Once he sees Viola, it is love at first sight ( rs driver-effect).
Will has followed ( mc approach-doer) "Thomas Kent" to the De Lesseps' estate. this chance I must take come what may ( ic solution-process).
Who marries me off like a prize mare to the highest bidder ( ic driver-result). Oh, Nurse! He would give Thomas Kent the life of Viola De Lesseps' dreaming.Īnd you would bring ruin on us all! Think ( ic benchmark-conscious) of your family, your dear mother. Your mother, and your father ( ic thematic issue-worry)-įrom tomorrow, away in the country for a month ( ic thematic counterpoint-confidence)! Is Master Shakespeare not handsome?. He sees himself in me! Romeo Montague, a young man of Verona! What the irate Fennyman does not expect ( os problem), is rival theaters "The Rose" and "The Curtain" are ". is pinioned in a chair, with his feet stuck out over the hot coals of a fire burning." Henslowe owes Fennyman "forty three pounds five shillings and nine pence"-the only way the moneylender can be appeased is to enter into a partnership with the theater owner, contingent upon the successful performance ( os concern-doing) of William Shakespeare's new comedy "Romeo and Ethel, the Pirate's Daughter." Because, even in the Elizabethan times, everyone wants to be in show business. As the film opens, actions ( story driver) precipitate decisions-Philip Henslowe, patron of the arts, ". The objective story occurs in the domain of physics. The objective and relationship story thematics ( domain, concern, issue, and problem) are the same because of different character and plot dynamics, the thematics for the main and influence character throughlines are reversed. From a Dramatica point of view, it is intriguing how the two compare (see Romeo and Juliet). Shakespeare in Love, a fictional account of the life that inspired the art-Romeo and Juliet, is an excellent and lamentable original screenplay by Marc Norman and playwright Tom Stoppard, its every word and staged action a tribute to the Bard.