what, 500 groundlings at tuppence a head.29--In addition, 400 backsides at three pence, a penny extra for cushions.30--Call it, uh, 200 cushions.31--Say two performances for safety. How much is that, Mr. Frees?32--- Twenty pounds to the penny, Mr. Fennyman. - Correct.33--- But I have to pay the actors and the author. - Share of the profits.34--- There's never any- - - Of course not.35--Oh- - Oh, Mr. Fennyman, I think you might have hit upon something.36--Sign there.37--So, Romeo and Ethel, the Pirate's Daughter.38--Almost finished?39--Oh, without doubt he's completing it at this very moment.40--Will. Will!41--Where is my play?42--Tell me you have it nearly done. Tell me you have it started.43--Doubt that the stars are fire, doubt that the sun doth move.44--No, no, we haven't the time. Talk prose.45--Where is my play?46--- It is all locked safe in here. - God be praised.47--Locked?48--- As soon as I find my muse. - Who is she this time?49--She is always Aphrodite.50--Aphrodite Baggot, who does it behind the Dog and Trumpet?51--Henslowe, you have no soul...52--so how can you understand the emptiness that seeks a soul mate?53--Ow! Will!54--I am a dead man, and buggered to boot.55--My theater is closed by the plague these twelve weeks.56--My actors are forced to tour the inn yards of England...57--while Mr. Burbage and the Chamberlain's Men are invited to court...58--and receive ten pounds to play your piece...59--written for my theater, by my writer, at my risk...60--when you were green and grateful.61--- What piece? Richard Crookback? - No! It's comedy they want.62--Like Romeo and Ethel.63--- Who wrote that? - Nobody. You were writing it for me.64--- I gave you three pound a month since. - Half what you owe me.65--I'm still due for One Gentleman of Verona.66--What is money to you and me? I, your patron, you, my wordwright.67--When the plague lifts...68--Burbage will have a new play by Christopher Marlowe for the Curtain.69--- I will have nothing for the Rose. - Mr. Henslowe.70--- Will you lend me 50 pounds? - Fifty pounds?71--- What for? - Burbage offers me a partnership in the Chamberlain's Men. 72--For 50 pounds, my days as a hired player are over.73--Oh, cut out my heart. Throw my liver to the dogs.74--No, then?75--Theaters are handmaidens of the devil!76--The players breed lewdness in your wives and wickedness in your children! 77--And the Rose smells thusly rank by any name!78--I say, a plague on both their houses!79--Where are you going?80--My weekly confession.81--Words, words, words.82--Once, I had the gift.83--I could make love out of words as a potter makes cups of clay.84--Love that overthrows empires.85--Love that binds two hearts together, come hellfire and brimstone.86--For six pence a line, I could cause a riot in a nunnery.87--- But now- - - And yet you tell me you lie with women.88--Black Sue, Fat Phoebe...89--Rosaline, Burbage's seamstress, Aphrodite, who does it behind- -90--Yes, now and again. What of it?91--I have lost my gift.92--I am here to help you.93--Tell me, in your own words.94--I- It's as if my quill is broken...95--as if the organ of my imagination has dried up...96--as if the proud tower of my genius has collapsed.97--- lnteresting. - Nothing comes.98--Most interesting.99--It's like trying to pick a lock with a wet herring.100--Tell me, are you lately humbled in the act of love?101--How long has it been?102--A goodly length in times past, but lately- -103--No, no. You have a wife, children?104--Aye.105--I was a lad of 18.106--Anne Hathaway was a woman half as old again.107--- A woman of property? - She had a cottage.108--- One day she was three months gone with child, so- - - And your relations? 109--- On my mother's side, the Ardens. - No, your marriage bed.110--Four years and a hundred miles away in Stratford.111--A cold bed, too, since the twins were born.112--Banishment was a blessing.113--- So, now you are free to love… - Yet cannot love, nor write it.114--Here is a- - a bangle...115--found in Psyche's temple on Olympus.116--Cheap at four pence.117--Write your name on a paper and feed it into the snake.118--Will it restore my gift?119--The woman who wears the snake will dream of you, and your gift will return. 120--Words will flow like a river.121--See you next week.122--- Now where? - To the palace at Whitehall.123--All right.124--Hello, Will.125--Prithee, Mr. Kempe. Break a leg.126--- You too, good Crab. - Crab's nervous. He's never played the palace.127--When will you write me a tragedy, Will?128--- I could do it. - No, they would laugh at Seneca if you played it.129--There is no dog in the first scene, Mr. Kempe, thank you.130--- How goes it, Will? - I'm still owed money for this play, Burbage.131--Not by me. I only stole it.132--My sleeve wants for a button, Mistress Rosaline.133--Where were my seamstress' eyes?134--- When are you coming over to the Chamberlain's Men? - When I have 50 pounds. 135--- You writing? - A comedy. All but done.136--A pirate comedy.137--- Wonderful. - Bring it tomorrow.138--- It's for Henslowe. He paid me. Ten pounds. - You're a liar.139--- He wants Romeo for Ned and the Admiral's Men.140--- Mmm. Ned's wrong for it.141--Will?142--- Here's two sovereigns. I'll give you another two when I see the pages. - Done. 143--Burbage, I will see you hanged for a pickpocket.144--The queen has commanded it. She loves a comedy.145--And the Master of the Revels favors us.146--And what favor does Mr. Tilney receive from you?147--- Ask him. - She comes!148--Cease to persuade, my loving Proteus.149--Home- keeping youth have ever homely wits...150--were it not affection chains thy tender days...151--When will you write me a sonnet, Will?152--- I've lost my gift. - You left it in my bed.153--Come to look for it again.154--Are you to be my muse, Rosaline?155--Burbage has my keeping...156--but you have my heart.157--You see? The consumptives plot against me.158--Will Shakespeare has a play.159--Let's go and cough through it.160--My father weeping; my mother wailing;161--our maid howling; our cat wringing her hands.162--Y et did not this coldhearted cur...163--shed one tear- -164--You see? Comedy.165--Love, and a bit with a dog.166--That's what they want.167--He is a stone, a very pebble stone...168--and has no more pity in him than a dog!169--A Jew would have wept to have seen our parting.170--Now the dog all this while sheds not a tear, nor speaks a word- -171--Well played, Master Crab!172--I commend you!173--What light is light...174--if Silvia be not seen?175--What joy is joy...176--if Silvia be not by?177--Unless it be to think that she is by...178--and feed upon the shadow of perfection.179--Except I be by Silvia in the night...180--there is no music in the nightingale.181--Unless I look on Silvia in the day...182--there is no day for me to look upon.183--Did you like Proteus or Valentine best?184--Proteus for speaking. Valentine for looks.185--Oh, I liked the dog for laughs.186--Silvia, I did not care for much.187--His fingers were red from fighting...188--and he spoke like a schoolboy at lessons.189--Stage love will never be true love...190--while the law of the land has our heroines being played by pipsqueak boys in petticoats. 191--- Oh, when can we see another? - When the queen commands it.192--No, but at the playhouse. Nurse!193--Be still. Playhouses are not for wellborn ladies.194--Oh! I'm not so wellborn.195--Well- monied is the same as wellborn...196--and well- married is more so.197--Lord Wessex was looking at you tonight.198--All the men at court are without poetry.199--If they see me, they see my father's fortune.200--I will have poetry in my life...201--and adventure.202--And love. Love above all.203--Like Valentine and Silvia?204--No, not the artful postures of love...205--but love that overthrows life.206--Unbiddable, ungovernable, like a riot in the heart...207--and nothing to be done, come ruin or rapture.208--Love as there has never been in a play.209--I will have love, or I will end my days as- -210--As a nurse?211--Oh, but I would be Valentine and Silvia too.212--Oh, good nurse, God save you, and good night.213--I would stay asleep my whole life...214--if I could dream myself into a company of players.215--Clean your teeth while you dream, then.216--Now spit.217--This time the boots are coming off.218--- What have I done? - The theaters have all been closed down by the plague.219--- Oh, that. - By order of the Master of the Revels.220--Mr. Fennyman, allow me to explain about the theater business.221--The natural condition is one of insurmountable obstacles on the road to imminent disaster. 222--- So what do we do? - Nothing.223--- Strangely enough, it all turns out well. - How?224--I don't know. It's a mystery.225--Shall I kill him, Mr. Fennyman?226--The theaters are reopened...227--by order of the Master of the Revels!228--The theaters are reopened!229--Mr. Fennyman. Mr. Tilney has reopened the playhouses.230--If you wouldn't mind.231--Where's the play?232--Oh, it's coming. It's coming.233--It's coming.234--Will!235--Will, I have wonderful news.236--So have l. Romeo and Rosaline, scene one.237--God, I'm good!238--Rosaline? You mean Ethel.239--Richard?240--Burbage!241--Mr. Tilney.242--Like you, I found him not at home.243--I would've made you immortal.244--Tell Burbage he has lost a new play by Will Shakespeare.245--What does Burbage care of that?246--He's readying the Curtain for Kit Marlowe.247--- You've opened the playhouses? - I have, Master Shakespeare.248--- But the plague- - - Yes, I know.249--But he was always hanging around the house.250--The special today is a pig's foot marinated in juniper berry vinegar...251--- served on a buckwheat pancake- - - Will!252--Have you finished?253--Yes, nearly.254--- Good morning, Master Nol. You will have a nice part. - Yes!255--- We'll need Ralph for the pirate king. - Clear that bloody table!256--None other than the Admiral's Men are out on tour.257--I need actors!258--Those of you who are unknown will have a chance to be known!259--- What about the money, Mr. Henslowe? - It won't cost you a penny!260--Auditions in half an hour!261--Ralph Bagswell, I'd have a part for you...262--but, alas, I hear you are a drunkard's drunkard.263--Never when I'm working.264--Never when I'm working!265--Get me to drink mandragora.266--Straight up, Will?267--Give my friend a beaker of your best brandy.268--Kit.269--- How goes it, Will? - Wonderful. Wonderful.270--- Burbage says you have a play. - I have, and the chinks to show for it. 271--I insist. A beaker for Mr. Marlowe.272--I hear you have a new play for the Curtain.273--Not new. My Doctor Faustus.274--Ah. I love your early work.275--"Was this the face that launched a thousand ships...276--and burnt the topless towers of llium?"277--I have a new one nearly finished, and better.278--The Massacre at Paris.279--- Whew. Good title. - Mmm. Yours?280--Romeo and Ethel, the Pirate's Daughter.281--Yes, I know. I know.282--What is the story?283--Well, there's this pirate- -284--In truth, I have not written a word.285--Romeo.286--Romeo is ltalian...287--always in and out of love.288--Yes, that's good. Until he meets- -289--- Ethel. - Do you think?290--- The daughter of his enemy. - The daughter of his enemy.291--His best friend is killed in a duel...292--by Ethel's brother, or something- - His name is Mercutio.293--Mercutio. Good name.294--- Will! They're waiting for you! - Yes, I'm coming.295--Good luck with yours, Kit.296--- I thought your play was for Burbage. - This is a different one.297--A different one you haven't written?298--Was this the face...299--that launched a thousand ships...300--and burnt the topless towers of llium?301--Thank you.302--Was this the face that launched a thousand ships...303--- and burnt the top- - topless towers of llium? - Thank you!304--Was this the face...305--that launched a thousand ships and burnt the topless- -306--I would like to give you something from Faustus by Christopher Marlowe. 307--- How refreshing. - ...the topless towers of llium?308--Sweet Helen, make me immortal with a kiss.309--W- - W- - W- Was this the f- -310--Very good, Mr. Wabash. Report to the property master.311--My tailor wants to be an actor.312--I have a few debts here and there.313--Well, that seems to be everybody.314--- Did you see a Romeo? - I did not.315--Well, I to my work, you to yours. Oh, God.316--May I begin, sir?317--- Your name? - Thomas Kent.318--I- I would like to do a speech by a writer who commands the heart of every player. 319--What light is light...320--if Silvia be not seen?321--What joy is joy if Silvia be not by?322--Unless it be to think that she is by...323--and feed upon the shadow of perfection.324--Except I be by Silvia in the night...325--there is no music in the nightingale.326--Unless I look on Silvia in the day...327--there is no day for me to look upon.328--She is myessence, and I leave to be if I be not- -329--- Take off your hat! - My hat?330--Where'd you learn how to do that?331--- l… - Let me see you. Take off your hat.332--- Are you M- Master Shakespeare? - Wait there.333--Wait there!334--- Will, w- where are the pages? - Where is the boy?335--B- B- B- Break a leg!336--Sir, will you buy my sweet orange?337--Hey!338--Everybody ready? All away!339--- Follow that boat! - Right you are, governor.340--I know your face. Are you an actor?341--- Yes. - Yes, I think I've seen you in something.342--- That one about a king. - Really?343--I had that Christopher Marlowe in my boat once.344--- Do you know that house? - Sir Robert De Lesseps.345--Where is she? Our guests are upon us!346--Lord Wessex, too, bargaining for a bride.347--My husband will have it settled tonight.348--Stamped, sealed and celebrated.349--Tomorrow he drags me off to the country...350--and it will be three weeks gone before we return from our estates.351--God save you, Mother.352--Hot water, Nurse.353--I seek Master Thomas Kent.354--- Who, sir? - The actor.355--- Who asks for him? - Will Shakespeare.356--Poet, playwright of the Rose.357--Master Kent...358--is my nephew.359--I will wait.360--Much good may it do you.361--"Romeo Montague...362--a Young Man of Verona."363--Verona again?364--"A comedy of quarreling families...365--reconciled in the discovery of Romeo...366--to be the very same Capulet cousin...367--stolen from the cradle and fostered to manhood by his Montague mother... 368--that was robbed of her own child by the pirate king."369--Your mother and your father- -370--From tomorrow, away in the country for three weeks!371--Is Master Shakespeare not handsome?372--- He looks well enough for a charlatan. - Oh, Nurse!373--He would give Thomas Kent...374--the life of Viola De Lesseps' dreaming.375--My lady, when your parents return, I will tell.376--You will not tell.377--As I love you and you love me...378--you will bind my breast and buy me a boy's wig.379--Master Plum. What business here?380--The five schilling business, Will.381--We play for the dancing.382--I seek Master Thomas Kent.383--Musicians don't eat. Sir Robert's orders.384--She's a beauty, my lord...385--as would take a king to church for the dowry of a nutmeg.386--My plantations in Virginia are not mortgaged for a nutmeg.387--I have an ancient name which will bring you preferment...388--when your grandson is a Wessex.389--- Is she fertile? - Oh, she will breed.390--- If she do not, send her back. - Is she obedient?391--As any mule in Christendom.392--But if you are the man to ride her...393--there are rubies in the saddlebag.394--I like her.395--By all the stars in heaven.396--Who is she?397--Viola De Lesseps? Dream on, Will.398--Master Shakespeare.399--My lady Viola.400--My lord.401--I have spoken with your father.402--So, my lord? I speak with him every day.403--Good sir.404--I heard you were a poet.405--A poet of no words?406--Poet?407--I was a poet till now, but I've seen beauty that puts my poems... 408--at one with the talking ravens in the Tower.409--- How do I offend, my lord? - By coveting my property.410--I cannot shed blood in her house, but I will cut your throat anon. 411--Do you have a name?412--Christopher Marlowe, at your service.413--Romeo. Romeo.414--A Young Man of Verona.415--A comedy by William Shakespeare.416--- My lady! - Who is there?417--- Will Shakespeare. - Madam!418--Anon, good nurse, anon.419--- Oh, Master Shakespeare. - The same, alas.420--But why "alas"?421--- A lowly player. - Alas, indeed.422--For I thought you the highest poet of myesteem...423--and a writer of plays that capture my heart.424--- Oh, I am him too. - Madam!425--Anon! I will come again.426--Oh, I am fortune's fool. I will be punished for this.427--Oh, my lady, my love!428--If they find you here, they will kill you.429--- You can bring them with a word. - Oh, not for the world.430--- Madam! - Anon!431--Draw, if you be men!432--Gregory, remember thy washing blow!433--Part, fools! Put up your swords. You know not what you do.434--It starts well, then it's all long- faced about some Rosaline.435--Where's the comedy, Will? Where's the dog?436--Do you think it's funny?437--I was a pirate king, now I'm a nurse. That's funny.438--We are six men short, and those we have will be overparted ranters... 439--and stutterers who should be sent back to the stews.440--My Romeo's let me down. I see disaster.441--We are four acts short, if you're looking for disaster.442--- Sir! - Who are you, master?443--I'm Ethel, sir, the pirate's daughter.444--I'll be damned if you are!445--Your attention, please!446--- Gentlemen, thank you! - You are welcome.447--- Who's that? - Nobody. He's the author.448--We are about to embark on a great voyage.449--It is customary to make a little speech on the first day.450--It does no harm. Authors like it.451--You want to know what parts you are to receive. All will be settled as we- - 452--I'll do it.453--Now listen to me, you dregs.454--Actors are ten a penny...455--and l, Hugh Fennyman, hold your nuts in my hand.456--Huzzah!457--The Admiral's Men are returned to the house!458--Huzzah!459--Ned!460--Henslowe!461--Earl! Good to see you.462--Who is this?463--Silence, you dog!464--I am Hieronimo.465--I am Tamburlaine.466--I am Faustus.467--I am Barabbas, the Jew of Malta.468--Oh, yes, Master Will. I am Henry the Sixth.469--What is the play, and what is my part?470--- Uh, one moment, sir… - Who are you?471--I'm, um… I'm the money.472--Then you may remain...473--so long as you remain silent.474--Pay attention. You will see how genius creates a legend.475--- Thank you, sir. - We are in desperate want of a Mercutio, Ned.476--A young nobleman of Verona.477--- And the title of this piece? - Mercutio.478--Is it?479--I will play him.480--Mr. Pope. Mr. Philips. Welcome.481--George Bryan. James Armitage.482--Sam, my pretty one!483--- Are you ready to fall in love again? - I am, Master Shakespeare. 484--Your voice. Have they dropped?485--No! No. A touch of cold only.486--Master Henslowe, you have your actors... except Thomas Kent.487--I, uh, I saw his Tamburlaine, you know.488--- It was wonderful. - Yes, I saw it.489--Of course, such mighty writing.490--There's no one like Marlowe.491--Better fortune, boy.492--I was in a play.493--They cut my head off in Titus Andronicus.494--When I write plays, they'll be like Titus.495--You admire it.496--I liked it when they cut heads off...497--and the daughter mutilated with knives.498--- What's your name? - John Webster.499--Here, kitty, kitty.500--Plenty of blood.501--That's the only writing.502--I have to get back.503--See, where he comes. So please you step aside.504--I'll know his grievance, or be much denied.505--I would thou wert so happy by thy stay to hear true shrift. Come, madam. 506--- Cut around him for now. - What? Who?507--- Romeo. - The one who came with your letter.508--- What? - Good morrow, cousin.509--Is the day so young?510--- But new struck nine. - Ay me. Sad hours seem long.511--What sadness lengthens Romeo's hours?512--Not having that which having makes them short.513--- Good. - In love?514--- Out. - Of love?515--- Out of her favor where I am in love. - Don't spend it all at once. 516--Yes, sir.517--- Do you understand me? - No, sir.518--You're speaking about a baggage we never even meet.519--What will be left in his purse when he meets his Juliet?520--- Juliet? You mean Ethel. - God's teeth!521--Am I to suffer this constant stream of interruption?522--What will he do in Act Two, when he meets the love of his life?523--I- I'm very sorry, sir. I have not seen Act Two.524--Of course you have not. I have not written it.525--Go once more.526--Will.527--Where is Mercutio?528--Locked safe in here. I'll leave the scene in your safekeeping, Ned.529--I have a sonnet to write.530--Sonnet? You mean a play!531--For Lady Viola De Lesseps...532--by the hand of Thomas Kent.533--"Shall I compare thee to a summer's day?534--Thou art more lovely and more temperate.535--Rough winds do shake the darling buds of May…"536--Two hours at prayer!537--Lady Viola is pious, my lord.538--Piety is for Sunday!539--And two hours of prayer is not piety, it is self- importance.540--It would be better that you return tomorrow, my lord.541--It would be better if you'd tell her to get off her knees and show some civility... 542--to her six- day lord and master!543--Mmmph!544--My lady Viola.545--Lord Wessex. You've been waiting.546--I am aware of it.547--But it is beauty's privilege.548--You flatter, my lord.549--No. I have spoken to the queen.550--Her Majesty's consent is requisite when a Wessex takes a wife...551--and once given, her consent is her command.552--Do you intend to marry, my lord?553--Your father should keep you better informed.554--He has bought me for you.555--He returns from his estates to see us married two weeks from Saturday.556--You are allowed to show your pleasure.557--But I do not love you, my lord.558--How your mind hops about.559--Your father was a shopkeeper.560--Your children will bear arms, and I will recover my fortune.561--That is the only matter under discussion today.562--You will like Virginia.563--- Virginia? - Oh, yes.564--My fortune lies in my plantations. The tobacco weed.565--I need 4,000 pounds to fit out a ship and put my investments to work.566--I fancy tobacco has a future.567--We will not stay there long. Three or four years.568--But why me?569--It was your eyes.570--No, your lips.571--Will you defy your father and your queen?572--The queen has consented?573--She wants to inspect you.574--At Greenwich, come Sunday.575--Be submissive, modest, grateful...576--and brief.577--I will do my duty, my lord.578--"Master Will, poet dearest to my heart...579--I beseech you banish me from yours.580--I am to marry Lord Wessex.581--A daughter's duty...582--and the queen's command."583--Gentlemen upstage Ladies downstage584--Gentlemen upstage Ladies downstage585--Are you a lady, Mr. Kent586--I'm very sorry, sir.587--We're gonna have to do it again.588--You did not like the speech?589--No, the speech is excellent.590--"Oh, then I see Queen Mab hath been with you."591--Excellent, and a good length.592--But then he disappears for the length of a bible.593--There. You have this duel.594--A skirmish of words and swords such as I never wrote, nor anyone. 595--He dies with such passion and poetry as you ever heard.596--"A plague on both your houses!"597--He dies?598--- Ohh! - Will! Where are my pages?599--Did you give her my letter?600--And this is for you!601--Oh, Thomas, she has cut my strings.602--I'm unmanned,603--unmended and unmade...604--Iike a puppet in a box.605--- Writer, is he? - Row your boat!606--She tells me to keep away.607--She is to marry Lord Wessex! What should I do?608--If you love her, you must do as she asks.609--- And break her heart and mine? - It is only yours you can know. 610--She loves me, Thomas!611--- Does she say so? - No.612--And yet she does where the ink has run with tears.613--- Was she weeping when she gave you this? - Uh- -614--- Her letter came to me by the nurse. - Your aunt.615--Yes, my aunt.616--But perhaps she wept a little.。
电影《莎翁情史》观后感
浅谈《莎翁情史》的剧本制作-----《莎翁情史》观影后感引言在美国电影史上，有一部被许多电影爱好者戏认为是奥斯卡玩笑的喜剧电影《莎翁情史》（又名《恋爱中的的莎士比亚》）。
这部1998年拍摄的电影在随后一年的各大奖项评选中大获丰收，连一向要求甚严的奥斯卡也给了它包括最佳女主角、最佳影片、最佳女配角等7项大奖。
当然，这几项大奖遭无数人吐槽（特别是最佳女主角格温妮丝·帕特洛的获奖，不过最佳女配角朱迪·丹奇似乎实至名归），不过笔者私以为任何评奖皆有其起因和标准，以个人眼光批评一部电影实需要公正的研究。
再者，一部影片斩获奥斯卡大奖并不完全以影片质量占优，其背后也有电影公司文化运作的成分影响；另，奥斯卡的奖项评选也不能代表一部影片的全部水平（虽然是影片水平的一个很权威的证明）。
那么除开这些获不获奖的纠结讨论，让我们以一部喜剧电影的眼光重新审视这部电影，一定会发现好莱坞在电影制作上的许多优秀经验，特别是惊讶于其编剧的巧妙技巧。
本文重点亦在于此，暂不评价电影的好坏，而是以本部电影为例子，找出一些值得当代中国电影学习的因素。
编剧--欧美制作的核心要素对于一部美国制造，大片特效是一向惯用的杀手锏，那么除了科幻大片，其他的电影中将剧情设置视为杀手锏也不为过。
在这部《莎翁情史》中，笔者认为编剧的作用可以是已经超越导演了。
此片的编剧的亮点如下：1.丰富的想象力。
关于影片中展示的莎翁爱情不少观众持怀疑态度，笔者也认为影片所展示的不可能完全符合当时实际情况，最明显的马脚一是女主角当时不可能真正登上戏剧舞台（那必然引起轩然大波，仅以影片展示的解决办法有可能完全平息吗？），而是对于马洛之死处理得过于牵强。
这两点实在是硬伤，但从整部电影而言，能以莎士比亚的情史出发，将莎翁的爱情脉络、《罗密欧与朱丽叶》的制作、当时的戏剧界的地位背景以及种种巧合安排得当，而且丝毫无违和感（什么叫违和感？看看《恋爱中的乔治卢卡斯》就知道了），不得不称赞两位编剧想象力的丰富、精彩。
莎翁情史
文字谢幕时，还是一句话陈词这短短笔触：他造就了你的爱情，你成全了他的不朽。
奥斯卡大叔的失误璀璨的华幕徐徐落下，一切都回归真实而平凡，这几句诗在溢彩向暗淡过渡的那一瞬间，从我的脑海里挣扎着探出身来，它们，几乎将这个故事叙述到极致。
莎士比亚和维奥拉的爱如汹涌的激流，却又散发着曼妙的喘息，温柔的，激烈的，私藏的，相融的，他们的结合激发出多种爱的方式。
他们的爱情从一开始就是一台戏，有冥冥之中的巧遇，热切的表白，执着的追求，亲密的结合，叛逆的勇气，接着是重重的阻挠，升级的争执，被迫的分离，破镜重圆的高潮直到最后归于平静和虚空。
人生如戏，戏亦人生，满目皆是结局分明的戏，悲喜交加的爱和奔腾不息的灵。
从来都是爱戏剧中一往无前的爱，激烈的表达和渲染以及凌驾于现实的超脱。
在这样一部如此缤纷的电影中，戏剧才是灵魂所在，《罗密欧与朱丽叶》又一次毫不留情地榨取了我们的感动，引发了我们对于爱和人生的思考。
爱情是不分等级的，爱情是无所谓高下的，电影这样告诉我们。
而这些最简单的话，并不是我们唯一能抓住的。
我所看到的爱情，是矛盾的，是未知的，是永远不足以完满的，而这正是现实。
爱，最容易激发的是勇气，最容易造成的是未知。
莎士比亚和维奥拉可以抛开一切炽热地相爱，爱的力量战胜了阶级和世俗，取得了暂时的胜利，但是他们的爱只是一场由寂寞而引发的偷欢，一个需要被爱，一个需要灵感，各自无私地交换宝贵的东西，似乎就构成了爱。
维奥拉始终认为自己是要嫁给韦赛男爵的，莎士比亚也只不过是在寻找一个启发创作的女神，电影为故事安排出恰当的三周，足够一场短暂的爱，一出精彩的戏，在有限的时间内交换彼此，这就是他们的爱。
因为不够纯粹，所以注定没有未来。
无论是亲密的床底之欢，还是无时不刻的亲吻，当莎士比亚找到美妙的语句，奇妙的灵感时，他就立即返回自己的书桌，开始创作，把自己的真实体验进行升华和编排，这样的爱会不会有点自私？当情敌的剑直指胸膛，莎士比亚却不敢说出自己的名字，这样的爱会不会有点懦弱？当自己心爱的女人将要远走他乡，莎士比亚却在忙着自己戏剧的首演，这样的爱会不会不够深沉？轰轰烈烈的爱最后归结为离散，一切在经历磨难与反复后并没有达成圆满，从莎士比亚把《罗密欧与朱丽叶》从喜剧设置为悲剧后，就暗示着这场爱会没有结果，因为莎士比亚深知爱情的局限性。
《莎翁情史》：以高标识化戏剧元素致敬莎士比亚
《莎翁情史》：以高标识化戏剧元素致敬莎士比亚莎士比亚，是一名闻名世界的戏剧家和诗人，在整个欧洲文学史上占有特殊的地位，被喻为“人类文学奥林匹克山上的宙斯”，同时代人执剧坛牛耳的本·琼生称誉他是“时代的灵魂”，说他“不属于一个时代，而属于千秋万代”。
他的很多作品不仅被翻译成各种语言在世界各地大受欢迎，而且还以各种艺术形式得到传播、扩散和继承。
根据他作品改编的电影也是多不胜数，然而有一部电影比较特殊，它以类似自传体的方式，将莎士比亚的爱情“秘闻”和莎士比亚的戏剧作品相互融合起来叙述，即《莎翁情史》，影片以《罗密欧与朱丽叶》为引线，讲述莎翁在创作这部作品时的灵感来源和过程，构建了一段幸福而短暂的爱情罗曼史。
这部影片不是以莎翁的一部完整作品为蓝本改编而成的电影，而是以解构、重构、颠覆、戏仿、碎片化等后现代的方式将莎翁的作品和莎翁的爱情“秘闻”以碎片化的方式拼接在一起。
然而，后现代的解读和想象并没有妨碍这部影片的“莎士比亚化”，影片中无处不在的高度标识性的莎式戏剧元素————莎式情节、莎式语言、莎式意象再一次显示了莎士比亚戏剧的魅力，也奠定了这部影片的类莎剧风格。
影片介绍《莎翁情史》又名《恋爱中的莎士比亚》（以下简称《莎》）由约翰·麦登（John Madden）执导，由约瑟夫·费因斯、格温妮丝·帕特洛、杰弗里·拉什等联袂主演，1998年上映，在1999年第71届奥斯卡电影节上，获得13项提名，最终从《伊丽莎白女王》、《(拯救大兵瑞恩》、《红色警戒》和《美丽人生》四部优秀电影中脱颖而出，一举拿下“最佳影片”最佳女主角、最佳女配角、最佳艺术知道、最佳音乐、最佳原创剧本、最佳服装设计七项大奖。
值得一提的是影片中的莎士比亚扮演者约瑟夫·费因斯，他曾是英国莎士比亚皇家剧院的著名演员，几乎演遍了所有莎翁名剧，被誉为“浑身充满了莎剧气质”的演员，他的表演使影片中塑造的莎士比亚充满了文艺气质，更因其定型化角色扮演而赋予影片一种真实感。
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《莎翁情史》读后感
这部影片讲述的是莎士比亚在创作《罗密欧与朱丽叶》的时候与薇奥拉的感情生活，莎士比亚的爱情成就了他日后所有的伟大著作。
同时，在这部影片中运用了艾布拉姆斯的文学构成四要素——世界、作者、作品和读者。
首先，文学活动所反映的是主要世界和客观世界，客观的自然作为文学活动的构成世界，必须经过人的观察、体验、分析、研究等，与人的思想感情发生这样那样的关系，最终成为文学活动所反映的世界。
即使主观想象的超验世界等，也都是人对客观世界不同形态的折射。
在《莎翁情史》这部影片中，莎士比亚创作的《罗密欧与朱丽叶》其实就是对于他的生存环境的经历的一个展现。
本片讲述了两段爱情，但是其实只是一段爱情，舞台上的罗米欧与朱丽叶的爱情完全是莎士比亚和薇奥拉爱情的衍生品。
一个女孩从小生长在富足的贵族家庭中，虽是独生女，但是她却感受不到父母的疼爱和理解，唯一可以听他诉说心事，愿意帮助她，宠爱她的就只有最亲近的奶妈。
面对的都是权势，金钱买卖，这一切在她看来都很肮脏，生活中逃离不了，她便开始追求在戏剧中感受人性的感情，爱情，即使她明知是虚假的，她也情愿永远做那个梦，永不醒来。
面对莎士比亚，一个创造了这个美梦给她的人，一个让她觉得自然不是假，有真爱存在的人，这燃起了二十年来人生新的希望，活着不是为了责任，不是为了女王的命令，哪怕只是短暂的一瞬间，她也愿意用自己整个生命去付出，像如此一个天真，单纯，心灵纯净的女孩儿，她似乎生就是为了等待这份爱情，一份，抓不住但却可以永远的爱情。
《罗米欧与朱丽叶》的结局真是莎士比亚为自己的爱情所设计的最美丽的结局，虽然他们最终死了，但是他们的爱情得到了永恒，得到了世人为他们留下的泪水，也得到了女王的认可，真爱的确是存在的。
其次，在文学活动中，作者也通过文学创作来表达他的感受和感情，并试图以此唤起读者相应的感受和感情。
在西方，变现论强调作者对作品意义的生成作用，模仿论不否认这一点，但是更加强调作品所描写的世界和写作背景。
故事发生的背景是16世纪的英国首都，从剧情中可见，当时社会男女地位绝对的不平等，女人可以是货物，礼物，女人的身体任意受男人摆布，没有尊严，那些市井女人，她们自己都觉得这是理所当然。
薇奥拉，出生名门，家世显赫，照理说是属于受尊重的一群人。
可是，在自己的父亲眼里，自己只是一件可以还会一块殖民地的
货物，出售之前，还要向买主表示货真价实。
女人不可以从事表演，这是国家法律禁止的，国家法律禁止女人表演，却允许，违背伦常，任由男人男扮女装的在台上亲热，这岂不荒唐。
然而最讽刺的是，在一个极度歧视女性的社会里，王权的最高统治者却是女人。
所有男人都要对女王背躬屈膝，当官的打着一个女人的名号到处欺压百姓。
女王心知肚明却也只能视而不见。
没办法，她只是拥有至高无上的地位，完全依赖于臣民对王权的信仰，然而所有权利最终还是要男人替她实施，这就是她所说的，一个女人和男人们一起共事，在当时，是多么不容易。
再者，文学反映的世界并不等于世界本身。
莎士比亚谈着他童话式的恋爱，无奈而没有结果的爱情，在这份现实的爱情中自己显得十分渺小，无助，一个穷诗人无法跨越等级的差别，不敢违抗女王的命令，也无力扭转命运的乾坤。
面对恋人的即将离去，沉浸在明知有限，过一天便少一天的痛苦的爱情中，一、他依然无计可施，于是，他决定改变《罗米欧与朱丽叶》原本戏剧的结局，创作除了凄美的爱情悲剧。
故事虽结束了，但这份感情是永无止境的，永远刻骨铭心。
罗密欧与朱丽叶的结局是凄美感人的，朱丽叶为了能与罗密欧在一起选择了假死，然而罗密欧以为她真的死了，伤心欲绝，自尽在她的身旁。
等到假死药药效过去，朱丽叶苏醒，发现躺倒在她身旁的罗密欧已经没有气息了，便用匕首自尽了。
他们的感情是令人羡慕的，他们最终“在一起”了。
然而，莎士比亚和薇奥拉的结局却并非如此，薇奥拉的行为和处境得到了女王了理解。
于是，女王为薇奥拉掩饰了她的行为，为她争取了最后和爱人道别的机会。
但是，最后薇奥拉还是顺从了女王的旨意与韦塞男爵在一起，而莎士比亚也早已经有了自己的妻子。
他们两个人最终还是没有摆脱现实的束缚在一起。
这也是戏剧《罗密欧与朱丽叶》和现实世界的差别，文学也仅仅只是对现实的一种反应，而不是全部。
最后的一个要素是读者。
文学活动不只是作者创作的活动，它还应该包括文学读者进行阅读鉴赏的活动。
读者阅读文学作品，既是从作品中了解作者的思想，了解作品中描写的人情事态的活动，同时也是读者在自己的生活经验、文化修养是文学作品在头脑中具体化的过程。
从影片中我们看出当时社会的人很喜欢诗歌，舞台剧，难道当时的英国人已经那么进步，那么的艺术造诣已经到了那么高了吗，连市井百姓都明白艺术的真谛。
其实
不是的，人们只是在剧中寻找心灵的另一种寄托。
从电影中，我们知道，在罗米欧与朱丽叶之前，人们大都看的都是喜剧，喜欢看到人狗同台的舞台剧。
然而，不管剧中人物对戏剧的态度如何，但是可以肯定的是他们都是真心热爱戏剧艺术的，两家戏院的老板，起先对戏剧的喜欢是因为戏剧可以帮他们赚钱，他们互相要抢生意，但是后来玫瑰剧院被查封之后，另一个剧院老板波比居然肯无条件提供自己的剧院让《罗米欧与朱丽叶》上演，原因是不想让戏剧的艺术埋没在官僚们的强权之下；另外投资者原本是个十足吝啬的生意人，为了一点点债款经常严刑向玫瑰剧院的老板汉斯乐逼债，但是，为了《罗米欧与朱丽叶》的排练到上映，他几乎可以说是倾尽了自己所有的心力，获得了一个小小的演出的机会，他激动得话都说不出来了；还有那个半分半傻的传教士起先一直在剧院门口诋毁戏剧是淫秽之物，但是在看完了《罗米欧与朱丽叶》之后居然能感动得泪流满面；还有泰德，身为演员，他原来喜欢戏剧只是为了当演员的风光，可是渐渐在排练的过程中，他不再斤斤计较自己主角的地位，反而为电影取了《罗米欧与朱丽叶》这个名字，成全了这部出色的戏剧，也成全了艺术。
在我看来，这部影片本身讲述的故事与莎士比亚的爱情悲剧《罗密欧与朱丽叶》完美地融合了在一起，两部戏的遥相呼应，使得影片悲剧色彩更浓，把观众毫不知觉的拖入到影片中来，并与之共鸣。
莎士比亚是个懂爱，且看透爱情的人。
他曾说：爱情是没有阶级之分的，皇后与可怜的流浪汉也会擦出火花。
是的，爱情没有阶级之分，罗密欧爱上了朱丽叶，他们爱的轰轰烈烈，同生共死。
这虽是戏剧夸张的一面，但是却在歌颂着对自由爱恋的向往，对捍卫爱情的推崇。
也许莎翁也知道这是不现实的，这只是一个理想，梦想，一个遥远的追求。
《莎翁情史》与《罗密欧与朱丽叶》有着太多的相同，却也有着许多的不同。
他们一样的相爱，这种爱跨越阶级的束缚，穿越世俗的纠葛。
但是罗密欧与朱丽叶双双殉情死去，他们抛弃世俗的一切责任。
而《莎翁情史》更积极的在于薇奥拉最后还是遵循着自己的责任，嫁给了父亲选定的对象，莎士比亚也继续他的创作，写出更好的作品。
爱不等于占有，不一定要天长地久，只要足够刻骨铭心，曾经的拥有便足够一身回味。
爱情不是生活的全部，人生在世还有太多的责任，现实的残酷才会凸显对理想的渴求。