Scripta 9_2_link_final.pdf - Uniandrade

living love story, in opposition to the Shakespearean prologue which
announces death:
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life,
Whose misadventur’d piteous overthrows
Doth with their death bury their parents’ strife.
The fearful passage of their death-mark’d love
And the continuance of their parents’ rage,
Which, but their children’s end, naught could remove,
Is now the two hours’ traffic of our stage;
The which, if you with patient ears attend,
What here shall miss, our toil shall strive to mend. (SHAKESPEARE,
2006a, p. 81)
The film spectator is then taken amidst an audience who dances to
the sound of a pregnant funk singer, and comes across young men who
also dance while holding in their hands different kinds of guns as if they
were soda glasses. In this scenario, Jonathan, the DJ of the evening, spots
Analídia on the dance floor. Fascinated, he goes down to dance with the
girl. Indifferent to the eyes of the others and to the music, they turn round
and round, plunged into each other’s eyes, in a profound state of fascination.
The scene of passion on the screen is shown in suspension over the previous
scene. Only silence and fascination involve the loving couple, who is suddenly
drawn apart by armed members of both factions, in a mix of street dance,
capoeira and martial art movements.
The balcony where the two lovers meet after that first encounter
on the dance floor is Analidia’s primitive terrace of an unfinished
construction of a small house in the area. She breaks through the security
control of the Red faction, and runs down to Jonathan. The chorus of
rappers announces, then, that the two lovers “live in the limits between fear
and the desire to love”, following William Shakespeare’s play, when the
chorus enters at the end of Act I:
Scripta Uniandrade, v. 9, n. 2, jul.-dez. 2011
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