MESSAGES FROM FOUR STORIES WITH RADIALIST ROBERTO BARROS

I want to show here, with a lot of love, work and satisfaction, as a radio presenter four stories that I certainly believe that we are fully experiencing a fascinating fascination of cinema that certainly in everything it has always been conducive to certain proportions that teaches us, as a school, different modalities in which history is always the science that gives art to the director to describe different dilemmas that in my mere introduction I bring to life more the sentimentalist side that makes us impose ourselves on the mere and severe circumstances that life ends up with in each gesture, purposefully that the term of dynamics is used, which I simplify to the mere pleasure of sound that puts the best phrases and stories on a great musical preposition that comes telling the stories that the reader is the speaker and makes the magic rise over a great contradiction that we can understand that in each story there is a brief cinematographic philosophy that will take us to paradise that is

full of assumptions that mess with the dynamics of the listener that may be synchronized to my station that I certainly pass on the message about an influential story that tells the story of star wars as a fight between human beings against several aliens who try to invade planet earth and are captured by humans in a great combat that here we can understand man's passage on earth in which he becomes a conqueror of space and steps on moon about a great revelation and scientific human development that becomes cinema films to the progress of man who becomes a great conqueror that we see today on cinema screens when the phantom of the opera which is a dramatic film that tells the story of a boy who was born a bastard son and his childhood is revealed in a great story of a young man who, due to his amazing appearance, lived for a long period of time hidden in the back of the Paris theater who falls in love with a beautiful young woman called Christine who, with his beautiful voice made him awaken the ghost of the opera that chased him and fell in love with her beautiful voice that here we can simply review that in everything it is portrayed in a dramatic and sad story that has the gift of simplifying this story as a short story that I simplify like a renaissance that moves our soul on a great tonality that I romantically unfold a great classification that identifies itself with beautiful romantic songs that in everything and for everything have their contradictions that we can listen to their narratives with a musical resonance that detaches us from the soul that sighs, as in its devotions, a great affection of love as a counterversion to a deeper feeling that rises from the depths of the opera on the modern side that I simplify in the melody and romantic song that nostalgia reveals itself from the fire of desire and is encouraged with the euphoria that is perhaps the strongest cause for a feeling to dissolve over a thought that in my philosophies love, whatever it may be in everything, will remain alive, which is where the melody lets go and the musical routes prevail, leaving the whole story romanticized in which dynamics is used as a counterversion to the

dose romantic song that would be unlike the opera of the ghost that is reborn to the most captive gift of a modern thought in which the story of youth is told becoming a socialist tale being told over beautiful music romantic and I also want to talk here about a very dramatic story that simply talks about two young people who meet at a party who have a disagreement about love that cannot be and are captive and free like the others who walk and sigh for talented moments of pleasures that in everything tells the story of two families who disagree and become enemies, causing a great tragedy between two young people who fall in love and who fight to maintain a love that could never be doubted at first sight, which certainly not all chords are united by intimate family ties that are as hard as a teaching word as soft as a beautiful song that struggles as a deep feeling of beautiful romantic songs that perhaps they can tell us about love and that youth would not discard their romantic words that if you have the gift and the finest and most intimate purity that brings together the unusual genius of someone who is perhaps poorly at home with life and I know that life leads us to different pleasures that move our hearts very deeply and we can see Romeo and Juliet as something well defined the mere dispensations of pleasure and that judgment and feeling are taken from the fruit when life always remains lacking in beautiful gifts, doses of desires and betrayed feelings that we learn from life what life proposes to us in beautiful lessons of love and hate that kills and we can experience this pleasure and this story of Romeo and Juliet has a deep feeling that we can resonate their stories about their gifts and that deep in our souls the truth leads us to the mere pleasure of loving each other in body and soul, may love never be misguided or obstructed by others as long as it itself does not die and has to show that it exists intimately and that it is not a common thing that recedes the solid weaknesses that fertilize life because it is in fact an unforgettable love that was born of the fruit of pleasure over the gentle affection of recognition as pure and teaching as the heat

of the fire that burns fervently over its flames as the air that softens us and makes us breathe continually to live and pulsate in our lungs as much as death has to kill to give life and how much life has to give life to make us live and this is the rhythmic nature that gives us all the affections that make us live and die and that sprouted on the earth and made the human being and developed within him the relativities of life in terms of nature, a rhythm that never stops pulsing and so is the love that we can dedicate ourselves to and that between certain melodies of romantic music we preserve ourselves through its lyrics and ballads that make us more euphoric and we can disguise an image of love about his words as a beautiful romantic sound that always awakens our emotions that are contradictory to our best moments of pleasure and here I want to sentimentally tell another story that can perhaps tell us that there are things that come from beyond and that awaken our senses as well as spirits relapsed as angels and demons that roam the entire earth and involve us with nature and that is or that mixed in a beautiful woman called Joana Dark who was born burdened perhaps by a very deep feeling that made her fight against different armies and that became says that not all things can really be realities because it is always said that life would always be morbid and that there is a contradictory imagination that makes us deserve certain gifts of well-being with God and phenomena that can discourage our lives, perseverance more intimate in terms of devotion unite us to the most captive love that we have and sow and that we do not build strong without having compassion and a truly relationship with life and we are almost targeted and carried away by the voraciousness of life and that evil can constrain us as much as it can do us sin and follow it skillfully as all the tests we will have to fulfill and pay them because everything has its price and we will certainly act consciously on any predominance that afflicts our feelings and even if they are voices coming from our consciences as a spiritual support may you discourage our emotions and oppress our nerves and encourage us to

favor uncertain ways of living or that life may inhibit us from self-relevance over our mentalities that are not of human nature or something sinister, the mere realities of being live because perhaps not everything is perfect and we may be led by some fascination or something from the other world that today we exchange our feelings about a more tonic and expressive way of living that we perfect in the modernity of life under high control and that high science cannot hide insufficiencies about the real ways of living when Joana Dark heard voices that said that it was a spiritual divinity that made her pay for her mistakes that led her to death, certainly or innocently, that justice might be more prudent when one seeks, due to certain real and compatible proofs, its contradictions and realities, true justice in which here I simply told this story that otherwise I believe there will be a moment when we find a way out of so many whirlwinds that relatively I believe in the justice of God that it really is more discoverable and conscious and I tell you that there are wonderful things in our lives that make us conform and that behave with a great consistency that we mentally identify with the plans of the soul that rises subconsciously when we are synchronized with the force of our spiritual Self that comes into combination with the mind that feels and passes on a positive emotion that makes us transcend a mentalized force through a moral fluid through the energy of the spirit a nuclear chemistry is passed to the senses and the human body causing a superlative effect alongside negative that weakens our nerves when there is no good moral behavior of the mind and physique we can talk about psychology and I want to talk about another story about the logic of maturation which consists of a state of mental energy that I here as a writer, psychologist and radio presenter, I show with a lot of love and work to all my dear readers and friends these wonderful stories that I made and I tell them with great satisfaction to the international romantic sound that serves as a therapy to clarify the true dynamics and development of both the mind and of the body

that propel us through the resonance of music and story reading that involves us on a clearer and more logical side of developing our mind and our emotional impulses that may be under a depressive effect and everything becomes wonderful, consistent and tonic when we are synchronized with the harmony of music that surprises us and gives us true life and consciousness cheers us up when we can identify ourselves with the nature of music and everything and everything becomes real and fantastic our minds that can be in a state of fantasies that we simplify love against hate and see realities improve upon our wills and the mind acts and feels and performs miracles and this is real, magical, eccentric because music is a fight reaction and when we listen to music we are in conformity with our natures and a very fine story is told that when the man was in the desert he found himself tired and indignant with life and he found a dry bamboo in the bush which he broke in half and made a flute and began to play blow for a few minutes and he felt better with the sound that came out of the flute and it made him feel healthy and well-being that he was soon able to return to his house and when he arrived he turned on his radio and enjoyed beautiful romantic songs that gave him made other paths and other directions change and he really found the key to life and harmonized with the universe and that was a cure in which I simply want to pass on all this information to all my dear friends and listeners and I want to say enjoy these beautiful words and stories with these beautiful romantic songs that I made for everyone because I tell you that there is in life a great dispensation of bad moral fluids that we spread when there are certainties that comfort our soul and when we comfort ourselves we harmonize with life about God's real plans and I want to here at this real moment to thank everyone with lots of love and work and who seek from the bottom of their souls the best way to live and thank you all very much and a big hug from the writer and radio host Roberto Barros.

STAR WARS

Perhaps we can describe in beautiful words as a good narrative that through a simple and estimable foresight of the cinema that unfolds on the screens the very dilemma of transporting and telling the story over many episodes that tells a story that perhaps we can consider as a significant one true cinematic image of space that tells in several short stories the story of Star Wars, which was very successful on the North American cinema screen, which tells the story of human beings in space against various space monsters that dominate a large surface of domains on Earth and we can being very close today to a great revelation where we see space being explored by great masters of science who here, through great study and knowledge, everything is led to the fascination of NASA scientists who have always shown us the world outside and inside in which we can imagine life outside the earth and the contact of human beings with the supernatural that shines on great studies and knowledge about a nature that shows us and that has revived and told better today in the stories of North American cinema about space, several fictional tales science that makes us relive and transports us to another world in which we can dedicate ourselves, perhaps through a simple notion of time and journey in which it reveals to us, perhaps as in thematic tales, the story of the time machine that revealed itself on cinema screens and became turned into a film that shows us about almost all spheres of life where human beings can be very close to any frontier to the unknown world that represents great elevations and space travel of man who lives in the present and travels about the past as a sentimentalist idea to review time and learn about the possibilities and phases that can, in the scientific sense, conquer life on a true time journey that tells the story, certainly based on the scientific studies that we can describe about time and space, leaving everything and everyone on a border between

life and death that perhaps we can know the past that proposed itself in the future as well as the present that spreads over a beautiful and good clairvoyance of life and here perhaps the world is more simplified by a deeper and better-dreamed notion of life over mere and as well fantastic fantasies that rarely made us go back in time as an imagination of the man who traveled in space as back to the future that tells a miniseries of several well-narrated films that talk about a time travel in which we can today have a true, more energetic image about life that portrays a great relationship and passage of man over time and space that we can dedicate ourselves deeply and talk about space and here I want to talk a little about certain things that have turned into different stories as well adventurer who made the great scientific study of space man about the life that conquered space and set foot on the moon in which we can today understand and have in the logic of dynamics and life a simple narrative that tells in beautiful tales the dynamics of man who for great studies were made on gods and conquered the space in which we can see, through a simple and real cinematic dynamic, a relationship between man and the stars that we can dedicate ourselves to on the cinema screens and perhaps transport ourselves to a new world where the human being becomes aware of certain dilemmas and lives in a relationship with nature in which everything becomes a scientific paper on great studies and advances in great science in which it simply opens the most real and loyal doors of cinema than by a simple notion and transformation of man with the universe it turns into a great development, both scientific and cinematographic, that turns into great and extraordinary cinema stories in which we can know the great development of space man and that there is a great metaphysics and relativity with man in science and nature and that open in the beautiful doors of cinema beautiful spatial images where we can, through a great real clairvoyance of life, challenge the universe with more determination about a hard and good relativity with certain space beings and

cavernous monsters that inhabit the fearless galaxies on the great deep holes of the earth in which everything is based on the great imagination of man who came down from the stars to show and fight great and terrible space monsters in defense of his great planet that we certainly experience certain things that are quite equivalent to paradise as well as the deep hell that makes me think intensely today about the barriers of time in which death is clothed on earth and the most vital seed of life crumbles among the habitable beings that are destined or were destined in different creations and civilizations that were born so much from the fruit of life that The story is told of the great tree of life and the tree of knowledge that preserved certain dynamics between the human being and God together with mother nature and the world was formed over all living things and nature was harmonized over heaven and earth when we experience certain things quite equivalent to hell as to the heavens that makes me think intensely today about the barriers of time in which life on earth is clothed, making a vital fruit sprout over all the relativities of the existence and subsistence of the universe, above all the resistances of life in which everything developed, giving life to human beings among the eternal fire of God that transformed into love over all things in life, making us believe in the essence of life in which life was created and the world became formalized even the stars in which we can today by a simple notion of the man who knew life and who came from the stars many years ago were perhaps gods who were astronauts and who lived on earth and dominated the world many years ago until the arrival of time that today we can understand about life both in space and on earth in which we know the nature of the human being as an ancestral source that we can have ancestors and today we see space about a great formality of life in which we can show and have an idea telling different stories about the best American cinemas about the spaces in which here, through a simple notion and study, I show a good narration by many masters of cinema and great directors of

beautiful and estimable films that describes a role about a beautiful and extraordinary film that may have shown a state of feeling that through work and studies everything gave rise to a certain desire that transforms into a certain space that is defined in a good and beautiful film story that tells us about a journey in space that we can dedicate to the study of man in space that simply became a film story that is based on a scientific study of a film made about science fiction that tells the story of a war that starts in the stars so that we can save the planet from extinction and the nickname War in the Stars emerged from a speech by the then Massachusetts senator, Edward Kennedy, who referred to the program as a “Star Wars” idea — of course ironizing the proposal for a laser weapons system in Earth orbit in which here Now I want to show with great expression a film story that won the award for best space film and that won the Oscar on American cinema screens and here I show its entire story. Thanks!

Here, by a great screenwriter called Yann Rodrigues, who tells an infinity about a beautiful transformation that has a well-defined controversy about this formidable film, so that we can understand all the particularities and formation between a concept about the Star Wars trilogies, we will show here a beautiful description and have my hug. Thanks!

Observation:

Forget the divergences you know between the Star Wars trilogies. Different explanations for the same concept, wonderful or detestable characters, quality of special effects, can count as mistakes or successes in the story created by George Lucas. Each phase, however, demonstrates a distinct worldview about each era.

Like most fans, I reviewed the six films in anticipation of the seventh, which premieres tomorrow. What will await us?

A New Hope (1977) / The Empire Strikes Back (1980) / Return of the Jedi (1983)

The first film is revolutionary. It presents new concepts in visual effects, design and a story that made anyone at the time a little (or a lot) nerdier. The prominence deserved by this film goes beyond production characteristics, however. It is key to understanding the views on the world exposed in 1977, the year of release, and in subsequent films.

Good x Evil

Starting with the obvious. The dichotomy, common to modern society, is clear in the Galaxy. With the merit of not worrying about origin explanations – they would come 20 years later -, Lucas presents the Empire and the Rebel Alliance in the midst of a key phase of the war. Darth Vader, completely black, and Princess Leia, completely white, show in their appearance which side we should root for – don't repeat this at home. It is a visual device that is quite outdated and, yes, racist, even though it is functional and natural for the vision of the time.

These well-defined poles reflect humanity itself in the midst of the Cold War. United States against Soviet Union, in a world divided after the also dual Second World War. The enemies have common characterizations, in addition to the visuals, such as the ideology of power imposed through fear and the pathological lack of aim of the stormtroopers.

Skepticism x Religion

Admiral Motti: Any attack by the Rebels against this station would be a futile gesture, no matter what technical data they obtained. This station is the greatest power in the Universe! I suggest we use it!

Darth Vader: Don't be so proud of this technological terror you've built. The ability to destroy a planet is insignificant compared to the power of the Force.

The dialogue between Darth Vader and one of the Death Star's military leaders is just one of the scenes presenting the difficult relationships between skepticism and religion, so inherent to the 20th Century. The same occurs several times between Han Solo, Obi-Wan or Luke. The expansion of scientific over religious thought, one of the great movements of thought since the 18th century, had reached one of its peaks a few years earlier, with space exploration and the arrival of man on the Moon.

Obi-Wan: The Force is what gives a Jedi their power. It is an energy field created by all living beings. It surrounds us and penetrates us. It holds the galaxy together.

Much is said about the discrepancy between the concept of the Force evidenced in Ben's (Obi-Wan) speech and in the new trilogy, more precisely in Episode 1, when the concept of midichlorians appears.

Geeky technicalities aside, the discrepancy makes perfect sense, in the context of each time. Focusing on the original saga, we see a wise Obi-Wan, with little time available and many things to teach Luke. The boy, as intelligent as he is, did not grow up receiving the instruction that we are used to seeing around the Jedi Council. Old Ben is empathetic in giving a simple and easy-to-understand explanation, even on a subjective topic like the Force.

This is Lucas' stance with the public. Nobody knew the world of Star Wars, first introduced in that film. The planet was quite conservative – it still is – and less eager for levels of explanatory detail, if we compare it to the 2000s. Thinking about American culture, the Protestant ideal, in the middle of the Cold War, understanding the Force as that which unites everyone is easy

because association with the concept of God. If you didn't ask big questions about God, you wouldn't ask big questions about the Force.

Space exploration

The human imagination has always been fertile, however, few periods in History must have concentrated the imagination of so many people in the Universe as the years after July 20, 1969, when Neil Armstrong became the first man to set foot on the Moon. No wonder , eight years later comes a story that presents human imagination about outer space at an unprecedented level.

Intergalactic travel, extraterrestrial life, unthinkable technologies, and of course, lightsabers. It was all there, a model of space life capable of blowing every mind that thought about it for even a minute. Many moments in the first three films focus on these elements, so that the audience can absorb and dream: Luke knowing the Lightsaber; the different beings (count the time contemplating the unimaginable beings in the bar scene, in the first film, where Luke and Ben meet Han Solo) including an alien band, with alien instruments; the different languages and even forms of communication; scenarios and more scenarios.

Tatooine A New Hope

Feminism

Yes, there are feminist demonstrations in the first trilogy. Princess Leia shows achievements in 1977 that many female characters in 2015, unfortunately, have not yet achieved. Starting with the inciting incident. The most famous saga in the history of cinema begins thanks to Leia's movements. As we have already discussed here, the inciting incident is the event that starts the story, that takes it out of rest. Star Wars happens as we know it from the moment Leia records a message and sends it to Obi-Wan, through

the cutest robot before Wall-E, R2-D2. It is the princess's decision that allows Luke to come into contact with the robots and his destiny.

There are other interesting constructions. Leia first appears hiding from the Empire's soldiers – a princess and rebel leader, with no guards. At the time of her capture, she shoots (and kills) a stormtrooper, and at no point is she treated as a “poor thing” while in Lord Vader's custody. She does not give up the location of the rebel base, even under torture or duress. At the moment of her rescue, if Luke and Han Solo don't know what to do, or may make a wrong decision, she imposes herself, leads, shoots, protects herself... These are demonstrations of strength, scene after scene, much more frequent than the demonstrations of dependence.

It is true that the first film still presents the atmosphere of a love triangle, the need for romance, among other possible errors and/or offensive clichés. The Empire Strikes Back still shows a strong Leia, but increasingly tied to a script where she must be Han Solo's wife. Return of the Jedi takes the lead again for Leia, who annihilates the disgusting Jabba with physical force, has her relationship with Luke (thus, with the Force, revealed), in addition to several scenes in which she is not just a supporting player in the action. We can allow for the negative points of 1977 and the 80s (for example, films do not pass the Bechdel Test). More concerns lie in 2015.

The ethics of choice

Probably the main theme of the entire saga. The trilogy separates good and evil, maintaining, however, the flow between them. Luke could choose to become a Sith, or Darth Vader could choose to abandon such an ideology.

In the dissociation between the paths, feelings considered negative – fear, anger or anxiety – are the key to falling under the rule of evil. At the same time, Luke struggles to demonstrate, through his

father, that this is not a path of no return, love is capable of returning someone to good.

While this battle sounds distant from our reality, similar dilemmas present themselves in situations closer to home, such as a young person's transition to adulthood, leaving home and wanting to explore the world, choosing to commit to a way of life and everything that the choice entails (whether it's a career, a relationship, or becoming a Jedi).

The Phantom Menace (1999) / Attack of the Clones (2002) / Revenge of the Sith (2005)

The most recent trilogy, considered the least interesting by nine out of ten fans, follows a different path. The need created by the intention of telling the origin of the greatest villain of all time brings us a story that dives into darkness every second – as Anakin approaches his inner Sith.

Policy

Commercial blockade imposed on a people, difficulties in overcoming the problem by governments. It could be a newspaper headline, but it is George Lucas's choice of political setting for the Galaxy.

There is a lot of criticism regarding the complexity of the plot in Phantom Menace, due to the various interests involved, the lack of clarity between the agents and who is on which side. Between mistakes and successes, this complexity reflects quite well a difference between 1999 and 1977. The political world has become more difficult to analyze, interests are less visible, everyone is more suspicious.

In history, democracy and the Republic take place before the Empire, but they are shown at a time when the public is more identified with these models. Good and evil are no longer those clear

dichotomies. We are entering the era of the antihero, of the gray world, which is not just in the Galaxy, but in Anakin.

It is interesting to see that, coincidence or not, Anakin's political vision follows a growing, albeit timid, movement in the 2000s, of disillusionment and impatience with the democratic model led by representatives of the people. There are many opportunities to see the distrust of the political class by the Jedi – has anyone seen something similar here?

Padme

So this is how democracy dies: with great applause – Padmé, on the demonstrations for the return of the Dictatorship

Midichlorians

In fact, the concept didn't work. It was forgotten in Attack of the Clones, and makes a brief appearance in Revenge of the Sith. The attempt to explain the Force through biological means, however, relates well to the new times. Science dominates even more, in a presumed intellectual dispute with Religion, in the 2000s. There is a lack of patience for supernatural/abstract concepts, especially in geek productions.

Feminism

The new trilogy almost follows in the footsteps of the old one. Padmé is a queen who pretends to be a servant, explores hostile planets, makes political decisions, shoots, “kills” androids. Hers is the plan to rescue her palace (and consequently planet), even though she is accompanied by two Jedi's, and she is the leader of the troop during the rescue and surrender of enemy leaders.

Like her daughter, Leia, she loses protagonism, as the script needs her to appear in the novel and in the following films. The films pass the Bechdel Test, however, Padmé becomes a parameter for Anakin and, convenient for the story or not, it is a little irritating that she gives up her own life for the pain (immense, it's true) caused by Anakin. Points for A New Hope and Return of the Jedi, points for Phantom Menace, red note when it comes to the other half of the saga (and the most hardcore fans will probably go crazy when reading this).

Racism

Master Windu is awesome. There are no other terms. One of the great gains of the new saga over the old one.

Jar jar

It is indefensible in any worldview.

The ethics of choice

The old films created a cult around the Jedi's, ok. It is in recent years, however, that we effectively witness the worldview of this group.

While the focus before was on making Luke a Jedi capable of defeating his father and the Sith Lord, the focus has shifted to the lifestyle, the weight of that style's choices. Mindfulness is a buzzword well aligned with the 900-year-old teachings of Master Yoda.

Patience, empathy, compassion, love are words that show the path of the Jedi. Peace and Justice are your eternal protectors. Anakin has difficulties because his greatest weight is passion and fear. He knows injustice, slavery, and power. One sounds like a tool to extinguish the others, and all the teachings of the gentlemen of the Galaxy end up strange in your ear.

Anakin's political views are a beautiful reflection of how choice is viewed by his personality. As someone with a lot of power and a lot of fear, he only sees the former as a way to avoid the latter. Whenever power is not enough, it feeds the fear of losing. Whenever fear increases, it fuels the thirst for power.

Someone who feels this cycle would not be able to bet on something like a democracy, where they depend on the strength of others and their own detachment. Thus appears Darth Vader and Lucas' greatest lesson.

The Force Awakens (2015)

Episode_VII_Logo

I tried not to access anything other than the trailers. I haven't read books or seen cartoons that complement the films. So my curiosity is great, and I'm sure yours too, about what awaits us in tomorrow's film.

The political world presented may be even more chaotic than it seemed in Phantom Menace or Attack of the Clones. The Sith were defeated, or not, by the lightsaber shown in the trailer.

Even in the optimal scenario, an entire Galactic Empire was defeated. Each planetary system may require different forms of government and relationships, and the Rebel Alliance did not have that many leaders. Conquered and not exterminated peoples harbor hatred, which can make them unwilling to form any friendship. More realistically, legions of the Empire were spread across the Galaxy maintaining order, and the destruction of the central power does not mean the end of a war. It was the path followed by the Alliance. Return from a Republic? Another political model? What inspiration might the current decade have given to the Galaxy?

Luke and Leia are another interesting unknown. Luke not appearing in the trailers has raised several theories, but I prefer to follow what

Return of the Jedi indicates. Leia ends the film aware of the Force. She and Han Solo have a relationship. Luke, as a Jedi, must be celibate. It's likely that one of the main characters (and I'm betting on the girl) is the son of the most famous couple in the Galaxy.

Not having a son leaves Luke free to walk all kinds of paths, but being the only Jedi, it's natural that he would try to train new ones and live up to the name of the film Return of the Jedi, as indicated by Yoda and Obi-Wan. It's likely that one of his Padawans is the holder of the new mask we'll see in The Force Awakens.

On the social side, the question remains about how Disney will portray minorities in history. The cast is already trying to balance the equation through the new protagonists, with the addition of a woman and a black man – both carrying lightsabers.

What types of conflicts and choices will be presented tomorrow, and in the next films in the saga? Until we find out, may the Force be with you.

Yann Rodrigues

Screenwriter, passionate about narratives. Editor and podcaster of Além do Roteiro.

Here I want to talk in big words about Star Wars, which tells its entire story here, which I show below.

Star Wars:

Star Wars is an American space opera franchise created by filmmaker George Lucas, which features a series of nine science fantasy films and two spin-offs. The first film was released under the title Star Wars, on May 25, 1977, and became an unexpected global phenomenon of popular culture, being responsible for the

beginning of the "era of blockbusters", which are cinematic superproductions that are successful in the box office and become franchises with toys, games, books, etc. It was followed by two sequels, The Empire Strikes Back and Return of the Jedi, released three years apart, forming the original trilogy, which follows the iconic trio of Luke Skywalker, Han Solo and Princess Leia, who fight for the Rebel Alliance to overthrow the tyrannical Galactic Empire; In parallel, Luke's journey to become a Jedi Knight and the fight against Darth Vader, a former Jedi who succumbed to the Dark Side of the Force and the Emperor.

After 16 years without new films, a new trilogy called a prequel began in 1999, with The Phantom Menace. This goes back in time to tell how Anakin Skywalker became Darth Vader and follows the fall of the Jedi Order and the Galactic Republic, replaced by the Empire. It was also released at three-year intervals, with the last one released in 2005. Reactions to the original trilogy were extremely positive, while the prequel trilogy received mixed reactions from both specialized critics and the public. Even so, all the films were successful at the box office and received nominations or won Oscar awards.

In 2008, the animated film Star Wars: The Clone Wars was released, a spin-off pilot for the animated series of the same title. This year, the total box office revenue collected from the six existing episodes was announced, which totaled approximately 4.41 billion dollars. After the premiere of Episode VII and Rogue One, this value exceeded 7 billion, making Star Wars the third highest-grossing film series in history, behind the films from the Marvel Cinematic Universe and JK Rowling's Wizarding World. It is the biggest franchise in the history of cinema, with the sum of films and products equivalent to more than 30 billion dollars. This generated several subproducts, including electronic games, cartoons, books and comics, which resulted in the creation of the saga's expanded

universe. In 2012, The Walt Disney Company purchased Lucasfilm for $4.05 billion and announced a new trilogy of films, called the "sequel trilogy", a sequel that will continue the Skywalker family saga after Return of the Jedi. This trilogy will have a two-year gap between films, and in these gaps, Disney will release spin-offs in the expanded universe, which take place during the episodes of the trilogies. The first chapter of this phase, under the title The Force Awakens, premiered on December 18, 2015, receiving critical acclaim, and became the franchise's biggest debut. Followed by, Rogue One, the first spin-off released on December 16, 2016.

The old expanded universe was constructed non-canonically by Lucasfilm in 2014, and its material is now released on Disney under the Legends label, which attempts to organize the expanded universe, which contain contradictory stories. Taking into account the new trilogy, which tells a different story from the old canonical one, Disney considered only the seven films and the Clone Wars series as canonical. The new expanded universe came into effect in 2014, with the first official Star Wars product after Disney's purchase, Star Wars Rebels. Unlike Legends, the stories in the new expanded universe are supervised by the Lucasfilm Story Group, founded by Kathleen Kennedy (president of Lucasfilm) with the aim of maintaining continuity between all products (films, books, series, comics and games) of the franchise.

History

The series began with the simple title Star Wars, written and directed by George Lucas, released on May 25, 1977. At the time of its debut, it became the highest-grossing film of all time, grossing US$775,398,007 million. and winning seven Oscar awards.

20th Century Fox discrediting a film set in space allowed George Lucas to have all rights to the film. The success gave him enough money to open his own film company: Lucasfilm, and the film was turned into a franchise and series, earning derivative products.

In 1978, Star Wars had a Christmas TV special, The Star Wars Holiday Special aired on CBS, which was notorious for having a largely negative reception and was never shown again on television or released on DVD. George Lucas had no significant involvement in the production and expressed disappointment with the final result.

Followed by the Christmas fiasco, came successful sequels in cinemas: The Empire Strikes Back released on May 21, 1980, considered by critics and audiences to be the best film in the series, due to its balance between dark and dramatic moments. The trilogy was closed by Return of the Jedi released on May 25, 1983, which despite its commercial success received criticism for its light tone. After the release of The Empire Strikes Back, Star Wars (1977) was subtitled "Episode IV: A New Hope". This occurred because at the time George Lucas had announced the "prequel trilogy", released in the late 90s, and the original trilogy would be chapters 4, 5 and 6 of the saga.

In the 1980s, because of the success of ewoks among children, the TV films were released: Caravan of Courage: An Ewok Adventure (1984) and its sequel, Ewoks: The Battle for Endor (1985). The Ewoks also had an animated series shown between 1985-87 on ABC, just as the droids C3PO and R2-D2 also had an animated series on ABC between 1985-86.

George Lucas, the creator of the Star Wars series, was inspired by the mythological concept of Joseph Campbell's Hero's Journey to create the series.

In the cinema re-releases in 1997, to celebrate the 20th anniversary of Star Wars, modifications were inserted in the original films,

motivated primarily by the advancement of special effects technology, which will allow the creation of scenes that were impossible to be done at the time of filming. originals.

George Lucas continued to modify the original trilogy in subsequent re-releases, such as the release of the first DVD on September 21, 2004. Reception to these special editions was mixed, with fans creating petitions and edits of their own to restore copies of the original trilogy. During the "Star Wars Celebration V" convention (in August 2010), George Lucas confirmed that he would re-release the entire saga on Blu-Ray, as in January 2010, the president of 20th Century Fox, Mike Dunn, announced that the films would be released in September 2011. The discs include documentaries, interviews, deleted and unreleased scenes, as well as more modifications.

More than two decades after the release of the original Star Wars film, the Prequel Trilogy began with the highly anticipated The Phantom Menace, released on May 19, 1999. Even though it was a box office success, it received mixed reception from critics and audiences. It was followed by: Attack of the Clones, released on May 16, 2002, also a box office success with lukewarm reception and finally Revenge of the Sith, released on May 19, 2005. It is the most praised by critics and the public of the prequel trilogy, and listed by Rotten Tomatoes in 2007 as one of the "100 Greatest Science Fiction Films of All Time".

During the production of the prequel trilogy, George Lucas said several times that he would not produce a new trilogy, or sequel to Return of the Jedi because "the saga is about the tragedy of Anakin Skywalker, and the story ends when Luke redeems his father". Although there are rumors and reports that he wrote a post-Return of the Jedi story about Anakin's grandchildren, George Lucas said they were just vague synopses without a story.

In 2003, Lucasfilm signed a contract with animator Genndy Tartakovski to produce a 2D animated series that would be shown on the Cartoon Network channel entitled Clone Wars, later released on DVD in two volumes. The series served as a bridge to the arrival of Revenge of the Sith in theaters, as it narrates the events that immediately precede the beginning of the third film, including the moment in which Jedi Master Mace Windu manages to use the Force to press General Grievous' chest when entered his ship with the kidnapped Chancellor Palpatine, thus explaining the reason for his cough.

On August 18, 2008, Star Wars: The Clone Wars was released, a computer-animated film that would serve as an introduction to the TV series of the same title. The second animated series about the war that takes place between episodes II and III, also shown on Cartoon Network between 2008 and 2014. The series introduced a new main character, Ahsoka Tano, Anakin's padawan. Clone Wars was replaced by Star Wars Rebels, which takes place between episodes III and IV, the first Star Wars series launched by Disney, in October 2014, currently shown on Disney XD.

In 2012, George Lucas sold the production company Lucasfilm to The Walt Disney Company for 4 billion and a new trilogy was announced. Lucas only participated as a creative consultant on the new films, stating that: "I always said I wouldn't do anything else, and I won't, but that doesn't mean I can't let Kathleen (president of Lucasfilm) do more". The story of Episode VII is based on a brief synopsis written by George Lucas with a script by Michael Arndt, Lawrence Kasdan and JJ Abrams (also the film's director). The first film in the new trilogy called The Force Awakens, premiered on the world circuit on December 17, 2015, with sales of 300 million in the United States and more than 600 million around the world in just 5 days, becoming the biggest debut of all time.

In 2005 George Lucas had announced the development of the project for a live-action TV series (with real actors) set in the years between Episodes III and IV, but with a plot not focused on known characters, but on situations of political conflict between planets. and smugglers. The project reached such a stage that some screenwriters completed stories to be used in new episodes, but in 2011 producer Rick McCallum declared that the project would be shelved pending better technology developments, aiming to reduce costs. With Disney's acquisition of the franchise, material from the live-action series would have been used in Star Wars Rebels. In 2013, Disney executive director Bob Iger confirmed the development of two anthology films within the expanded Star Wars universe, with the first of them, Rogue One, premiering on December 16, 2016. Unlike the main saga, the anthologies don't focus on the Skywalker family.

The episodes of the web series Star Wars: Force of Destiny take place at different times, which makes it difficult to include them in the schedule. Miniseries, short stories, comics and books from the official Star-Wars canon are also excluded, as well as the Star Wars: Galaxy's Edge theme park (between VIII and IX). The chronology uses the fictional calendar of the Star-Wars universe in years before and after the Battle of Yavin. The Battle of Yavin IV represents the end of Episode IV, in which Luke Skywalker and the Rebels destroy the first Death Star.

Episode plot

The Prequel Trilogy tells the youth of Anakin Skywalker (Darth Vader), a slave boy on the planet Tatooine, conceived (without a father) by the midi-chlorians symbiotes in his mother Shmi Skywalker. He is discovered by Jedi Knight Qui-Gon Jinn, believing that he is the "Chosen One", predicted by a prophecy to bring balance to the Force and destroy the Sith, as he is a child prodigy with talent in piloting, engineering, precognition and high potential.

of the Force. The Jedi Council, led by Yoda, senses that Anakin's future is clouded by fear, but reluctantly agrees to have Qui-Gon's apprentice, Obi-Wan Kenobi, train Anakin after the Sith Lord Darth Maul assassinates Qui -Gon. At the same time, the planet Naboo is under attack and its ruler, Queen Padmé Amidala, seeks help from the Jedi to repel the Trade Federation's attack. Sith Lord Darth Sidious secretly planned an attack to give his alter-ego, Senator Palpatine, a pretext to mutiny and overthrow the Supreme Chancellor of the Galactic Republic and take his place (Episode I).

Promotional poster for The Phantom Menace, showing young Anakin Skywalker (Jake Lloyd), protagonist of the prequel trilogy, with the shadow of what he will become in the future: Darth Vader

The sequence shows Anakin at the age of 19 in a friendly but conflicted relationship with his master Obi-Wan and tormented by strong emotions: passion and hatred, feelings forbidden to Jedi. After having a vision where his mother is in danger, he returns to Tatooine to see her, but discovers that she has been kidnapped and killed by the Sand People; Anakin succumbs to hatred and coldly exterminates the sand people. He gives himself over to love by falling in love and secretly marrying Padmé, now a senator, whom he was ordered to protect after she suffered an assassination attempt. At the same time, the Republic is in crisis with the Separatists - led by the Sith Lord Count Dooku - but Obi-Wan discovers an army of clones created to help the Jedi defend the Republic from the Separatists, starting the Clone Wars, planned by Sidious/Palpatine to destroy the Jedi and lure Anakin to his side (Episode II).

Three years later, the separatist Dooku is killed by Anakin and it is revealed that Padmé is pregnant. The Jedi has a prophetic vision of his wife dying in childbirth, similar to what happened to his mother, and Palpatine convinces him that only the dark side has the power to save her life; he also deceives Anakin by claiming that the Jedi want to take power from the Republic. Desperate and with his faith in the

Jedi shaken, Anakin submits to the dark side by adopting the Sith name Darth Vader, while Palpatine transforms the Republic into the tyrannical Galactic Empire — naming himself emperor for life —. Order 66 is put into practice and the clones exterminate the Jedi with the help of Vader, who also kills the separatist leaders on Mustafar, ending the chronic wars. A duel between Vader and Obi-Wan takes place, where the master defeated his former disciple, amputating his legs and leaving him dying on the bank of a river of lava. Palpatine arrives at the scene next, saving Vader and placing him in life-preserving mechanical armor. Meanwhile, Padmé dies giving birth to twins Luke and Leia, who grow up hidden from Vader, without knowing who their real parents are (Episode III).

The events of the original trilogy begin 19 years later, as Vader oversees the Death Star space station, which will allow the Empire to crush the Rebel Alliance (formed to combat Palpatine's tyranny) led by Princess Leia Organa who is with the Death Star project/plan. Death Star stolen by the Rebels. But Vader captures Leia, who hides the plan and a message in the droid R2-D2, who then together with his colleague C-3PO escapes to the planet Tatooine, where they are acquired by Luke Skywalker and his uncle and aunt. While Luke cleans R2-D2, he accidentally triggers the message implanted by Leia, begging Obi-Wan Kenobi for help. Thus, Luke helps the droids find the Jedi Knight who, pretending to be a hermit, under the nickname Ben Kenobi, tells Luke he knows his father. He said that Anakin was an excellent Jedi and that he was betrayed and murdered by Vader.

After Luke's uncles are killed by the Empire, he teams up with Obi-Wan and hires smuggler Han Solo and his Wookiee co-pilot Chewbacca to take them to Alderaan. Leia's home planet, which is later destroyed by the Death Star. After invading the space station, Obi-Wan sacrifices himself and lets Vader kill him during a lightsaber duel; thus allowing the group to escape with Leia and the

plans that will help the Rebels destroy the Death Star. But Obi-Wan achieves immortality, similar to his master Qui-Gon, and continues to communicate with Luke in the form of a luminous spectrum. Guided by Obi-Wan and with help from Han, Luke manages to use the Force to destroy the Death Star, then he and Han are knighted by Leia (Episode IV).

Mark Hamill as Luke Skywalker, the protagonist of the original trilogy and responsible for the redemption of Anakin Skywalker.

Three years later, the rebels, crushed by the Empire, retreat to the planet Hoth, but are discovered by Vader and a battle ensues. The Rebel Alliance, despite being shattered, manages to escape. During the battle, Obi-Wan Kenobi directs Luke to go to Dagobah to meet Yoda to begin Jedi training. But his training is interrupted when Darth Vader lures him into a trap after freezing Han Solo in carbonite and capturing Leia, Chewbacca and C-3PO. In the trap Luke and Vader arrive at a gigantic and deep round ventilation and maintenance area, where Vader cuts off Luke's right hand using his lightsaber, leaving him hanging from an antenna exhausted and injured. When Vader reveals himself to be Luke's (Anakin Skywalker) father trying to seduce him to the dark side, while the team Lando, C-3PO, R2-D2, Chewie and Leia fight the stormtroopers to reach the Millennium Falcon ship. Vader offers Luke an alliance to destroy the Emperor and rule the Galaxy together. But Luke refuses to join the assassin Vader and throws himself into the abyss, falling into a ventilation system that launches him out of the suspended city, but holds on to a small antenna below the city. Luke escapes with the help of Leia and Lando Calrissian, but Han is taken by bounty hunter Boba Fett. (Episode V)

A year later, Luke rescues Han Solo from the hands of gangster Jabba the Hutt and returns to complete his training, finding Yoda on the verge of death, who before passing away confirms that Vader is his father; Moments later, Obi-Wan tells Luke that he must face

Vader to become a Jedi Knight and finally reveals that Leia is his twin sister.

While the Rebels attack a second Death Star, Luke confronts Vader in the presence of Emperor Palpatine, who wants his son to kill his father and become his new disciple. During the duel, Luke succumbs to his anger and brutally dominates Vader, but controls himself at the last minute when he realizes that he is about to suffer the same fate as his father. So he spares his life and proudly declares his loyalty to the Jedi, then furious, Palpatine tries to kill Luke, at this moment the sight of his son being electrocuted makes Vader recover and eliminates his master, suffering mortal injuries in the process. Redeemed, Anakin Skywalker fulfills the Chosen One's prophecy and dies in his son's arms and Luke definitively becomes a Jedi. Han and Leia finally come to terms with their relationship, while the Rebels destroy the space station and the Empire. (Episode VI)

30 years after the fall of the Empire, Luke Skywalker is missing, and in his absence the First Order has emerged, led by a creature from the dark side, Supreme Leader Snoke, who wants to recover the Empire and fights against the Resistance, commanded by Leia and supported by the New Republic. Poe Dameron, a Resistance pilot, goes to Jakku to meet Lor San Tekka, a former ally who has a map with Luke's whereabouts. But the First Order arrives and captures Poe; but later he escapes with the help of Finn, a deserter stormtrooper; The BB-8 droid escapes with the possible map of Luke's whereabouts and ends up in the hands of Rey, a scrap dealer, pilot and with great knowledge of mechanics, who lives alone waiting for her family to return. While escaping, Finn and Poe are hit, Poe disappears and Finn ends up finding Rey and they both flee the First Order in the Millennium Falcon. They eventually meet Han Solo and Chewbacca who were looking for the ship and they go to Maz Kanata's Pirate Fortress to ask for help, a Force-sensitive woman over 1,000 years old. Han and Leia had a son, Ben Solo (Kylo Ren),

who fell to the dark side after being seduced by Snoke and wanting to be powerful like his grandfather Darth Vader. He was trained by Luke, but betrayed him and destroyed the Jedi Academy.

Skywalker, Luke then, feeling guilty, went after the first Jedi Temple; Han and Leia ended up separated in the tragedy.

Daisy Ridley as Rey, protagonist of the new trilogy.

Rey eventually finds Anakin Skywalker's lightsaber in the Pirate Fortress, and has a Force vision, Maz Kanata says that the saber belonged to Anakin and Luke, and now "calls" for Rey, but she rejects him and leaves. The First Order arrives at the Fortress behind the maps, with help from the Resistance and Poe, Han, Finn and Chewbacca manage to escape, but Rey is captured by Kylo Ren. He tries to get information from her, but she is powerful in the Force and he can't. After meeting Leia at the Resistance base, Han, Chewbacca and Finn go to rescue Rey and also shut down the shields of the First Order's superweapon, Starkiller, which destroyed an entire Republic star system, while Poe and his squad attack the superweapon, Rey manages to escape using her Force powers. Han and Chewbacca implant explosives in the superweapon; Soon after, Han finds his son and tries to bring him to the light side again, but Kylo Ren deceives his father and coldly kills him with his saber. Leia feels her death in the Force. The Resistance manages to destroy the superweapon while Finn and Rey try to escape before it explodes but are stopped by Kylo Ren who hits Rey and duels with Finn, who uses Anakin's saber, but Kylo wins and injures Finn . Rey recovers herself, takes Anakin's saber and fights fiercely with Kylo Ren, defeating him, but is unable to kill him. Rey then escapes from Starkiller in the Millennium Falcon with the help of Chewbacca. The droid R2-D2, which was in hibernation mode, completes the map of the temple where Luke was and Rey goes to find him. (Episode VII).

Resistance members led by General Leia Organa abandon their main base when a First Order fleet reaches the planet where they are. After the battle, the Resistance ships flee at the speed of light. Leia reprimands Poe Dameron for a counterattack that, while successful, caused the loss of many lives and ships; at the same time, Supreme Leader Snoke berates General Hux for letting the Resistance escape. Hux, however, is using a tracker that can follow ships at the speed of light, and begins a chase with the Resistance, who manage to keep their distance, but the ships' fuel, which also keeps the shields functioning, is close to running out. During an attack, Kylo Ren hesitates to shoot at the Resistance's lead ship when he senses that Leia, his mother, is there, but TIE fighters shoot and destroy the command bridge, killing many of the leaders there, including the famous Admiral Ackbar. Leia manages to save herself using the Force, but is unconscious and severely injured, and Vice Admiral Amilyn Holdo takes command. Disapproving of their passive strategy, Poe, Finn, BB-8 and ship mechanic Rose Tico think of a plan to disarm the First Order's tracking device and contact Maz Kanata, who recommends a code-breaking mercenary (decoder, the popular "hacker" ") who is in a casino town called Canto Bight, on the planet Cantonica, and who wears a red flower in his lapel.

Having arrived on the planet Ahch-To with Chewbacca and R2-D2 aboard the Millenium Falcon, Rey encounters Luke Skywalker. Luke, however, even after learning of Han Solo's death, frustrates her expectations by refusing to teach her because of his frustration with Ben Solo – who became Kylo Ren. Hidden from Luke, Rey begins to communicate with Kylo Ren through visions and telepathy. Convinced by R2-D2, who shows him the original recording of Leia asking Ben Kenobi for help, Luke decides to initiate Rey into the ways of the Force, but also tells her of his mistakes as a Jedi Master. Luke and Kylo tell Rey different versions of the incident that drove Kylo to the dark side of the Force and Luke into exile.

Unable to convince Luke to join the Resistance, Rey leaves Ahch-To without him, willing to confront Kylo Ren alone, as she still feels there is light within him. Luke sees the spirit of his master, Yoda, who destroys the Jedi temple on Ahch-To and teaches him that failure can teach much more than success, and that he must not lose Rey.

On the Resistance ship, Amilyn Holdo reveals her plan to escape discreetly in small camouflaged transport ships. Considering the strategy cowardly and risky, Poe instigates a riot and arrests Holdo. Finn, Rose and BB-8 head to Canto Bight and enter a casino frequented by wealthy weapons dealers. They find the man with the red flower, but are arrested by the police for parking the ship in a prohibited location. In jail, they meet DJ, who says he is able to break the codes they need, in exchange for money. With the help of some child slaves, they manage to escape Canto Bight together with DJ, and they actually manage to enter the ship, but are discovered by Captain Phasma and captured – BB-8 manages to escape. Meanwhile, Rey arrives on the same First Order ship where they are and is immediately captured by Kylo Ren, who takes her to Snoke, who proves to be much more powerful than her. Rey tries to convince Kylo to join the Resistance. Snoke reveals that he was responsible for the mental communication between Rey and Kylo, and it was all part of his plan to destroy Luke Skywalker. Upon receiving the order to kill Rey, Kylo becomes angry to kill the enemy and tricks Snoke, killing him, using the lightsaber via telekinesis, instead of killing Rey. Kylo and Rey fight together against Snoke's guards; After the battle, Kylo reveals that Rey's parents were two scrap dealers who abandoned her in exchange for booze, and asks Rey to join him so they can rule the galaxy together. Rey refuses and asks him to join the Resistance. Both use the Force against each other, Rey manages to escape and Kylo declares himself the new Supreme Leader.

Finally recovered, Leia neutralizes Poe and releases Amilyn Holdo, beginning the escape in smaller ships. Holdo sacrifices herself by remaining on the main ship to provide cover, while the other ships escape to the planet Crait, which has an old abandoned Rebel Alliance base. On the First Order ship, DJ, who was being arrested along with Finn and Rose, betrays them by revealing the Resistance's evacuation plans. First Order ships begin attacking the small Resistance ships and destroying almost all of them, but Holdo accelerates her ship to the speed of light towards the First Order ship, destroying it in a kamikaze attack. The remaining small ships manage to enter the former Rebel Alliance base on Crait. BB-8 frees Rose and Finn, who escape after defeating Captain Phasma, and join the survivors on Crait. When the First Order arrives on the planet, Poe, Finn and Rose join in an attack using old weaponry, but begin to lose the battle. Chewbacca arrives piloting the Millenium Falcon with Rey and takes the TIE fighters with him, destroying them in a chase through the caves.

Rose saves Finn, who was about to kill himself by running into the weapon used by the First Order to invade the base. Luke appears and confronts Kylo alone, giving the Resistance time to escape through the back of the base. Kylo tries to strike Luke but discovers that he is actually just a projection – Luke is still on Ahch-To. Luke challenges Kylo by telling him he is not the last Jedi, while Rey levitates rocks using the Force in the back of the base, allowing the Resistance to escape. On Ahch-To, Luke, exhausted by the effort of projection, disappears in the same way as Yoda, joining the Force. The few members of the Resistance escape aboard the Millenium Falcon. When questioned, Leia states that everything the rebellion needs to rise again is on board that small ship where they are.

In Canto Bight, one of the child slaves who helped Finn and Rose escape was left with a ring bearing the symbol of the Resistance. This child, without realizing it, quickly uses the Force to grab a

broom, and wields it as if it were a lightsaber while looking at the stars in the sky. (Episode VIII)

Influences and themes

The Flash Gordon series and the film Seven Samurai by Japanese filmmaker Akira Kurosawa were quite influential in the creation of Star Wars.

George Lucas reports that he was inspired by different genres, such as: film series, Japanese film, western films, war films, mythology; medievalism, among others.

Adventure series, especially Republic Pictures' Commando Cody and Flash Gordon, starring Buster Crabbe; The work of essayist Joseph Campbell strongly influenced Lucas (especially The Hero with a Thousand Faces); Medieval knights and paladins, from feudalism, also inspired several characters and concepts present in the franchise; The works of director Akira Kurosawa (including the Hidden Fortress and Seven Samurai), the term jedi is derived from jidaigeki, the name given to Japanese narratives about samurai.

The final battle scenes in A New Hope are based on aerial combat from the Second World War, present in war films from the 1950s and 1960s. The final scene, where the heroes are decorated with medals, came from the films The Three Musketeers and Triumph of the will.

Themes

The Star Wars saga makes use of archetypes, common in science fiction and ancient mythology, as well as the classical music present in these genres. The use of the monomyth, also known as the Hero's Journey by mythologist Joseph Campbell, is a constant in the films: The fallen hero (Anakin\Ben Solo), the father\son tensions (Anakin\Obi-Wan, Luke\Vader and Kylo Ren \Han Solo), the maidens (Padmé\Leia\Rey) who are not defenseless, but strong women, the

love that endures despite adversity\separations (Padmé\Anakin and Leia\Han). The reinterpretation of mythological archetypes is the basis of the timelessness of the films, as they focus on themes that everyone can relate to, incorporating modern concepts.

An example of the use of the monomyth throughout the series is the parallelism between the stories of Anakin and Luke Skywalker: Both are found at a young age by an elder who introduces them to a wider universe, revealing to them their abilities, both elders know something about their origin that they themselves are unaware of (Qui-Gon-Jin and the prophecy about the Chosen One and Obi-Wan Kenobi and the identity of Darth Vader), both see their master dead before having their training completed, being adopted by a master with a student/teacher relationship with the previous master (Obi-wan is Qui-Gon's former padawan and Yoda is Qui-Gon's former master). Both are evident in their use of the Force (Anakin surpasses his masters and Luke evolves almost without training), both are plagued by strong emotions: love and anger. Anakin feels love for Padmé and anger at his mother's death and Luke feels love for his friends and anger at the death of his uncles, both see these emotions used against them in an attempt to persuade them to the Dark Side of the Force and both are saved by compassion they feel. Luke out of compassion for his father, not killing him when he had the opportunity and Anakin out of compassion for his son, not letting the Emperor kill him.

Atmosphere

Iconic scene from the first Star Wars (1977), showing the two suns of the planet Tatooine.

The events described in the Star Wars universe take place in a fictional galaxy. Several species of alien creatures (often humanoid) are depicted. Robotic droids are also commonplace, generally being built to serve their owners. Space travel is common, and many

planets are members of the Galactic Republic, later reorganized as the Galactic Empire.

One of the prominent elements in Star Wars is the "Force", an omnipresent energy that can be used by those with the ability to do so, known as Force Sensitive. It is described in the first film produced as an "energy field created by all living beings, which surround us, permeate us and hold the galaxy together". It can be felt better by those who have a greater number of midi-chlorians, which are a species of microorganisms that live in symbiosis with humans. The Force allows its users to perform various supernatural feats, and can also amplify certain physical characteristics, such as speed and reflexes and impulse; These skills vary between characters and can be improved through training. Although the Force is used for good, there is a dark side that, when reached, fills its wielder with hatred, aggression and evil.

The six films feature the Jedi, who use the Force for good, and the Sith, who use the dark side for evil, in an attempt to dominate the galaxy. In the Star Wars Expanded Universe, many of those belonging to the dark side are not Sith, this being determined mainly by the "Rule of Two" which establishes that there can be only two Siths, a master and his disciple.

Cultural impact

The iconic lightsaber

Star Wars revolutionized cinema and the way films were made. Here comes the concept of blockbuster (blockbuster film) with big box office and budgets. The young audience was the industry's new target. The era of ''commercial cinema'' began, focused on a series of hits that generate derivative products. The countless techniques created by Industrial Light & Magic revolutionized the film special effects industry and other studios began to invest in technology. Another revolutionary company founded by Lucas to make Star Wars

is Skywalker Sound, which innovated the use of cinema sound. Among the companies created by George Lucas, which later became independent, are Avid Technology, THX and Pixar Animation Studios, now owned by Disney. John Williams' iconic soundtrack is world-renowned even by those who have never seen the films. The soundtrack to Star Wars (1977) was chosen by the American Film Institute (AFI) as the most memorable of all time.

The AFI also named Han Solo and Obi-Wan Kenobi two of the 100 greatest heroes of American cinema and Darth Vader the 3rd greatest villain of American cinema. The phrase "May the Force be with you" was voted the 8th most memorable line by the AFI and the first Star Wars was ranked 15th on the AFI's list of the 100 greatest films in American cinema.

George Lucas, with Star Wars, had become cinema's most successful independent filmmaker. Lucas put practically all the money earned from Star Wars into the production of The Empire Strikes Back, not surrendering to the power of the studios. In fact, Lucas was responsible for revitalizing the strength of what he had always fought against as an independent filmmaker.

In 2005, Forbes Magazine estimated the total revenue generated by the Star Wars franchise (during its 28-year history) at approximately US$20,000,000,000.00 (twenty billion), today estimated at 30 billion, easily making it to one of the most successful film-based franchises of all time. Also on Forbes, in the list of the richest people in the world published in the magazine in 2004, George Lucas appears in 153rd place, with an estimated fortune of 3 billion dollars.

Numerous events and fan conventions are held annually in honor of Star Wars, such as Star Wars Celebration.

Map of the fictional Star Wars galaxy

The term Expanded Universe (EU) is a generic term for licensed Star Wars material outside of theatrically released films. The material expands on the stories told in the films, they can take place at any time, from 25 thousand years before The Phantom Menace or years after Return of the Jedi. Currently, these stories have been decolonized by Disney and are released under the Legends label. This was because in the EU there are numerous stories after the events of Return of the Jedi and this would contradict the new trilogy. Furthermore, the UE has always been freer with some stories contradicting each other, so to ''organize'', Disney transformed the old UE into Legends, non-canonical.

Affairs

The first Star Wars book predates the release of the first film, with the novelization of the first film released in December 1976, subtitled "From the Adventures of Luke Skywalker". Credited to Lucas, the novelization was written by a ghostwriter, Alan Dean Foster, quickly followed by the novel Splinter of the Mind's Eye, also written by Alan Dean Foster, published in April 1978. Lofo later, novelizations of The Empire Strikes Back (1980), by Donald F. Glut and Return of the Jedi (1983), by James Kahn, as well as the Han Solo Adventures trilogy (1979-1980), by Brian Daley, and The Adventures of Lando Calrissian (1983 ) trilogy by L. Neil Smith.

Timothy Zahn's best-selling Thrawn trilogy (1991-1993) reignited interest in the franchise and introduced the popular characters Grand Admiral Thrawn, Mara Jade, Talon Karrde and Gilad Pellaeon. The first novel, Heir to the Empire, reached #1 on the New York Times bestseller list, and the series finds Luke, Leia, and Han facing off against the tactical genius Thrawn, who is plotting to retake the galaxy for the Empire. In Dave Wolverton's The Courtship of Princess Leia (1994), set immediately before the Thrawn trilogy, Leia considers a political marriage to Prince Isolder of the planet Hapes to be advantageous, but she and Han marry instead. Steve

Perry's Shadows of the Empire (1996), set between The Empire Strikes Back and Return of the Jedi, was part of a multimedia campaign that included a comic book series and a video game. The novel introduced crime lord Prince Xizor, another popular character who would appear in several other works. Other notable series from Bantam Books include the Jedi Academy trilogy (1994) by Kevin J. Anderson, the 14-book Young Jedi Knights series (1995–1998) by Anderson and Rebecca Moesta, and the X-wing series (1996–2012 ) by Michael A. Stackpole and Aaron Allston.

Publisher Del Rey took over publishing Star Wars books in 1999, releasing what would become a 19-book novel series called The New Jedi Order (1999-2003). Written by multiple authors, the series was set 25 to 30 years after the original films and introduced the Yuuzhan Vong, a powerful alien race trying to invade and conquer the entire galaxy. The best-selling series Legacy of the Force (2006-2008) chronicles Han and Leia's crossover with Jacen Solo to the dark side of the Force; Among his evil deeds, he kills Luke's wife, Mara Jade, as a sacrifice to join the Sith. Despite no longer being canon, the story is reminiscent of The Force Awakens, where Han and Leia are parents to Ben Solo, who became the dark Kylo Ren.

Three series established in the Prequel era were introduced to younger audiences: the 18-book Jedi Apprentice (1999-2002) chronicles the adventures of Obi-Wan Kenobi and his master Qui-Gon Jinn in the years before The Phantom Menace; 11-book Jedi Quest (2001-2004) follows Obi-Wan and his own apprentice, Anakin Skywalker between The Phantom Menace and Attack of the Clones; and the 10-book The Last of the Jedi (2005–2008), set almost immediately after Revenge of the Sith, features Obi-Wan and the last surviving Jedi. Maul: Lockdown by Joe Schreiber, released in January 2014, was the last Star Wars novel published before Lucasfilm announced the creation of the Star Wars Legends imprint.

Although Thrawn was designated as a Legends character in 2014, he was reintroduced into the canon in the third season of Rebels in 2016, with Zahn returning to write more novels based on the character, and set in the new canon.

Comics

Marvel Comics published a series of Star Wars comics from 1977 to 1986. The original Star Wars comics were published in Marvel's Pizzazz magazine between 1977 and 1979. The 1977 installments were the first original Star Wars stories that were not directly adapted from the films published in print, as they preceded the Star Wars comic book. From 1985 to 1987, the children's animated series Ewoks and Droids inspired comic book series from Marvel's Star Comics imprint.

Two months after the debut of the first film, Marvel Comics began publishing the Star Wars comic book, the first six issues of the series were an adaptation of the film, the first new version of the magazine appeared in the seventh issue, published in January 1978.

At the end of the 80s, Marvel stopped publishing comics from the franchise, which would only be published again in the following decade. The chosen publisher was Dark Horse Comics, starting with the popular Dark Empire series (1991-1995).[88] Dark Horse has released dozens of series following the original trilogy, including Tales of the Jedi (1993–1998), X-wing Rogue Squadron (1995–1998), Star Wars: Republic (1998–2006), Star Wars Tales (1999–2005 ), Star Wars: Empire (2002–2006) and Star Wars: Knights of the Old Republic (2006–2010).

Following Disney's acquisition of Lucasfilm, it was announced in January 2014 that in 2015 the franchise's comic book license would return to Marvel Comics, whose parent company, Marvel Entertainment, was purchased by Disney in 2009. Launched in 2015,

the three The first publications were Star Wars, Darth Vader and the miniseries Princess Leia.

In 2017, IDW Publishing released the Star Wars Adventures anthology series. In 2022, Dark Horse returned to publishing new Star Wars comics and graphic novels.

Electronic games

The first electronic game was Star Wars Electronic Battle Command, released in 1979 by Kenner. In 1982, Parker Brothers published the first Star Wars video game for the Atari 2600, The Empire Strikes Back. It was followed in 1983 by Atari's arcade rail shooter Star Wars, which used vector graphics and was based on the Death Star race scene from the 1977 film. The next game, Return of the Jedi (1984), used more traditional raster graphics,[citation needed] with the follow-up game The Empire Strikes Back (1985) returning to vector graphics.

In 1991, Star Wars was released for the Nintendo Entertainment System, followed by a sequel the following year. Super Star Wars was also released in 1992, followed by two sequels over the next two years. Lucasfilm started its own video game company in 1982, known for adventure games and flight combat games set in World War II. In 1993, LucasArts released Star Wars: X-Wing, the first self-published video game in the franchise and the first space flight simulator based on the franchise. It was one of the best-selling games of 1993 and established its own game series. The Rogue Squadron series, released between 1998 and 2003, also focused on space battles during the films.

Dark Forces (1995), a hybrid adventure game incorporating puzzles and strategy, was the first Star Wars first-person shooter. It featured graphics and gameplay unusual in other games, made possible by LucasArts' custom Jedi game engine. The game was well received, and was followed by four sequels. The series introduced

Kyle Katarn, who would appear in several games, novels, and comic books. Katarn is a former stormtrooper who joins the rebellion and becomes a Jedi, a similar storyline to Finn's in The Force Awakens.

An MMORPG, Star Wars Galaxies, was in operation from 2003 to 2011. In 2011, the game was discontinued in favor of a new Star Wars MMO entering the market in December of the same year: Star Wars: The Old Republic.

Disney teamed up with Lenovo to create the augmented reality game Jedi Challenges, released in November 2017.

In August 2018, it was announced that Zynga would publish free Star Wars mobile games.

Merchandising

Star Wars board game

The success of the Star Wars films led the franchise to become one of the best-selling franchises in the world. While filming the original 1977 film, George Lucas decided to pay $500,000 to his director's salary in exchange for full ownership of the franchise's merchandising rights. The first six films produced approximately $20 billion in merchandising revenue.

Kenner made the first Star Wars action figures to coincide with the film's release, and today the original figures are highly valuable. Since the 90s, Hasbro has held the rights to create action figures based on the saga. Star Wars was the first intellectual property to be licensed in the history of Lego, which produced a LEGO Star Wars theme.

Lego has produced animated short films and comedy miniseries to promote its sets. The Lego Star Wars video games are the most critically acclaimed.

In 1977, the board game Star Wars: Escape from the Death Star was released, not to be confused with the board game of the same name published in 1990. A Star Wars Monopoly and themed versions of Trivial Pursuit and Battleship were released in 1997, with updated versions released in subsequent years. The board game Risk was adapted into two editions by Hasbro: The Clone Wars Edition (2005) and the Original Trilogy Edition (2006). Star Wars tabletop RPGs have been developed: a version by West End Games in the 1980s and 1990s, one by Wizards of the Coast in the 2000s, and another by Fantasy Flight Games in the 2010s.

Star Wars cards have been published since the first "blue" series, by Topps, in 1977. Dozens of series have been produced, with Topps being the licensing company in the United States. Some of the card series are movie promotional photos, while others are original art. Many of the cards have become highly collectible with some very rare "promos", such as the 1993 series II Galaxy "floating Yoda" P3 card, which usually retailed for $1,000 or more. While most "base" or "common card" sets are plentiful, many "insert cards" or "chase cards" are very rare. From 1995 to 2001, Decipher, Inc. owned the license for, created, and produced a Star Wars-based trading card game; the Star Wars Collectible Card Game (also known as SWCCG).

Multimedia projects

Shadows of the Empire (1996) was a multimedia project set between The Empire Strikes Back and Return of the Jedi, which included a novel by Steve Perry, a series of comics, a video game and action figures. The Force Unleashed (2008–2010) was a similar project between Revenge of the Sith and A New Hope, which included a novel, a 2008 video game and its 2010 sequel, a graphic novel, an RPG supplement, and toys.

3D re-release

In September 2010, Lucasfilm confirmed that it would convert all six Star Wars films into 3D. According to the producer, all episodes would be re-released in theaters in this format, starting with Star Wars Episode I: The Fastasma Menace, whose re-release took place on February 10, 2012, in the United States. A spokesperson for the production company said the idea is to release the films widely and possibly in most territories at the same time. Distribution would again be from Fox. In August 2012, Lucasfilm announced via Facebook that Episodes II and III would be re-released in 2013. Attack of the Clones was scheduled to premiere on September 20, 2013, and Revenge of the Sith, would come weeks later, on October 11, 2013.

Despite expectations, the conversion of Episode I to 3D format did not please fans, which resulted in a low financial return and criticism of the final result.

In January 2013, Disney canceled the release of Episodes II and III to focus efforts on new episodes of the franchise.

I want to thank everyone here for this extraordinary text that I tell with beautiful and unforgettable words, a good narration of a film that went down in the history of cinema as a box office champion in which I explored my mind and defined it with my contradictions about the great history of cinema in which Star Wars was established as the best space film that a great trilogy was made over several titles that we can get to know better about its appearance and work about great mysteries that are defined over a great battle that takes place over a Star Wars that tells several stories and which shows us a feature film perhaps a discovery of man about the stars that today we can unveil and dream better with the space that we tell this story with beautiful and extraordinary characters and that was recorded in the history of American cinema in which we can see all of its magnitude on the life of human beings about a great battle that would simply be like a highly evolved

fascination about life and that shows us about its science fiction a more contagious side that made us dream about life and its existence and that reminds us of conquest of man over space that we simply conquered the cinema screen and created a surface through a dynamic of man who scientifically conquered space and made great imagination and fantasy dream on cinema screens and I want to thank everyone for this work and thank you very much !

THE PHANTOM OF THE OPERA

I believe that life can lead us to certain things that through an event we can hide a story that here I describe as a true drama of a film that has gone down in the history of many that tells the story of Erik, a deformed man and genius who lives in the dungeons of the Paris Opera who falls in love with a beautiful and beautiful girl who sings at the Paris opera called Christine Daaé, a soprano maiden who turns the Phantom of the Opera's obsession into what in everything we can here is ahead of a true romance that becomes the passion of a boy who, due to his childhood being a trauma in which he suffered such consequences that made him lose his beautiful childhood image until he became a young man who lived for many years in hiding due to his amazing appearance that made him a a being like a legend who transformed him into a legend in the theater of Paris with his dynamic voice that preserved his mischievous courage, hatred of revenge and love for his fellow men that he always heard singing from the back of the theater in which he took himself to observe every night of melodies and operas by many young women who were a stage attraction that made him become a ghost in which he preserved his personality in living a life secretly outraged by a suffering that he always carried with him in his chest over a devotion that did to him like in the stories created about a beautiful young man who perhaps forced a situation in which he spent his

childhood suffered among certain people of his time who had fun beating him, in which he rebelled and managed to escape into the great theater in Paris where he remained for a short time until he became an adult in which he became alive with a deeper soul that rises from the fire of his passion in which he was attracted by the opera and by the sounding voice of beautiful and unforgettable young women who sang in the theater in which he fell in love with a beautiful and beautiful young woman called Christine Daaé who showed a gift and had in her magnitude of singing the soul of the colors which made her and consecrated her as the best opera singer in which everything can have a meaning that perhaps could have awakened the side dark in the shadows that lived a beautiful boy called Erik, a deformed man and genius who lives in the dungeons of the Paris Opera who through a sweet and dazzling song made him feel love and made him search for a great moment in which his pain deepened about a spiteful desire to believe in his imagination that life could perhaps conceive certain things for him that would preserve him, perhaps through a gesture and feeling, an expression of affection in which the soul is consequently a gift of making itself loved and that life perhaps can tell us that not even suffering can destroy anyone's feelings and that that person cannot deserve us and that they can be restless and suffering from any absorption in living life and simply a song coming from the teaching soul of a beautiful girl with a fine and sad look that could have a divine heart that in its voice made you fully believe in the teaching life of perhaps a being who suffered somewhere that simply conquered your soul and made you dream of a salvation of believing and becoming free from some emptiness that awakened him from the darkness that proposed a conquest in the world of song and from the beauty of a young girl who spent an unforgettable moment on top of a tremendous nightmare in which he made him pursue and get to know him more closely to see her talent in which he made us love madly with body and soul, that we can certainly believe in the benign

strength of love, that we can be happy and that we are stuck in different places both in heaven and in hell, and the young woman gave him freedom with her soul and tone of voice that certainly softened a heart patient who perhaps could have been a good genius who lived under a barrier of suffering that near and inside the theater the fire made him convert into a deep love that fell in love with a young girl as it is said in a French novel of gothic fiction that was written by Gaston Leroux. It was first published as a serialization in Le Gaulois from 23 September 1909 to 8 January 1910 and in volume form in April 1910 by Pierre Lafitte. The novel is partially inspired by historical facts about the Paris Opera during the 19th century and an apocryphal tale concerning the use of a famous musician's skeleton.

Perhaps today we can say with great conviction that life can contain us and that perhaps great trials have passed that today we see in modernity youth expressing themselves about love that is as captivating as ever, all the same that simply shows us attractiveness over dependence on any young person that perhaps life will make you love and that desire is certainly a very deep thing that we only assimilate when we feel love no matter how much we venture, and it is said that things are not limited when we see and see in everything from deep knowledge and no matter how much it comes from within our souls because everything is absorbed even if it has indifferent parts and emotions and love is certainly something substantial to the life that we deeply attach ourselves to and try to conquer and here with beautiful words I want to say that it certainly should about This novel is a true reason for a deeper and more harmonious explanation that genius arises in everything and everything can have a soul because life would be extraordinary and perhaps here in this story we are giving you the love that perhaps could have come from a deep recognition human who in everything and for everything turned around and made true salvation emerge from the shadows and that

true love exists when we can admit it as something like god and here I want to thank all the creators of this extraordinary French Gothic fiction romance film that was written by Gaston Leroux. It was first published as a serialization in Le Gaulois from 23 September 1909 to 8 January 1910 and in volume form in April 1910 by Pierre Lafitte. The novel is partially inspired by historical facts about the Paris Opera during the 19th century and an apocryphal tale concerning the use of a famous musician's skeleton.

And I wish all of you dear and illustrious friends from France and my best regards to the cinema of Paris that here I have the honor as an author and writer to say my words in dedication of this formidable film made by everyone and I want to thank you all and a big hug from writer Roberto Barros to my dear and loyal friends at Academia Edu. Thanks!

Here I want to tell and show this formidable biography that talks about the unforgettable Phantom of the Opera film for everyone to read a little and find out and good lesson!

The story:

The Phantom of the Opera is a French gothic fiction novel written by Gaston Leroux. It was first published as a serialization in Le Gaulois from 23 September 1909 to 8 January 1910 and in volume form in April 1910 by Pierre Lafitte. The novel is partially inspired by historical facts about the Paris Opera during the 19th century and an apocryphal tale concerning the use of a famous musician's skeleton.

Typically its use is in the folk festival production of Der Freischütz from 1841. Nowadays, it is overshadowed by the success of its various stage and film adaptations, reaching its peak when it was adapted for musical theater by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. The show broke the record for its longest run on Broadway (surpassing Cats), and has continued on stage to this

day since its premiere in 1986. It is the most watched musical ever, by over 100 million people, and also the most successful entertainment production that ever existed, yielding 5 billion dollars (5 billion on the long scale, used in Portugal).

Le Fantôme de l'Opéra has been translated numerous times into Brazilian Portuguese, with the most widespread versions coming from publishers Ediouro and Ática. The preference for these versions is due to greater fidelity to the story originally created by Gaston Leroux. In Portugal, "The Phantom of the Opera" was translated and published by Bico de Pena.

The plot

Opera singer Christine Daaé triumphs at the gala night celebrating the retirement of the former managers of the Paris Opera. Her old childhood friend, Raoul, hears her singing and remembers his love for Christine. At the moment, there are rumors that the Opera is haunted by a ghost and this is known to the managers through letters and evil acts. Some time after the gala, the Paris Opera performed Faust, with the prima donna Carlotta playing the title role, against the Phantom's wishes. During the performance, Carlotta loses her voice and the large chandelier falls onto the audience.

Christine is kidnapped by the ghost and is taken to his home beneath the Opera House where he identifies himself as Erik. He intends to keep her for a few days, hoping she will come to love him. But she makes Erik change his plans when she unmasks him, to the horror of both, seeing his noseless, lipless, sunken-eyed face that resembles a centuries-old dried skull, covered in yellowish dead flesh. Fearing that she will leave him, Erik decides to keep her with him forever, but when Christine asks for release after two weeks, he agrees to the condition as long as she wears his ring and is faithful to him.

On the roof of the opera house, Christine tells Raoul that Erik has kidnapped her. Raoul promises to take Christine where Erik can

never find her. Raoul tells Christine that they must escape the next day, to which Christine agrees. She, however, takes pity on Erik and decides not to leave, until she sings him a song one last time; which Raoul does not agree with. They are unaware of Erik listening to their conversation and filled with jealousy and anger.

The following night, Erik kidnaps Christine during a production of Faust and tries to force her to marry him. Erik states that if she refuses, he will use explosives (which he planted in the cellars) to destroy the entire opera house. Christine refuses, until she realizes that Erik has learned of Raoul's attempt to rescue her and has imprisoned him in a hot torture chamber (along with the Persian, an old acquaintance of Erik's, who was helping Raoul). To save them and the people above at the Opera, Christine agrees to marry Erik. Erik initially tries to drown Raoul and the Persian, using the water that would have been used to extinguish the explosives. But Christine asks and offers to be his "living bride", promising not to kill herself after becoming his bride, as she had been thinking about doing since the beginning of the novel. Erik finally frees Raoul and the Persian from their torture chamber. When Erik is alone with Christine, she lifts his mask to kiss him on the forehead. Erik reveals that he has never received a kiss (not even from his own mother), nor was he allowed to give one and is overcome with emotion. He and Christine cry together and their tears "mix together". Erik later expresses that he has never felt so close to another human being.

Erik allows the Persian and Raoul to take Christine, but not before making her promise to visit him on his dying day and return the gold ring he gave her. He also makes the Persian promise that he will later go to the newspaper to report his death, because he will soon die "of love". In fact, some time later, Christine returns to Erik's lair, to bury him somewhere he will never be found (per Erik's request) with the gold ring. Then a local newspaper receives a simple note: "Erik is dead."

Characters:

Erik, a deformed man and genius who lives in the dungeons of the Paris Opera.

Christine Daaé, a soprano maiden who becomes the Phantom of the Opera's obsession.

Raoul the Viscount of Chagny, a noble sailor in love with Christine.

The Persian, Erik's friend.

Phillipe, Count of Chagny, elder brother of Raoul, patron of the Opera.

Armand Moncharmin and Firmin Richard, the two directors of the Opera.

Madame Giry, box coordinator.

Meg Giry, daughter of Madame Giry and a ballerina.

Joseph Buquet, the stage manager.

La Carlotta, the Prima Donna and leading soprano of the Paris Opera.

Mercier: The Opera House's set coordinator.

Gabriel: The superstitious choirmaster.

Mifroid: The police commissioner working on Christine's disappearance.

Remy: The managers' secretary.

The Inspector: An inspector hired to investigate the strange happenings concerning Box Five.

Shah and the Sultan: The two kings who tried to kill Erik after he built his palace.

La Sorelli: The leading dancer that Count de Chagny has an affair with.

Jammes: A dancer at the Opera House.

Madame Valérius: Christine's elderly guardian.

Reyer: The manager of the Paris Opera.

Cinema, theater and music

Movie theater:

The Phantom of the Opera was transferred to the stage and cinema screens numerous times, when it was a resounding success, especially among the general public. The first version, from 1925, is 93 minutes long and is a black and white silent film, with sections in two-color Technicolor, made by Universal studios, with Lon Chaney in the role of the Phantom.

Other equally popular versions followed, including 1943, directed by Arthur Lubin, with Claude Rains in the title role. In 1962, the English studio Hammer produced its version, in an adaptation with a more human and tragic focus on the character. Also noteworthy is the 1974 rock opera version, directed by Brian De Palma and starring Paul Williams, titled Phantom of the Paradise, among many others.

In 2004, an adaptation of Andrew Lloyd Webber's musical directed by renowned director Joel Schumacher was staged again for the cinema, with Gerard Butler as the ghost, Emmy Rossum as Christine and Patrick Wilson Raoul, closing the love triangle. The Phantom of the Opera was nominated for an Oscar in three categories. The film cost 96 million dollars, making it the most expensive independent film ever made. Once ready, Universal purchased the copyright for this version. The 96,000,000 came from Lloyd Webber's own pocket.

In 2011, The Phantom of the Opera was released in cinemas for a limited period and later on DVD at the Royal Albert Hall, celebrating the 25th anniversary of Webber's musical. It starred Ramin Karimloo as Phantom and Sierra Boggess as Christine.

Theater:

Numerous musical theaters and plays have been made based on Leroux's work, the most famous being that of Andrew Lloyd Webber, the musical of the same name has been running in New York, at the Majestic Theater, since 1986, being the longest-running musical in the history of Broadway.

Ken Hill's The Phantom of the Opera (1976/1984): Musical by Ken Hill, with lyrics by Gounod, Offenbach, Verdi, and others.

The Phantom of the Opera (1986): Musical by Andrew Lloyd Webber

The Phantom of the Opera: Musical by Helen Grigal (libretto and lyrics) and Eugene Anderson (music).

Phantom (1991): Musical by Maury Yeston (music and lyrics) and Arthur Kopit (text).

Phantom der Oper by Arndt Gerber / Paul Williams

The Phantom of the Opera by BAT Productions

Phantom of the Opera by David Bishop / Kathleen Masterson

Phantom der Oper by Karl Heinz Freynick / Ingfried Hoffmann

The Phantom of the Opera by Rob Barron / David Spencer

Das Phantom der Oper by Sahlia Raschen / Ulrich Gerhartz

The Phantom of the Opera by Sean Grennan, Kathy Santen, Cheri Coons / Michael Duff

The Phantom of the Opera by Gaslight Theater

Das Phantom der Oper by Thomas Zaufke, Felix Müller / Victor Hunt

The Phantom of the Opera by Walter Murphy

The Phantom of the Mask - children's adaptation directed by Rosi Campos.

The Phantom Of The Opera-adaptation by the Finnish band Nightwish.

In 2000, The Phantom of the Opera was played by Paul Stanley, lead singer of the hard rock band Kiss.

I want to thank everyone here for this great resplendence in which I support myself here with a lot of love and historian to tell an unforgettable story that I tell here about the Phantom of the Opera who as a writer and artist and I show this work here with a lot of love and work made by me and I wish you all the best and have my extraordinary hug from the writer Roberto Barros.

CHEESE AND GUAVA

I believe that the existence of a family in everything and for everyone cannot be distorted even if it has to be a war that, like a conflict, things become emergent to the gesture and affliction of love that due to the circumstances I say that there are no borders between a passion that perhaps due to a certain benevolence things are intended and certainly cause an impact on the mind of the human being that through his unforgettable imprisonment everything may have undone to the mere pleasure of an achievement that through the outstanding life things are animated to the mere pleasure of becoming know even when there is a disconnection of a family between both issues that are fought between a nightmare that is determined by any order of the throne to the dispensable role that makes facing and encouraging a story that would be romantic and very tragic if we are talking here about two young people who whose death ends up uniting their families, once on a warpath that everything started between friends who, for the simplicity of life, met on city streets to play where the bourgeoisie didn't seem to buy their rights to live where above all they were hid a benevolent flame

from a very beautiful girl with white skin and green eyes who maintained her contagious beauty over a life half imprisoned, perhaps by fate, which for some time turned into a story of deep and tragic love that we can here understand how everything can turn out have started and we can tell you some things here.

Romeo and Juliet, the tragic story of the love of two young people, is the title of a tragedy by Shakespeare (1597), an immortal work of literature, which begins as follows: "Two notable families of beautiful Verona, where the story takes place , they turn old disagreements into war, staining their hands with blood.

Romeo and Juliet belongs to a tradition of tragic romances that dates back to antiquity. Its plot is based on a tale from Italy, translated into verse as The Tragical History of Romeo and Juliet by Arthur Brooke in 1562, and revived in prose as Palace of Pleasure by William Painter in 1582. Shakespeare drew on both, but reinforced the action of secondary characters, especially Mercutio and Paris, in order to expand the plot. The text was first published in a Quarto of 1597, but this version was considered to be of very poor quality, which stimulated many other later editions that brought it into line with the original Shakespearean text.

Romeo and Juliet is probably the most famous romantic tragedy in world literature and the bard drew inspiration from a popular poem from 1559, written by Arthur Brooke. The poem had an express moral, which was that children must obey their parents, otherwise they will fall into disgrace, as happened with the young couple.

The name of the combination refers to the famous work of English writer William Shakespeare. But the nickname only caught on in the 60s, long after its invention. At the time, an advertising campaign for a guava brand presented Cebolinha and Mônica, from Turma da Mônica, as Romeo and Juliet.

It is often said that Shakespeare's play Romeo and Juliet is a tragic love story between two young people who are prevented from being together due to rivalry between their families and who, as a result, end up committing suicide.

As we can see that certain things in life between both people that we can find within a wide range, even if they are and remain in perfect union, true love between both people, which, perhaps due to an incapacity or bad occurrence, does not all surface an idea they cannot be done well due to a distorted habit that can nullify true love conceived.

Verona is the scene of the historical conflict between two traditional families: the Montagues and the Capulets. By a misfortune of fate, Romeo, only son of the Montague family, and Juliet, only daughter of the Capulet family, meet during a masquerade ball and fall madly in love.

We can see the pain of high knowledge that can deeply inhibit us about all the things that even when we do not know them firmly because I believe that the will is a self-value that esteems us and conscience makes us react to all the inabilities of life when we cannot losing something about our wills that might simply tell us something relatively valuable.

I believe that we are going through a dispensation in life that inevitably makes things seem like we are going to rock bottom when the answer should be more clearly and firmly under control and we can define the contradiction of living and dying when in everything there is simply a union that we practically cannot escape this uncertainty because we are still united by a bond of deep love and there are no indifferences about what we think and death wants to deeply inhibit our hearts that between both families love cannot remain silent in how much he himself has to know himself because it would be conceivable that love is fallible to the mere pleasure of

living even if he has been silenced and imprisoned by any cruel factor in life but he would never stop holding hands even if he is dying because here I tell you that Romeo and Juliet really met and ran away from everyone to survive and that they were the target of a tragedy, both issues of love and suffering that made Romeo poison himself. In the meantime, however, the news reached Romeo that Juliet had killed herself and because he was not aware of Friar Lourenço's trick, he decided to kill himself by drinking poison at his beloved's grave. And so he did. When Juliet woke up, she saw Romeo's body and stabbed herself with a blade, dying and taking her own life. Paris is a suitor of Juliet. Handsome, rich, and a relative of Prince Escalus. He is also an aristocrat and a higher social order and everything happened after the death of Paris, Romeo takes the poison. When Juliet awakens and realizes that Romeo took the poison, she kills herself with her lover's dagger. Finally, prohibited from living this love story, they choose death. Faced with this, families that previously lived in discord, go through a moment of peace and thus end a tragic story of love between both families that we can certainly see today and have a more prudent logic about a notion of living that simply enters two bonds joined two people that we can understand that love is an expression of attachment that nothing can break before the truth between both bonds of a love that turned into a fatal tragedy in which we can understand that love will always exist even that it has to be proven and I face the fearless danger that it is said that life is morbid about the feelings of someone you love and nothing equals the unforgettable love no matter how much it is imprisoned on any question about life everything arises on the life as simply the value of living and being happy when you truly love someone and we will certainly not fear death and simply show ourselves more alive and faithful to the disadvantages that life faces and so here with lots of love and expression the story of two young people who loved each other so much and who died for love and that life is simply something relative

when there is existence that transforms us into life and so is certainly love that when someone is united under a true bond in which they unite on equality of knowing and loving each other and here I tell the story of those who left and who learned to love and who fought for the realistic honesty of knowing each other that became a love story.

Here I simply want to show a beautiful and esteemed biography that begins as an introductory part of a beautiful and unforgettable romance book that tells the story of two young people who fought against an inability to know each other and who loved each other until death.

History:

Romeo and Juliet is a tragedy written between 1591 and 1595, at the beginning of William Shakespeare's literary career, about two teenagers whose death ends up uniting their families, once at war. The play was among the most popular in Shakespeare's time and, alongside Hamlet, is one of his most performed works around the world. Today, the relationship between the two young people is considered the archetype of young love.

Romeo and Juliet belongs to a tradition of tragic romances that dates back to antiquity. Its plot is based on a tale from Italy, translated into verse as The Tragical History of Romeo and Juliet by Arthur Brooke in 1562, and revived in prose as Palace of Pleasure by William Painter in 1582. Shakespeare drew on both, but reinforced the action of secondary characters, especially Mercutio and Paris, in order to expand the plot. The text was first published in a Quarto of 1597, but this version was considered to be of very poor quality, which stimulated many other later editions that brought it into line with the original Shakespearean text.

The dramatic structure used by Shakespeare—especially the effects of generics such as switching between comedy and tragedy

to increase tension; the focus on more secondary characters and the use of subplots to embellish the story—has been praised as an early sign of his dramatic skill and artistic maturity. Furthermore, the play attributes different poetic forms to the characters to show that they evolve; Romeo, for example, becomes more versed in the sonnets as the plot progresses.

In more than five centuries of production, Romeo and Juliet has been adapted in the infinite fields and areas of theater, cinema, music and literature. While William Davenant tried to reinvigorate it during the English Restoration, and David Garrick modified scenes and removed material considered indecent in the 18th century, Charlotte Cushman, in the 19th century, presented to the public a version that preserved Shakespeare's text. The play became memorable on Brazilian stages with the interpretation of Paulo Porto and Sônia Oiticica in the main roles, and served as an influence for the Viscount of Taunay in his Inocência, also based on Amor de Perdição, by Camilo Castelo Branco, considered the " Lusitanian Romeo and Juliet". In addition to being influential in Portuguese ultra-romanticism and Brazilian naturalism, Romeo and Juliet remains famous in current film productions, notably in Zeffirelli's 1968 version, nominated for best film, and in Luhrmann's more recent Romeo + Juliet, which brings its plot to the present day.

Characters:

Romeo and Juliet depicts the interaction between three prominent families in Verona:

Capulet House

Capulet is Juliet's father and patricarch of the Capulets.

Lady Capulet is Capulet's wife.

Juliet is the only daughter of the Capulets and the female protagonist of the play.

Tybalt is Juliet's cousin, and the son of Lady Capulet's brother.

Nurse is Juliet's confidant and nurse.

Peter and Gregory are the Capulets' servants.

Government:

Prince Escala is the Prince of Verona

Paris is a young nobleman, a relative of the prince, and Juliet's suitor.

Mercutio is a relative of the prince and a friend of Romeo.

House of Montéquio

Montéquio is the patriarch of the house of Montagues.

Senhora Montéquio is the matriarch of the Montéquios house.

Romeo is the only son of the Montagues, and the male protagonist of the play.

Benvolio is Montague's nephew and Romeo's cousin.

Abraham and Baltasar are the servants of the Montagues.

Others:

Friar Lourenço is Romeo's confidant and a Franciscan.

Friar João is the one who would deliver Friar Lourenço's letter to Romeo.

An Apothecary, who sells the fatal potion to Romeo.

Rosalina is an invisible character, Romeo's suitor before he met Juliet and her cousin on her paternal side.

Synopsis:

“Two families, equal in dignity…”

- Choir:

Romeo's Last Kiss on Juliet by Francesco Hayez. Oil on canvas, 1823.

The play opens on a street with a disagreement between the Montagues and the Capulets. The Prince of Verona intervenes and declares that he will punish with death anyone who collaborates in yet another fight between both families. Later, Paris talks to Capulet about marrying his daughter to him, but Capulet is confused about the proposal because Juliet is only thirteen. Capulet asks Paris to wait two years and invites him to a planned ballet party that will be held at the house. Lady Capulet and Juliet's Nurse try to persuade the girl to accept Paris' courtship. After the fight, Benvólio meets his cousin Romeu, son of the Montagues, and talks about the boy's depression. Benvolio ends up discovering that she is the result of an unrequited love for a girl named Rosalina, one of Capulet's nieces. Persuaded by Benvolio and Mercutio, Romeo answers the invitation to the party that will take place at the Capulets' house in the hope of meeting Rosaline. However, Romeo falls madly in love with Juliet. After the party, in the famous "balcony scene", Romeo jumps over the wall of the Capulets' courtyard and listens to Juliet's declarations of love, despite her hatred for the Montagues. Romeo and Juliet decide to get married.

With the help of Friar Lourenço - hopeful of the families' reconciliation through the union of the two young people - they manage to get married secretly the next day. Teobald, Juliet's cousin, feeling offended by the fact that Romeo fled the party, challenges the boy to a duel. Romeo, who now considers Teobaldo his companion, refuses to fight with him. Mercutio feels encouraged to accept the duel on Romeo's behalf because of his "calm, vile and insulting submission." During the duel, Mercúcio is fatally wounded and Romeo, angered by his friend's death, continues the confrontation and kills Teobaldo. The Prince decides to exile Romeo from Verona because of the murder, pointing out that, if he returns, he will have his last hour. Capulet, misinterpreting Juliet's grief,

agrees to marry her immediately to Count Paris and threatens to disinherit her when she refuses to become Paris's "merry bride." When she then asks for an advance on the wedding, her mother rejects her. When it gets dark, Romeo secretly spends the entire night in Juliet's room, where they consummate their marriage.

The Reconciliation of the Montagues and Capulets in the Face of the Death of Romeo and Juliet, by Frederic Leighton, 1855

The next day, Juliet visits Friar Lourenço asking him for help to escape the marriage, and the Friar offers her a small bottle, advising: "... drink its contents, which will soon run through your veins, cold humor, in effect numbing, without the pulse continuing in its normal course, stopping soon…” The bottle, if ingested, causes the person to sleep and remain in a state similar to death, in a coma for “forty-two hours”. With the apparent death, family members will think that the girl is dead and, therefore, she will not marry undesirably. Finally, Lourenço promises that he will send a messenger to inform Romeo — still in exile — of the plan that will unite them and, thus, make him return to Verona at the same moment that the young woman awakens. The night before the wedding, Juliet takes the medicine and, when they discover that she is "dead", they place her body in the family crypt.

The message, however, ends up being lost and Romeo thinks that Juliet is really dead when the servant Baltasar tells him what happened. Bitterly, the protagonist buys a fatal poison from an apothecary he meets along the way and heads to the Capulets' crypt. There, he faces the figure of Paris. Believing that Romeo was a vandal, Paris confronts the unknown and, in the battle, Romeo is the murderer. Still believing that his beloved is dead, he drinks the potion. Juliet ends up waking up and, discovering Romeo's death, commits suicide with his dagger, seeing that the boy's potion no longer has a single drop. The two families and the Prince meet at the tomb and discover the three dead. Friar Lourenço retells the story

of the impossible love of young people for the two families who are now reconciled due to the death of their children. The play ends with the Prince's elegy for the lovers: "No story was ever more painful / Than that of Juliet and that of her Romeo."

Textual sources:

Publication of William Caxton's translation of Ovid's tale of Pyramus and Thisbe, 1480.

Romeo and Juliet belongs to a tradition of tragic romances that date back to antiquity. One of these romances is the story of Pyramus and Thisbe, from Ovid's Metamorphoses, whose plot contains parallels with Shakespeare's story: the parents of the two lovers detest each other, and Pyramus ends up believing that Thisbe is dead. Contemporary translators of this narrative poem often refer to the Pyramus and Thisbe plot as "the Romeo and Juliet of antiquity". Xenophon's Ephesian Tales, written in the mid-3rd century, also has many similar elements to the play, including the drastic separation of the protagonists, and the flask whose drink induces a state of apparent death.

The most recent known version of the Romeo and Juliet tale is the story of Mariotto and Gianozza by Masuccio Salernitano, in tale 33 of his Il Novellino, published in 1476. Salernitano sets his story in Siena and implants some locations from his own life into the events of history. His version includes elements such as the secret marriage, the Friar's collusion, the fight arising from the murder of a citizen, Mariotto's exile, Gianozza's forced marriage, the flask, and the crucial message at the end. In this version, Mariotto is captured and beheaded, while Gianozza dies of sadness.

Luigi da Porto adapted this story as Giulietta and Romeo and included it in his História novellamente ritrovata di due Nobili Amanti published in 1530, joining the tale of Pyramus and Thisbe with Giovanni Boccaccio's Descameron. Da Porto contributed greatly

to the modern conception, as in addition to elaborating the names of the lovers and their rival families such as Montecchi and Capuleti, he placed the play's location in Verona. He also created characters that today correspond to Shakespeare's Mercutio, Tybalt and Paris. Da Porto presents his tale as historically true and claims that it took place in the time of Bartolomeo II della Scala (a century before Salernitano). The Montagues and Capulets were political factions in the 13th century, but the only dissident connection that occurred between them is the one mentioned in Dante's Purgatory. In the Porto version, Romeo takes the poison and Giulietta wounds herself with her lover's dagger.

Frontispiece to the poem Romeo and Juliet by Arthur Brooke

In 1554, Matteo Bandello published the second volume of his Novelle including his own version of Giulietta and Romeo. Bandello emphasizes Romeo's initial sadness at the beginning of the play and the strife between the families, in addition to introducing Benvólio and the Nurse into the work. The plot produced by Bandello was translated into French by Pierre Boaistuau in 1559 in the first volume of his Histories Tragiques. Boaistuau added morality and feeling, and also a bit of rhetorical language to the dialogues of the characters in the work.

As there was a tendency among poets and playwrights to publish works based on famous Italian novels - the tales of Italy were among the most popular in theater at the time - Shakespeare took advantage of this popularity in the following works (all derived from Italian novels): The Merchant of Venice, Much Ado About Nothing, All's Well That Ends Well, Measure for Measure, and Romeo and Juliet. The English bard may have been very familiar with William Painter's 1567 collection of short stories entitled The Pleasure Palace, which includes a prose version of the story of Romeo and Juliet called "The goodly History of the true and constant love of Rhomeo and Julietta". Before these productions, however, in 1562

the narrative poem The Tragic History of Romeo and Juliet by

Arthur Brooke was published, which, although it had elements

intentionally adjusted to reflect some excerpts from the plot of

Troilus and Cressida by Chaucer, is considered a faithful translation

of the version from Boaistuau.

It is believed that Romeo and Juliet is a dramatization of this

translation by Brooke, and that Shakespeare faithfully follows the

text, adding, however, greater emphasis to most of the secondary

characters, especially Nurse and Mercutio. Dido, Queen of Carthage

and Hero and Leader — both poems written in Shakespeare's time

by his contemporary Christopher Marlowe — were perhaps direct

influences on the story of Romeo and Juliet, even though the endings

of both have the atmosphere in which the tragic love stories could

prosper, unlike the play's tragic ending.

Date and text:

Cover of the Second Quarto of Romeo and Juliet published in 1599

Scholars don't know exactly when Shakespeare wrote Romeo and

Juliet. However, we can acquire certain clues: Juliet's Nurse refers

to an earthquake that had occurred 11 years earlier. Considering

that an earthquake occurred in England in 1580, it is possible to

determine that the play takes place in 1591 or that this is the year

in which Shakespeare wrote the work, although many other

earthquakes, both in England and in Verona, occurred before or

after, causing different dates to be proposed.

Considering also that scholars point out similarities in the artistic

style used in Romeo and Juliet a Midsummer Night's Dream and

other plays conventionally dated to 1594-95, tradition says that

Romeo and Juliet was composed between 1591 and 1595. There is

the hypothesis that that the play was still a project recently begun

in 1591, completed by Shakespeare in 1595.

Shakespeare's Romeo and Juliet was published in two quarto editions

before the publication of the First Folio in 1623. The two versions

are referred to as Q1 and Q2, respectively. The first printed

edition, Q1, appears in early 1597, produced by John Danter. As its

text contains many differences compared to the latest editions, it is

known as a 'bad room'. Editor TJB Spencer explained in the 20th

century that the version "has a detestable text, probably a

reconstruction of the play from the imperfect memories of one or

more actor(s)", suggesting that it was pirated for publication. A

possible explanation for these shortcomings of Q1 is that the play

(like many others of its time) may have been edited before the

theater company performed. In any case, its appearance in early

1597 makes 1596 the latest date for the work's composition.

Facsimile of the first page of Romeo and Juliet, in the First Folio

published in 1623

The second edition, Q2, is called The Most Excellent and Lamentable

Tragedy of Romeo and Juliet and represents a superior text than

the previous version (Q1). Printed in 1599 by Thomas Creede and

published by Cuthbert Burby, it is about 800 lines longer than Q1.

Its cover describes it as "newly corrected, enlarged and altered".

Based on this information, it is believed that Q2 was based on

Shakespeare's pre-performance project (known as his "foul

papers"), since there are textual curiosities such as the various

rubrics for characters and "false starts" for speeches that they

were presumably torn out by the author but mistakenly preserved by

the editor. Its text is more complete and reliable, which is why it

was reprinted in 1609 (Q3), 1622 (Q4) and 1637 (Q5). In effect, all

of the last Quartos and Folios of Romeo and Juliet are based on Q2,

as are all modern editions, and their editors believe that any defects

in editions prior to Q2 (good or bad) were caused by their

respective printers and/or or by the printers and publishers of the

time, and not by William Shakespeare.

The text of the First Folio, from 1623, is based primarily on Q3,

with clarifications and corrections made from a theatrical book or

from Q1. Other Folio editions of the play were printed in 1632 (F2),

1664 (F3), and in 1685 (F4). The modern versions - including the

various folios and Quartos - first appeared in the 1709 edition by

playwright Nicholas Rowe, followed by Alexander Pope's version in

1723. This last version deserves special mention, because Pope began

an editorial tradition of the play at the same time. add some steps

of stage and scene positions, since Q2 lacked these directions,

present, however, in Q1.

The tradition continued to be used into the Romantic period. The

most heavily annotated editions first appeared in the Victorian era

and continue to be produced today, where there are a wide variety

of notes throughout the text, highlighting and explaining the origins

and culture behind the play.

Theme:

Critics have found it difficult to assign a specific or best-presented

theme to the play Romeo and Juliet. The proposals that emerged as

main themes are: the discovery that the characters make about

human beings, understanding that they are neither totally good nor

totally bad and that, instead, they are a little of both; the awakening

of dream fantasy and entry into reality; the danger that exists in

hasty action without any type of rationalization, and the power that

exists in a tragic destiny. Although this set of themes forms a

complex plot for critics to define a main theme, the play is full of

several intertwining thematic elements. Those that are most

frequently debated by scholars are discussed below:

Love

Romeo:

If my hand profanes the reliquary, in remission I accept penance: my

lip, a solitary pilgrim, will show, with abundance, reverence.

Juliet:

You offend your hand, good pilgrim, who showed himself devout and

reverent. In the hands of the saints takes the paladin. This is the

holiest and most convenient kiss.

Romeo and Juliet, Act I, Scene V

Romeo and Juliet is sometimes considered a work without themes,

with the exception that it deals with the love between two young

people in love. These two young people over time became emblematic

of young lovers who are condemned by their love. Since the theme is

presented very clearly in the play, there is a great exploration of

the language and historical context behind this novel. In their first

meeting, Romeo and Juliet use a form of communication

recommended by many critical authors from Shakespeare's time:

metaphor. Using metaphors of saints and sins, Romeo had the

opportunity to test Juliet's feelings for him in a non-threatening

way. This stylistic method was recommended by the Italian diplomat

and courtier Baldassare Castiglione (whose works had been

translated into English at the time). Castiglione points out that if a

man uses a metaphor as an invitation, the woman can pretend that

she didn't understand what he said, and then he could back down

without losing honor. Juliet, however, participates in her beloved's

metaphor and contributes to its development, expanding it. Religious

metaphors such as "sanctuary", "pilgrim" and "saint" were in the

poetic fashion of the time and were consecutively more likely to be

understood as something romantic, rather than nonsense or

blasphemy, as the concept of holiness became associated later

through of Catholicism.[36] Later, Shakespeare removes the boldest

allusions he found in Brooke's story of Romeo and Juliet, such as one

about the resurrection of Christ.

Frank Dicksee portrays the terrace scene in Romeo and Juliet, 1884

In the famous terrace scene, Shakespeare has Romeo overhearing

Juliet's soliloquy, although in Brooke's version the girl's statement

is made without anyone listening. By bringing Romeo into the scene

to listen to his lover, Shakespeare breaks with the traditional court

sequence: normally, women were forced to be shy and modest to

make sure that their suitors were sincere towards them. The

(intentional) breaking of this rule only serves to advance the

theatrical plot a little, however.

Lovers are able to skip the declarations of love part and start

talking about their relationship—like when they decide to get

married after meeting for just a single night. If we focus on the

final suicide scene, we can see a contradiction in the message: in the

Catholic religion, suicides were condemned to live and suffer in hell;

however, there was also the concept that, if they died through the

"Religion of Love", alongside their love, they would be united with

him in paradise. Therefore, the love between Romeo and Juliet

seems to express the "Religion of Love" rather than expressing the

Catholic view. Another interesting point to highlight is that, although

their love is passionate, it was only consummated in marriage, which

prevents them from losing the public's sympathy.

Arguably, Shakespeare links sex and love with death. For example:

throughout the story, both Romeo and Juliet, as well as the other

characters, personify it as a dark event, often equating it with

Eroticism: upon discovering Juliet's (fake) death, for example,

Capulet says that her daughter was "deflowered", a simple allusion to

the end of female virginity. Juliet also compares Romeo to death in

an erotic way and, even before her suicide, she takes possession of

Romeo's dagger and says: "Oh! welcome, dagger! Your scabbard is

here. Rest there very still and let it rest." die."

Bad luck and luck

Oh, I'm the fool of fortune!

Romeo:

Scholars are divided on the role of luck in the play. There is no

consensus among them about whether the protagonists are really

fated to die together or whether the events occur through a series

of unlucky hypotheses. Arguments for fate often refer to the two

as "star-crossed lovers." This expression points out that the stars

predetermine the future of lovers. Scholar John W. Draper believes

there is a parallel between the Elizabethan belief of the "four

humors" and the play's main characters (Tybalt being a

hypochondriac). Interpreting the text through moods reduces the

value of the plot attributed to chance by modern audiences.

Still on this topic, other scholars find in the play a plot surrounded

by a lot of bad luck, placing it not as a tragedy, but as an emotional

melodrama. Ruth Nevo believes that the high degree to which

opportunity is highlighted in the narrative makes Romeo and Juliet

the most futile of tragedies in its events, but not in its characters:

when Tybalt challenges Romeo to a fight, for example, he is not

being impulsive, that is, after Mercutio's death, the most expected

action at the time and his choice ends up being taken. In this scene,

Nevo reads Romeo as a young man aware of the dangers that

disregarding social norms, identity and commitments can entail and,

therefore, he decides to commit murder not because of a "tragic

flaw", but due to circumstance.

Duality:

According to Caroline Spurgeon, "… in Romeo and Juliet the dominant

image is light, and all its forms and manifestations: the sun, the

moon, the stars, the fire, the lightning, the flashes of gunpowder

and the light that reflects beauty and love, while, on the other hand,

we have night, darkness, clouds, rain, fog and smoke."

The concept of light and shadow is very well portrayed in the

painting Romeo on Juliet's Deathbed, by Füssl, 1809.

In fact, scholars have long criticisms and analyzes about the wide

use of "light" and "darkness" that Shakespeare made a point of using

in the play. This use is a stylistic technique very easily found in

literature to refer to a sensorial experience in descriptive language.

Caroline Spurgeon considers this theme of light to be "a symbol of

the natural beauty of young love" and this interpretation served as

an argument for other critics. In short, we can say that Romeo and

Juliet see each other as a light in the surrounding darkness: the

first describes his beloved as if she were the sun; brighter than a

torch; a jewel that shines in the dark of night, and a bright angel

among black clouds. Even when Juliet is (apparently) dead, he says:

"...the badge of beauty on your lips and cheeks is still crimson, the

pale banner of death having made no progress..." Juliet, in turn,

describes Romeo as "day in night" and "whiter than snow upon a

raven."

This contrast between light and dark present in their dialogue can

be a clear metaphor for love and hate, youth and maturity.

Sometimes these metaphorical intertwinings create what is today

called dramatic irony, since Romeo and Juliet's love is a light in the

midst of their family's hatred, which would be darkness, even

though the two young people live a passionate relationship in

nightlight, while their relatives fight in broad daylight. Once these

supposed paradoxes exist in the play, it creates an atmosphere of

the moral dilemma that the lovers will have to face: be faithful to

family or be faithful to love?

At the end of the story, when the "morning is gloomy and the sun

hides its face in sadness", in the words of the Prince of Verona

himself, light and darkness return to their rightful places, and this

reflects the true inner darkness of the struggle between families

faced with sadness for lovers. The characters then recognize their

mistakes in light of recent events, and everything returns to natural

order, "thanks to the love of Romeo and Juliet". Furthermore, the

theme of "light" and "darkness" can also be interpreted as a form

linked to time, and so playwrights in 16th century England expressed

the passage of time through descriptions of the sun, moon and stars,

in short.

Time:

This time of pain is not conducive to courtship.

Paris:

Time in Romeo and Juliet plays an important role in the play's

language and plot, as both Romeo and Juliet struggle to maintain an

imaginary world in the face of the harsh reality that surrounds

them. When Romeo swears his love for Juliet to the moon, she

protests: "Do not swear by the moon, that fickle one, whose circular

contour changes every month, lest it seem that your love, too, is so

changeable." From the beginning, the lovers are designated as

crossed stars, based on an astrological belief associated with time.

According to this belief, the stars control the destiny of humanity

and, once time passes, the stars move along their course in the sky,

also charting the course of lives of the beings beneath them. Romeo,

for example, says at the beginning of the play that he has a feeling

based on the movements of the stars, and when he thinks Juliet is

dead, he challenges the course they have in store for him.

Another central (and very visible) theme is the speed with which

events develop: Shakespeare's work covers a period of four to six

days, while Brooke's poem takes place over nine months. Scholars

such as G. Thomas Tanselle believe that time was "especially

important to Shakespeare" in this play, as he used "short-term"

references for the young lovers, while using "long-term" references

for the older generation. highlighting a likely "headlong race to

perdition". Romeo and Juliet fight against time to make their love

last forever. In the end, the only way to defeat time seems to be

through death which makes them immortal through art.

Time is also linked to the theme of light and darkness developed in

the previous subsection: in Shakespeare's time, plays were usually

performed during the day, and this forced the playwright to use

words to create the "illusion" of day and night in his plays. parts.

In addition to referring to time through dialogue, which mentions

the sun, moon, stars, day, night, the actors also referred to days of

the week and specific times to help the audience understand the

environment of the play. . In Romeo and Juliet alone, for example,

one can find exactly 103 clear references to time.

Criticism and interpretation:

Historical context

Portrait of the play's first critic, Samuel Pepys, by John Hayls. Oil

on canvas, 1666.

Critics have noted many weaknesses in the play Romeo and Juliet,

but it is still considered one of the best Shakespearean plays. The

play's most famous critic was Samuel Pepys, a naval administrator

and member of Parliament known for the historical accounts he

wrote in his personal diary. Among these accounts are events that

occurred in the Great Plague of London, the Second Anglo-Dutch

War and the Great Fire of London. As for the plot of Romeo and

Juliet, Pepys wrote in 1662: "it is the worst play I ever saw in all my

life." Ten years later, the poet John Dryden praised the play and the

character Mercutio: "Shakespeare demonstrated the best of his

artistic ability in his Mercutio, and he himself said that he was

obliged to kill him in the third act to avoid being killed by him. "

Criticism of the play in the 18th century was less sparse, but no less

divided: editor Nicholas Rowe was the first critic to reflect on the

work's theme, concluding that the tragic ending was a fair

punishment for the two families who were fighting among

themselves. In the middle of the same century, writer Charles

Gildon and philosopher Lord Kames argued that the play was an

artistic failure, as it did not follow the "classical rules" of theater:

"the final tragedy must occur because of some error on the part of

the characters involved in the play." plot, and not by an accident of

fate." Samuel Johnson, however, considered it Shakespeare's most

enjoyable play.

In the late 18th century and through the 19th century, criticism

focused on debates over the play's moral message. The adaptation

by actor and playwright David Garrick, made in 1748, excluded the

character Rosaline, because Romeo's abandonment to be with Juliet

was seen as fickle and reckless. Critics such as Charles Dibdin

claimed that Rosalina's inclusion, however, was purposeful to show

how reckless the hero was, and that this was the true reason for his

tragic end. Others argue that Friar Lawrence may have been the

spokesman Shakespeare used to demonstrate his warnings against

unwarranted haste. With the advent of the 20th century, all these

arguments about the play's morality were challenged by critics such

as Richard Green Moulton. He believed that the accident, and not

the characters' fault, was what led to their deaths.

Dramatic structure:

Romeo and Juliet and Friar Lawrence by Henry Bunbury, 1792-96

In Romeo and Juliet, Shakespeare employs several dramatic

techniques that have garnered much praise from critics. The most

notably highlighted technique is the sudden changes of genre from

comedy to tragedy (such as, for example, the exchange of

paranomasia between Romeo and Mercutio shortly before Tybalt's

entry). Before Mercutio's death in Act III, the play is primarily a

comedy, but after his death, the play suddenly takes on a serious

tone and takes on tragic elements. When Romeo is punished by the

Prince and goes into exile, the fact that the protagonist has not

been executed and that Friar Lawrence offers a plan to reunite

them both, the audience/reader can still hope that the lovers will

end well. At this stage, the audience/reader finds themselves in a

"breathless state of suspense" until the opening of the last scene in

the tomb, after all, if Romeo is late enough for the Friar to appear,

he and Juliet will still be able to save themselves. These sudden

changes of states (from hope to despair, and then reprieve, and

hope again) are simply elements that serve to highlight the tragedy,

until the final hope ends and the protagonists die.

Shakespeare also uses subplots to offer a clearer view of the main

characters' actions: when the play opens, Romeo is in love with

Rosaline, who has refused all of the boy's courtship. This affection

that Romeo has for Rosaline is an evident contrast between his love

for Juliet later. This contrast allows for a comparison between both

relationships through which the audience (or reader) has the chance

to believe in the seriousness of the love and marriage between

Romeo and Juliet. Paris's affection for Juliet also establishes, in

turn, a contrast between the girl's feelings for him and her feelings

for Romeo. The formal language she uses when in Paris's presence,

as well as the way she talks about him to her Nurse, show that her

feelings lie with Romeo. Furthermore, the subplots of feuds between

the Montagues and the Capulets provide an atmosphere of hatred

that becomes the main contributor, according to some critics, to the

tragic ending of the play.

Language:

Romeo by Bianchini, one of the characters who uses the sonnet in his

speeches

The poetic forms used by Shakespeare throughout the work are

very varied, which makes Romeo and Juliet rich in poetry (despite

the translations into Portuguese having insisted on prose). It begins

with a 14-line prologue in the form of a Shakespearean sonnet,

recited by a Choir. Most of the text of Romeo and Juliet is,

however, written in blank verse, much of it within iambic

pentameter, with less rhythmic variation than most of his later

plays. Shakespeare chooses his poetic forms according to the

character who will speak. Friar Lourenço, for example, uses the

forms of sermon and synthesis, and Ama uses only blank verse,

strictly corresponding to colloquial speech. Each of these forms is

also shaped to the emotion of the scene the character occupies.

Romeo, for example, at the beginning of the play tries to use

Petrarch's sonnet to talk about Rosaline - probably because this

form was often used by men who wanted to praise the beauty of

women whose love was impossible to achieve due to the lack of

reciprocity, like his situation with Rosalina. This sonnet form is also

used by Lady Capulet when she tries to convince her daughter of

what a wonderful man Count Paris is.

When the meeting between Romeo and Juliet occurs, the poetic

form changes: from the Petrarchan sonnet (which was becoming

archaic in Shakespeare's time), we have a more contemporary form

of sonnet, using metaphors such as "pilgrim" and "saints". Finally,

when the two meet on the terrace, Romeo tries to use the sonnet

form that sensitizes his love, but Juliet breaks the technique by

saying: "Do you still love me?" In doing so, she seeks a true and

sincere expression, rather than a poetic exaggeration of their love.

In Juliet's speeches, Shakespeare uses words with monosyllables

when she is before Romeo, and formal language when before Paris.

Other poetic forms used in the play are the epithalamium (in Juliet);

the rhapsody (in the dialogue in which Mercutio quotes a certain

Queen Mab), and the elegy (in Paris). In the language of the play,

Shakespeare saves his prosaic style, using it more frequently in the

speeches of the poorest characters, although he also uses them in

others, such as Mercutio. Humor, in turn, is an important element in

the work: scholar Molly Mahood identified at least 175 puns in the

text. Many of these puns are jokes of a sexual nature, especially

those involving Mercúcio and the Nurse.

Psychoanalysis:

The play's first psychoanalytic critics saw a major problem in the

plot of Romeo and Juliet: Romeo's impulsive personality, resulting

from a supposed "poorly controlled and concealed aggression", which

led to Mercutio's death and also to the lovers' suicide. Romeo and

Juliet is not considered a psychologically complex play, and its

psychoanalytic reading pays attention to the tragic male experience

with illness. Norman Holland, writing in 1966, considered "Romeo's

dream" to be a "realistic desire that satisfies their fantasy in terms

of Romeo's adult world and his hypothetical oral, phallic, and oedipal

childhood phases so frequent in psychosexual development." .

Hollanda takes advantage and recognizes that a dramatic character

is not a human being with mental processes separate from those of

the author. Critics such as Julia Kristeva focus on the hatred

between the two families, arguing that this hatred is the cause of

Romeo and Juliet's passion, and emphasizes that this understanding

of theirs is manifested very clearly in their language: Juliet, for

example, he says "my only love was born of my only hate" and often

expresses his passion through the anticipation of Romeo's death.

These interpretations lead to speculation regarding the playwright's

psychology, in particular the mourning that, psychoanalysts say,

Shakespeare was forced to assume upon the death of his son

Hamnet.

Feminism:

Feminist critics argue that the blame for the fight between

Verona's families lies in the system of its patriarchal society. For

Coppélia Kahn, for example, the strictly masculine code of violence

imposed on Romeo is the main driving force of his tragedy; when

Tybalt kills Mercutio, Romeo becomes violent, lamenting that Juliet

had made him "effeminate". From this perspective, young males

"become men" through violence in the name of their fathers or, in

the case of employees or servants, their bosses or masters. In the

play, rivalry is also linked to male virility, as demonstrated by its

numerous jokes about "single women's heads". Juliet also delegates a

code of feminine docility, allowing others, like the Friar, to solve her

problems for her. Other critics, such as Dympna Callaghan, view

feminism in the play from a historical angle, highlighting that when

the play was written and performed, the feudal order was challenged

by the English government, which was increasingly centralized and

influenced by capitalism; At the same time, the new Puritan ideas

about marriage were less concerned with the evils of "female

sexuality" than those of earlier times, and more sympathetic to

plays dealing with the theme of love: thus, when Juliet avoids the

attempt of her father forcing her to marry a man for whom she has

no feelings whatsoever, she would be challenging this patriarchal

order in a way that would not have been possible at an earlier point

in history.

Homosexual theory:

The theory is a theory about gender identity that asserts that

sexual orientation and sexual or gender identity of individuals are

the result of a social construct and that therefore there are no

essential or biologically inscribed sexual social gender roles in nature

human, rather socially variable ways of performing one or more

sexual roles. Based on these foundations, scholars pay attention to

the issue of Mercutio and Romeo's sexuality, comparing their

friendship with sexual love: Mercutio, in a friendly conversation,

mentions Romeo's phallus, suggesting traces of homoeroticism

between the two. An example is when he says: "What had hurt him

was summoning a strange spirit into his beloved's circle and leaving

him there until she had exorcised him." Romeo's homoeroticism can

also be found in his attitude towards Rosaline, a woman who is

distant and who wants nothing to do with him, and who shows no hope

of offspring. Benvolio even argues that it is better to replace her

with someone who is reciprocal. Shakespeare's "procreation sonnets"

describe another young man who, like Romeo, is having difficulty

having children and who is homosexual. Critics of this theory believe

that Shakespeare may have used Rosaline as a way to express the

intimate problems that homosexuals face due to their lack of

procreation. From this perspective, when Juliet says "What we call a

rose [critics say she is alluding to Rosalina, under another name it

would have the same perfume", perhaps she is raising the question of

whether there is any difference between the beauty of a man and

the beauty of a woman.

History of staging

Shakespeare's time

Richard Burbage, the actor who most likely played the role of Romeo

for the first time.

Romeo and Juliet features — along with Hamlet — in a space that

places it as one of the most performed, well-known and adapted

Shakespearean plays across the planet. Its various adaptations have

transformed it into one of the most famous and powerful stories in

all of literature and art in general. Even in Shakespeare's time the

play was extremely popular. Academic Gary Taylor said that it was

Shakespeare's sixth most famous play (the five most famous are, in

descending order, Henry VI, Part 1, Richard III, Pericles, Prince of

Tyre, Hamlet and Richard II), in the period after the death of

Christopher Marlowe and Thomas Kyd, but before the popularity of

Ben Jonson, who was the most prestigious playwright in all of London

in Shakespeare's time.

The date of the play's first performance is unknown. The First

Quarto (Q1), printed in 1597, says that "it has often been

performed and acquired a large audience", which gives us the clue

that performances were performed before that date. The Lord

Chamberlain's Men were certainly the first group to perform it. In

addition to his strong connection with Shakespeare, William Kempe

is named in the Second Quarto (Q2) as Peter in a line from Act V.

Richard Burbage was probably the first actor to play Romeo, as he

was the leader of the company and played the roles of the

protagonists, and Master Robert Goffe (a man) was probably the

first Juliet, since at the time women were prohibited from playing

Romeo. play any type of role. Through this formation, it is believed

that the play's first premiere took place at "The Theatre", with

other productions later held at "The Curtain". Furthermore, Romeo

and Juliet is one of the first Shakespearean plays to be performed

outside England: a brief version of the work was produced in

Nördlingen in 1604.

XVIII century

All English theaters were closed by the Puritan government on

September 6, 1642. After the restoration of the monarchy in 1660,

two patent theater companies (the Duke's Company and the King's

Company) united, and the theatrical repertoire was divided between

the two .

Mary Saunderson, probably the first professional actress to play

the role of Juliet.

William Davenant of the Duke's Company staged a 1662 adaptation in

which actor Henry Harris played the role of Romeo; Thomas

Betterton was Mercutio, and Betterton's wife, Mary Saunderson,

was Juliet—she was probably the first woman to play the role

professionally. Another version, later than this, closely followed

Davenant's adaptation and was regularly produced by the Duke's

Company. It was a kind of tragicomedy made by James Howard,

where the two protagonist lovers end up surviving in the end.

Thomas Otway's The History and Fall of Caius Marius, one of the

most extreme Shakespeare adaptations of the Restoration,

premiered in 1680. The plot is entirely different from

Shakespeare's original: the scene is set in ancient Rome rather than

Verona from the Renaissance; Romeo came to be called Mario and

Juliet of Lavinia; the feud is between the patricians and the

plebeians and Juliet/Lavinia wakes up from her apparent death after

Romeo/Marius dies. This version of Otway was a success, and

continued to be performed for the next seventy years. His

innovation in the final scene was even more lasting, being used over

200 years: Theophilus Cibber's 1744 adaptation and David Garrick's

1748 adaptation took advantage of Otway's variations of the final

scene. These last two versions, however, eliminated elements

considered inappropriate in their times: Garrick, for example,

transferred all the language referring to Rosaline to Juliet, with the

aim of reinforcing the idea of fidelity and minimizing the theme of

love-to-be. first sight.

The first known production of the play in North America was

amateur: on March 23, 1730, a physicist named Joachimus Bertrand

announced in the Jornal Gazeta, in New York, that he would promote

a production in which he would play the role of an apothecary.

However, the first professional productions in North America were

those produced by the Hallam Theater Company.

XIX century

Garrick's version — which changed much of the plot — became quite

popular, being used for almost a century. However, no production of

Shakespeare's original text had returned to the United States until

sisters Susan and Charlotte Cushman performed it in 1845, both as

Romeo and Juliet, respectively, and then in 1847 in Britain with

Samuel Phelps at the Wells Theatre. The Cushmans respected

Shakespeare's version, which began with a sequence of eighty-four

performances, and their portrayal of Romeo was considered brilliant

by many critics: The Times, for example, wrote at the time: "For too

long Romeo has been very conventional. Miss Cushman's Romeo is

creative, alive, animated, a very fiery being." Queen Victoria, in turn,

wrote in her newspaper that "no one could imagine that she was a

woman". The Cushmans' success broke the tradition first

established by Garrick,

and paved the way for later productions to begin focusing on

Shakespeare's original story.

In the mid-19th century, professional shows of Shakespeare's works

(including Romeo and Juliet) had two particular characteristics:

firstly, they were generally vehicles for actors to acquire greater

prestige in their careers, with the help of roles. secondary roles

that were often marginalized to give greater prominence and focus

to the central characters (and especially the actors who played

them); secondly, they were "pictorial", whose action took place on

spectacular and elaborate stages (requiring long pauses to change

scenes) where the tableaux technique was frequently used. Henry

Irving produced Romeo and Juliet in 1882 at the Lyceum Theater (he

himself was Romeo and Ellen Terry was Juliet) whose production was

characterized as "the archetype of the pictorial style." In 1895,

Johnston Forbes-Robertson took Irving's place, and laid the

foundation for a more natural image of Shakespeare that continues

to be popular today, avoiding Irving's ostentatiousness and

portraying the poetic dialogues as realistic prose whose aim was

avoid melodramatic performances.

In Japan, George Crichton Miln produced perhaps the first

professional production of the play in the country: his theater

company toured throughout Yokohama in 1890. Throughout the 19th

century, Romeo and Juliet had been one of Shakespeare's most

popular plays, if we are to We focus on the number of professional

productions that took place, giving new versions to the play. In the

20th century, the work would become Shakespeare's second most

popular, behind only Hamlet.

20th century

Paulo Porto and Sônia Oiticica as Romeo and Juliet, in the most

prestigious production of the play in Brazil

Although non-professionally, in 1904 the play was already staged in

Brazil, in São Paulo, with Eurico Cuneo directing and, among the cast,

was the actress Itália Fausta. With the production of the Teatro

Universitário, in 1945, in Rio de Janeiro, Nicette Bruno staged the

play alongside other names such as Sérgio Britto and Sérgio

Cardoso, directed by Esther Leão.

The Brazilian version that deserves to be highlighted, however, is

the 1938 one, produced at the Teatro São Caetano, also in Rio de

Janeiro, which had a cast with names such as Antônio de Pádua, Paulo

Ventania Porto and Sônia Oiticica (debuting on stage). In this

production, Itália Fausta (who was Juliet in the 1904 production),

directed and coordinated the text translated by Domingos Ramos,

with the soundtrack by musician F. Chiafitelli. This version — which

anticipated in several ways the advent of modern staging in Brazilian

territory — won over, in particular, the public and critics of the time

(both from Minas Gerais and São Paulo), in addition to receiving

several national and international awards, as well as being presented

in London, Germany, Madrid, and at the Globe Theater itself, where

Shakespeare's theater company gave the first performances of his

works. For playing Juliet in this production, Sônia is known today as

the first Brazilian actress to play the role. Furthermore, his

interpretation earned him enormous prestige on Brazilian stages.

There was a recontextualization of this production, directed by

Gabriel Villela 54 years later.

John Gielgud, one of the most famous actors of the 20th century

who played Romeo, Friar Lawrence and Mercutio

In 1935, John Gielgud performed a production at the Noël Coward

Theater where he was Romeo and Laurence Olivier was Mercury,

although both switched roles during the six-week run, with Peggy

Ashcroft as Juliet. Gielgud used an academic combination of the

texts from Q1 and Q2, organizing the location and costumes to try

to make his production as close as possible to the productions that

were done in the Elizabethan theater. Their efforts were

enormously successful at the box office, and bequeathed a certain

historical realism to future productions. Olivier later compared his

performance with that of Gielgud, and said: "John, completely

spiritual, entirely witty, was the height of beauty, a summary of all

abstract things; and I was like all those on Earth, with blood ,

humanity... I always felt that John had lost the inferior or human

side of the characters, and that made me take on this other part...

But whatever it was, when I was playing Romeo and carrying a torch,

I was trying to sell the realism that exists in Shakespeare."

In 1947, Peter Brook's version marked a different style of staging

Romeo and Juliet: it was less concerned with realism, while turning

its attention to adapting a production that spoke directly to its

modern world. In this regard, Brooke once reported: "A production

is only right at the moment of its correction, and is only good at the

moment of its success." In the text of her theatrical production,

Brooke excluded the final reconciliation of the two families.

Throughout the 20th century, audiences, influenced by cinema,

became less and less willing to accept different and older actors

rather than young and adolescent actors to play the protagonist duo

of lovers. A significant example of youth casting was in the Old Vic

production, directed by Franco Zeffirelli, in 1960, with John Stride

and Judi Dench, which served as the basis for his famous 1968 film.

Zeffirelli based himself on some ideas established by Brooke, and, in

doing so, removed around a third of the play's text, in order to make

it more accessible and suitable for its production. In an interview

with The Times, Zeffirelli stated the following: "In the play, the

theme of love and disintegration between two generations has an

extremely contemporary relevance."

More recent stagings have defined, in a certain way, the

contemporary way of producing Romeo and Juliet: in 1986, for

example, the Royal Shakespeare Company set the play's plot in

modern Verona, replacing daggers or swords with pocket knives, the

balls and ceremonies traditional rock parties, while Romeo commits

suicide through a hypodermic needle. In 1997, the Folger

Shakespeare Bookstore, which brings together a vast printed

collection of the playwright's works, produced a version setting the

plot in a suburban world, where Romeo jumps over the barbecue of

Juliet's building to meet her, and where Juliet also discovers

Tebaldo's death when he was in his class at school.

At times, the play has assigned a historical location to its plot,

allowing the audience to reflect on underlying conflicts: an example

are the adaptations that were set in the midst of the Israeli-

Palestinian conflict, in apartheid South Africa, and in the aftermath

of the Pueblo Revolt. . Likewise, Peter Ustinov, in 1956, adapted the

play (now under the name Romanoff and Juliet) for a comic side,

whose location is a fictional European country that is in the depths

of the Cold War.

In 1980, a revisionist version of Romeo and Juliet included a happy

ending in the plot, where Romeo, Juliet, Mercury and Paris do not

die, and where Benvolio, disguised as a woman, says that the last of

these four is his true passion.

Joel Calarco, in his R&J Shakespeare, adapts the plot into a modern

tale of two homosexual teenagers who love each other.

Artistic influence:

Music

"Romeo loved Juliet

Juliet felt the same

When he puts his arms around her

He said Julie, baby, you're my flame

Thou givest fever..."

—"Fever" sung by Peggy Lee's.

Around 24 operas have been based on Romeo and Juliet. The

earliest, Romeo und Julie of 1776, a Singspiel by Georg Benda, omits

much of the play's action and most of its characters, and has a

happy ending. It is occasionally reassembled. The best known is

Gounod's, from 1887, Roméo et Juliette (libretto by Jules Barbier

and Michel Carré), a triumph in terms of criticism when it was first

performed, and is always revived today. Bellini's I Capuleti ei

Montecchi is always performed from time to time, but is sometimes

disparaged, because of its notorious liberties with Shakespeare;

however, Bellini and his librettist, Felice Romani, worked from

Italian sources—most notably Romani's libretto for an opera by

Nicola Vaccai—rather than adapting directly from Shakespeare's

play.

Roméo et Juliette by Berlioz is a "dramatic symphony", a pharaonic

work in three parts for mixed voices, chorus and orchestra, which

premiered in 1839. Piotr Ilyich Tchaikovsky's fantasy overture

(from 1869, revised in 1870 and 1880) is a long symphonic poem,

which contains the famous melody known as the "love theme".

Tchaikovsky's invention of repeating the same musical theme at the

ball, in the terrace scene, in Juliet's bedroom and in the tomb was

used by directors who followed him: for example, Nino Rota's love

theme is used in a similar way in 1968 film about the play, as well as

Des'ree's Kissing You in the 1996 film. Other classical composers

influenced by the play include Svendsen (Romeo og Julie, 1876),

Delius (A Village Romeo and Juliet, 1899–1901), and Stenhammar

(Romeo och Julia, 1922).

The best-known ballet version is Prokofiev's "Romeo and Juliet".

Originally assigned to the Kirov Ballet, she was rejected by them

when Prokofiev tried to write a happy ending, and was rejected again

due to the experimental nature of her music. It later acquired an

"immense" reputation and was choreographed by John Cranko (1962)

and Kenneth MacMillan (1965), among others.

The piece influenced several jazz works, including Peggy Lee's Fever.

Duke Ellington's Such Sweet Thunder contains a piece titled "The

Star-Crossed Lovers" in which the couple is represented by alto and

tenor saxophones: critics have noted that Juliet's saxophones

dominate the play, instead of offering an image of equality. The

piece has often influenced popular music, including works by The

Supremes, Bruce Springsteen, Tom Waits and Lou Reed. The most

famous soundtrack of this type is the song "Romeo and Juliet" by

Dire Straits.

The most famous musical theater adaptation is West Side Story

with music by Leonard Bernstein and lyrics by Stephen Sondheim. It

debuted on Broadway in 1957 and in the West End in 1958, and

became a popular film in 1961. This version updated the play to mid-

20th century New York, and warring families to racial gangs. Other

musical adaptations include the 1999 rock musical William

Shakespeare's Romeo and Juliet by Terrence Mann's, featuring

Jerome Korman, Roméo et Juliette, de la Haine à l'Amour by Gérard

Presgurvic, from 2001, and Giulietta & Romeo by Riccardo Cocciante,

2007.

Literature and art

Romeo and Juliet has attributed a profound influence on later

literature to her. Previously, however, the plot had never been seen

as worthy of tragedy. In the words of Harold Bloom, Shakespeare

"invented the formula by which the sexual element became

associated with the erotic element when passing through the

shadows of death." Of Shakespeare's works, Romeo and Juliet have

generated the most varied adaptations, whether in works produced

in narrative verse or in prose, and also in drama, opera, orchestra

and ballet, cinema, television and painting. In the English language,

the word "Romeo" has become synonymous with "male lover."

Original cover of Innocence (1872), by the Viscount of Taunay, the

novel considered "The country's Romeo and Juliet"

Romeo and Juliet was parodied in Shakespeare's time: in The Two

Furious Women of Abingdon (1598), by Henry Porter, and in Blurt,

Master Constable (1607), by Thomas Dekker, there is the balcony

scene, where a virgin heroine says indecent words. From another

perspective, the Shakespearean play later influenced other literary

works, such as Nicholas Nickleby, by Charles Dickens. In Portugal,

Camilo Castelo Branco published, in 1862, Amor de Perdição,

considered a kind of "Portuguese Romeo and Juliet". Perhaps this is

due to the fact that the work belongs to Portuguese Ultra-

Romanticism, having similarities with the Shakespearean play in the

sense of narrating the enmity between the families of Simão and

Tereza, who love each other desperately, and end up having a tragic

end.

Exactly ten years after the publication of Amor de Perdição,

Inocência was published, a regionalist novel by the Viscount of

Taunay, which has many connections with the work of Castelo Branco

(such as the character Inocência being inspired by Teresa).

Taunay's work — in addition to opening each chapter with quotes

from Goethe, Rosseau, Cervantes, Ovid, Molière, Walter Scott,

Euripides, and Shakespeare himself — is often called "The country's

Romeo and Juliet". Both Taunay's book and Castelo Branco's book

have structures similar to Shakespeare's play: the protagonists

participate in a reciprocal, but impossible, love and, in addition to

ending in a tragic ending, they have the help of a third person who

wants to see them. them together. In Brazil, in 1978 a parodic

version of Turma da Mônica, Mônica e Cebolinha – No Mundo de

Romeu e Julieta was released, which was published in comics,

theater, television and LP.

Of all Shakespeare's works, The Play of the Two Lovers is one of his

most illustrated works. The first known illustration of the play was a

woodcut depicting the tomb scene, which perhaps belonged to Elisha

Kirkall, whose first printing was in 1709, in an edition of William

Shakespeare's plays, produced by Nicholas Rowe. In the 18th

century, the Boydell Shakespeare Gallery commissioned five

paintings of the play that depicted each of the plot's five acts. In

the 19th century, the fashion for producing "pictorial" theatrical

performances led to directions that were inspired by paintings

produced especially for play scenes, which, in turn, influenced

painters to draw actors and theater scenes. In the 20th century,

the play's visual icons derived from famous film productions.

Movie theater:

Romeo and Juliet is perhaps the play most transported to

cinematographic structures of all time. The most famous productions

were the 1936 production, by George Cukor, which won more than

one Oscar, the 1968 version by director Franco Zeffirelli, and

Romeo + Juliet, by Baz Luhrmann. These last two were, in their time,

the productions dealing with Shakespeare that broke sales records

the most. Romeo and Juliet was first filmed in the silent era by

Georges Méliès, although its video is lost today. The first film

version of the play in talkies was in The Hollywood Revue of 1929,

where John Gilbert and Norma Shearer performed the balcony

scene.

Shearer and Leslie Howard, with a combined age of more than 75,

played the teenage lovers in George Cukor's 1936 version. Both the

public and critics disapproved of this version. Critics considered the

film too "contrived", being left out just as A Midsummer Night's

Dream (1935) had been a year earlier: leading Hollywood to abandon

Shakespeare adaptations for a decade. Renato Castellani won the

Golden Lion at the Venice Film Festival for his 1954 version.

Laurence Harvey, as Romeo, was already an experienced screen

actor. Susan Shentall, however, as Juliet, was an anonymous

secretary discovered by the director, who said he was interested in

hiring her.

Scholar Stephen Orgel describes director Franco Zeffirelli's 1968

Romeo and Juliet as "full of beauty and youth, with lush cameras and

lights, which contributed to the impression of the play's sexual

energy and good looks." In this film, the protagonists Leonard

Whiting and Olivia Hussey were already experienced actors.

Zeffirelli was highly praised for this production, especially in the

duel scene where the braggadocio gets out of control.

The film also created some controversy due to the appearance of

the actors' nudes in the honeymoon scene, mainly due to the fact

that Olivia Hussey, played Juliet, was only sixteen years old at the

time the film was filmed.

Baz Luhrmann, with his Romeo + Juliet (1996) and its soundtrack,

attracted a very young audience to the cinemas. Darker than

Zeffirelli's version, the film focuses on the "gross, violent and

superficial society" of Verona Beach and Sycamore Grove. Leonardo

DiCaprio acted as Romeo, and Claire Danes, as Juliet, was praised by

critics for having wisely portrayed the character despite her little

experience on screen, in addition to being acclaimed as "the first

Juliet in cinema whose speeches sounded spontaneously". .

In 2005, Brazilian Bruno Barreto directed the comedy The Wedding

of Romeo and Juliet, which featured Luana Piovani and Marco Ricca

in the main roles. In this production, which took place in São Paulo,

each person's families were also rivals, but because they supported

different teams: Julieta's family supported Palmeiras, while

Romeu's family supported Corinthians. Although it was freely

inspired by the play, the film is also based on a short story by Mario

Prata, "Palmeiras, Um Caso de Amor". The film received reasonable

reviews, which did not consider it a great film, but "entertaining,

just like a football match." Other reviews considered Ricca to be an

average actor in the field of comedy, and that his relationship with

Piovani's Juliet "leaves a lot to be desired."

In 2006, Disney's High School Musical used the Romeo and Juliet

plot, replacing the rival families with two school "cliques". Directors

have often used characters to stage certain scenes from Romeo and

Juliet.

The concept of dramatizing the Shakespearean play has been widely

used over time, as happened in 1998, with the release of

Shakespeare in Love, by director John Madden, in which the

character Shakespeare ends up finishing the work because of his

own love for a young.

Historical clues:

"See, careless, in such distress,

Capelletti and Montecchi saddened.

Monaldi and Filippeschi, target of anger."

(Dante, The Divine Comedy — Purgatory, Canto VI, Line 106)

"Juliet's House" in Verona, Italy, which attracts thousands of

visitors every year

Verona — the city that Shakespeare chose for his play — is one of

the most prosperous in northern Italy. The city is attracting more

and more young people, couples and lovers, as it has gained the

reputation of being the "city of Romeo and Juliet". Possessing a wellpreserved

architectural and historical heritage, Verona has in its

territory a Roman amphitheater, a castle from the Middle Ages,

palaces and medieval churches. In addition to these attractions, and

others, such as Castelvecchio, Verona has "Juliet's House" which,

although it does not carry any proof that the Montagues and

Capulets actually lived there, attracts many visitors. Construction of

the house began in the 18th century, and it may have been owned by

the Cappellos. Inside the building there is a bronze statue of Juliet,

frescoes from the play, and a counter with some of Shakespeare's

biography. The legend was created that it is good luck in love to

touch the right breast of the statue of Juliet.

In fact, the question of whether Romeo and Juliet, and,

consecutively, the Montagues and Capulets, existed is an old one.

Perhaps one of the reasons for the great doubt about the historical

veracity of the play is the fact that the plot passed through the

centuries until it was better used by Shakespeare, as we saw in the

Textual sources section. There are records that Giralomo della

Corte, an Italian who lived at the same time as Shakespeare, claimed

that the young lovers' relationship had occurred in 1303, although

this is not certain. The only proven element is that the Montecchi

and Capulet families really existed, although it is not known whether

they lived on the Italian Peninsula, or whether they were rivals.

Other literary sources that make allusions to the two families are

The Divine Comedy, by the Italian Dante Alighieri, written between

1308 and his death in 1321. In this poem, Dante mentions the

Montagues and Capulets as participants in a commercial and political

dispute that took place in Italy .[198] In Dante, both families are in

Purgatory, sad and desolate. Many scholars disagree that these

families existed, but historian Olin Moore believes that it was a

design for two important political parties that were rivals in Italian

territory: the Ghibellines and the Guelphs. Another literary source

is found in Luigi da Porto (already mentioned in Textual sources),

who also mentioned the families as rivals, and Lope de Vega, as well

as Matteo Bandello, who enriched the fable and the plot.

There is no evidence regarding all these suspicions, held in Italian

literature and in Shakespeare. But the various citations to the two

families have excited the public and critics to investigate the issue.

For the historical Rainer Sousa, "the tragic and disproportionate

love of Romeo and Juliet seems to establish an archetype of an ideal

love, often far from the affective experiences experienced on a

daily basis." Rainer also states that "perhaps that's why so many

believe (or at least hope) that a love without measure like that of

the Shakespearean couple would have happened."

Here, in this wonderful historical context, I want to show

indefinitely a literary romance story that has become one of the

best films about love and tragedy, which is classified as a romance

between two young people who met and loved each other until the

last day of their lives for a simple tragedy due to two notable

families from beautiful Verona, where the story takes place,

transform old disagreements into war, staining their hands with

blood and I want to thank you for this beautiful work that I can

describe and I want to thank everyone who follows me and you I

wish you with lots of love and respect my hugs. Thanks!

JOANA DARK

I certainly want to say that in life we can really have a great

relationship perhaps with God and that God always shows us the

power to value life and that there is a domain between the forces of

good and the forces of evil that, due to the origin of In life, not

everything we see can inevitably be reality because we only

experience everything with love and we may be aware of a religious

formation that, through a simple reaction or birth, perhaps we were

led to certain relationships with saints, angels and archangels who,

through the love of God, that enlightens us, we can reveal ourselves

about a clearer side of living, which is based on the clairvoyance of

making us perform such functions in which we reveal ourselves with

holy faith about almost all the distortions of life, that I certainly

believe that we can feel happy and that Our hearts, when we are

born loving and have a high spiritual degree of elevation, can reveal

ourselves to the angels and saints who always make us better

understand the aspects of living and who can guide us on all

reactions and revelations of life.

Here I want to talk about a beautiful and beautiful young woman

called Joan of Arc who was a French peasant and saint canonized by

the Catholic Church, considered a heroine of France for her deeds

during the Hundred Years' War. She was born the daughter of

Jacques d'Arc and Isabelle Romée, into a peasant family, in

Domrémy in northeastern France. Joan claimed to receive divine

visions from the archangel Michael, Saint Margaret and Saint

Catherine, who instructed her to help Charles VII's forces and free

France from England's rule.

Perhaps we are finally born with a gift for living happily and that we

can save on such capacities and power from childhood if the

problems of society suit you, which I think are many that only God

can consequently destroy them because life can be and have a more

than elevated purpose of survival towards everything and everyone

and I believe that not everything in life is done according to our will

because God wanted to make the living being an artifact of divinity

that conceives him above all his unforgettable teaching love over all

things of paradise that would perhaps not always be used for evil

because nature is dispensable in terms of the monotony of a being

and of natural life which is said to be preserved in a duel with life

and is not favored over all things in life because in everything and

through everything it contracts itself and ends both in its birth and

in its destruction, leaving it as the birth of the universe that is

destroyed as it is built and we can understand that perhaps certain

wraths did not conceive us the power of destruction in the name of

glory and peace because perhaps the world can be an artifact of

contamination that can end the brighter side of life that shows

itself as the fire of God over any anger and combat because I

believe that not all things are at mercy against a rotten of

devaluation because in everything the good is always dressed and

seeing the world whiter which only keeps it ahead of almost

everything and we can believe in the justice of God more prudent

about certain things and that war can tell us that perhaps it is a

product of peace and that God taught us to know the world better

and made us ahead of certain things that should never make us

ignore our side of conscience because life is perhaps a factor of

destruction against certain things that emanate such thoughts of

construction and that God may perhaps have taught as a gift of

predicting life when Joan of Arc preserved her chastity from her

childhood, which made her become a young woman sanctified by the

love of God, which she always carried in the silence of her life as

security of self. live and that perhaps made him fight against

different armies that may have contradicted his blessed and

spiritual side that was innately conceived of all things that would not

offer him the mortal sin of killing and destroying because nothing

would be capable of absorbing his personality against the power of

evil that may have been used for good looking like victorious things

that from his most holy faith evil conceived him failure upon

perdition that among the madness dignified by revenge everything

could have been upset and made his life hell due to perhaps the

mortal sin that through the temptation of the devil all his grace and

faith turned into nothing, certainly causing him death that proposed

a dramatic, melancholic and unrestrained end that sold him his luck

against the god who always protected him and guided him with

certain angels and saints that perhaps can have a well-defined origin

when it all started in her childhood that made her hear different

voices that seemed to be an emanation of high faith and contact

with saints that we don't even have an idea that Joan of Arc was

have devotees and mirages on his personality from his premature

childhood to his adolescence that made him fight and command large

armies in command to defend France and against the English and

Joan of Arc was a peasant who fought against the English during the

War of the Hundred Years. Since childhood she claimed to have

divine visions and it was through these visions that she received the

order to join the French army. Joan of Arc managed to defeat the

English in the Orleans region.

Joan of Arc claimed that she had visions and heard the voices of the

archangel Michael, Saint Catherine of Alexandria and Saint

Margaret of Antioch. In these supernatural apparitions, she was

instructed to take part in the war against the English to expel them

from France and to ensure the coronation of Charles VII, the king

of France.

The Battle of Jargeau was the first offensive battle commanded by

Joan of Arc, and took place on June 11 and 12, 1429, a milestone in

the Hundred Years' War. Shortly after liberating Orléans, French

troops headed to the Loire River valley, near the city of Jargeau.

Joan of Arc in the Hundred Years' War. She achieved significant

victories for France, breaking a cycle of defeats for that country.

Captured by the English, she was tried and convicted of witchcraft,

being burned to death at the age of 19.

Perhaps we can understand that resistance is not a victorious

purpose to preserve under such conditions of living a true dominion

over all things that everything can be the target of a contradiction

in which God grants us honor and glory over a very simple lesson of

face life and live because, above all, such things cannot favor us with

true grace, perhaps due to certain injuries that can incapacitate us

between our truths and conceptions of living that make us worthy or

make us innocent, simply by actions related by a factor of hatred,

where revenge conceived us free will over a penalty of establishing

dominion over everything and everyone that we could only have

emptied of the contagious emotions that are afflicted in any

temptation of voices that could be attributed to a certain mental

disorder or obsession of certain evil spirits that, due to

inconvenience or perhaps more serious things that we can say that

are not of human nature, can infect us and make us suffer under

such mental influences that in everything and through everything it

has caused death and obscured faith in God it is said that innocence

does not remain silent unless we are aware of the truth and can say

that life is a momentary cause to develop to a certain degree on a

mind that feels and can see something surprising the true

established dynamics of living and we can be well aware of what we

do because life is a processor that limits us on such circumstances

of living because life has a price and is paid for when justice is truly

intended regarding the clairvoyance of life or the shadows of death

because nothing remains silent because I just want to say that

everything began perhaps as a spiritual emanation that may have

given him a deeper feeling of living and that we only justify his

mistakes and profoundly we cannot certainly have seen any

supernatural act or effect that could prevent us from evil happened

that would perhaps silence justice that may have been known or

unknown, its history that reveals to us a great anger and revenge

that can certainly be fair or unfair, the simplicity and humanitarian

recognition of prescribing its mirages and voices that we can here be

in front of a penalty that perhaps it would not be up to us to

conceive of death and simply a treatise that, due to the momentary

nature of life, everything is contracted in which we can actually

guess from certain spiritual projections a true testament and more

clinical observation of such an event that could be of a human or

simply spiritual nature in which today this story can tell us that we

may be living a more challenging conflict in which life tells us

exaggeratedly about what we do rather than what we feel and that

we can believe in God or the devil no matter how momentary the life

we experience is we come to talk to saints or the devil and that

society is always weakened because everything is unchallenged and

inconceivable the fearless real laws of living in here I tell the true

story of Joan of Arc.

Here, out of a simple desire, I want to show, with a lot of love and

work, a great and extraordinary biography that tells the story of a

beautiful girl called Joan of Arc. Hugs!

History:

Joan of Arc 1412 – Rouen, May 30, 1431) was a French peasant and

saint canonized by the Catholic Church, considered a heroine of

France for her deeds during the Hundred Years' War. She was born

the daughter of Jacques d'Arc and Isabelle Romée, into a peasant

family, in Domrémy in northeastern France. Joan claimed to receive

divine visions from the Archangel Michael, Saint Margaret and Saint

Catherine, who instructed her to help Charles VII's forces and free

France from England's rule. The uncrowned Charles VII sent Joan

along with an army to try to resolve the Siege of Orleans. After just

nine days of action, the battle ended in a favorable outcome for the

French and Orleans was liberated, thus elevating Joan's reputation

as a national heroine in the eyes of the French people. A series of

military victories for Charles VII's forces followed, which allowed

his coronation as king in Reims Cathedral. As a result, the morale of

the French population improved and the tide of the Hundred Years'

War began to turn in favor of the French.

After the failed Siege of Paris, however, Joan's popularity among

the French nobility plummeted. On May 23, 1430, she was captured

at Compiègne by the Burgundians, a group of French who supported

the English. They handed her over to the English government, who

placed her judgment in the hands of Bishop Pierre Cauchon, throwing

several religious accusations against her. Cauchon found her guilty

and she was sentenced to death at the stake. Joana was executed on

May 30, 1431, at 19 years of age. Her death, however, elevated her

to the status of a martyr and increased French patriotic fervor

against the English.

In 1456, an inquisitorial court was authorized by Pope Callixtus III

to examine her trial, scrutinizing her accusations and proclaiming her

innocence, formally declaring Joana a martyr for the church. In the

16th century she was used as a symbol by the Catholic League

against Protestants and, in 1803, Joan was officially declared a

national symbol of France by decision of Emperor Napoleon

Bonaparte. She was beatified in 1909 and canonized in 1920 by the

Vatican.

Joan of Arc is currently one of the nine patron saints of France. She

remains a popular figure in the country and around the world, being

portrayed in countless pieces of literature, paintings, sculptures and

other forms of art, and being a central figure in the work of several

famous writers, artists, filmmakers and composers.

First years

Joana was born in Domrémy, in a small village in the Meuse valley

region, in the Lorraine region, in eastern France. The city was later

renamed Domrémy-la-Pucelle in her honor (pucelle being translated

as "maiden" in Portuguese). The date of his birth is imprecise;

according to her interrogation on February 24, 1431, Joana would

have said that at the time she was 19 years old, therefore she would

probably have been born in 1412 (the correct age of Joana is not

known as at that time they did not care about the exact age, so the

The correct term to use would be "more or less". Joana once

declared that, when asked about her age, "I'm 19 years old, more or

less").

Daughter of Jacques d'Arc and Isabelle Romée, she had four other

siblings: Jacques, Catherine, Jean and Pierre, being the youngest of

the siblings. His parents were farmers and occasionally artisans.

Joana was also very religious, went to church a lot and often fled

the countryside to go and pray at the church in her city.

Painting of the apparition of Saint Michael the Archangel and Saint

Catherine of Alexandria to the young Joan of Arc

At her trial, Joana stated that since the age of thirteen she had

heard divine voices. According to her, the first time she heard the

voice, it came from the direction of the church and was accompanied

by clarity and a feeling of fear. He said that sometimes he didn't

understand it very well and that he heard it two or three times a

week. Among the messages she understood were advice to attend

church, that she should go to Paris and that she should lift the

dominance that existed in the city of Orléans. She would later

identify the voices as those of the archangel Saint Michael, Saint

Catherine of Alexandria and Saint Margaret of Antioch.

The Hundred Years' War

Since the Duke of Normandy, William the Conqueror, seized England

in 1066, English monarchs have controlled extensive lands in French

territory. Over time, they came to have several French duchies:

Aquitaine, Gascony, Poitou, Normandy, among others. The dukes,

despite being vassals of the French king, ended up becoming his

rivals.

When France tried to recover the territories lost to England, one of

the longest and bloodiest conflicts in the history of humanity arose:

the Hundred Years' War, which actually lasted 116 years, and which

caused millions of deaths and the destruction of almost all of

northern France.

The beginning of the war took place in 1337. The more than evident

interests of unifying the crowns came to fruition with the death of

the French king Charles IV in 1328. Philip VI, successor thanks to

the Salic law (Charles IV had no male descendants), proclaimed

himself king of France on May 27, 1328.

In 1337, Philip VI claimed the fief of Gascony from the English king

Edward III, and on November 1st he responded by planting himself

at the gates of Paris through the Bishop of Lincoln, declaring that

he was the suitable candidate to occupy the French throne.

England would win battles such as those of Crécy (1346) and Poitiers

(1356). A serious illness of the French king led to a struggle for

power between his cousin John I of Burgundy or John Without Fear,

and Charles VI's brother, Louis of Orléans.

On November 23, 1407, in the streets of Paris and by order of the

Burgundians, the Armagnac Louis of Orléans was murdered. The

French royal family was divided between those who supported the

Duke of Burgundy (Borguinhone) and those who supported the Duke

of Orléans and then Charles VII, Dauphin of France (Armagnacs

linked to the cause of Orléans and the death of Louis). With the

assassination of Armagnac, both sides faced each other in a civil

war, where they sought support from the English. The supporters of

the Duke of Orléans, in 1414, saw a proposal rejected by the English,

who finally made an agreement with the Burgundians.

With the death of Charles VI in 1422, Henry VI of England was

crowned French king, but the Armagnacs did not give up and

remained faithful to the king's son, Charles VII, also crowning him in

1422.

Meeting with Carlos

Joana recognizes King Charles VII in Chinon

At the age of 16, Joana went to Vaucouleurs, a town neighboring

Domrèmy. He turned to Robert de Baudricourt, captain of the

Armagnac garrison, established in Vaucouleurs, to give him an escort

to Chinon, where the dauphin was, as he would have to cross all the

hostile territory defended by the English and Burgundians. Almost a

year later, Baudricourt agreed to send her escorted to the dauphin.

The escort began on approximately February 13, 1429. Among the

six men who accompanied her were Poulengy and Jean Nouillompont

(known as Jean de Metz). Jean was present at all of Joan of Arc's

later battles.

Wearing men's clothing until her death, Joana crossed the lands

dominated by Burgundians (a French duchy sympathetic to the

English), arriving in Chinon, where she would finally meet Carlos,

after presenting a letter sent by Baudricourt.

Arriving in Chinon, Joana was already very popular, but the dauphin

still had suspicions about the girl. They decided to put her through

some tests. According to legend, afraid of presenting the dauphin in

front of a stranger who could perhaps kill him, they decided to hide

Carlos in a room full of nobles when receiving her. Joana would then

have recognized the disguised king among the nobles without ever

having seen him before. Joana would have gone to the real king,

bowed and said: "Lord, I have come to lead your armies to victory".

The meeting between her and Carlos would have taken place between

February and March 1429, and Joana was around 17 years old at the

time.

Alone in the presence of the king, she convinced him to hand over an

army to liberate Orléans. However, the king still made her undergo

tests before the royal theologians. The ecclesiastical authorities in

Poitiers subjected her to interrogation, ascertaining her virginity

and her intentions. Convinced by Joan's speech, the Dauphin gave

her a sword and a standard and authorized her to accompany the

French troops who were heading towards the liberation of the city

of Orléans, which had been invaded and surrounded by the English

eight months ago.

Military campaigns

Romantic painting of Joan of Arc at the Battle of Orleans

Armed with a white flag, Joan arrived in Orleans on April 29, 1429.

The level of her participation in campaigns or command decisions is a

matter of debate among historians. According to reports from

French officers at the time, Joan would not have fought personally,

but had stayed very close to where the battle was taking place,

encouraging the men. She also attended the war councils of the

generals, who often listened to what she had to say (possibly

believing that her instructions were divine in origin). Under her

banner, the army of 4,000 men defeated the English in battle and

broke the siege of Orleans on May 8, 1429. Joan's presence is

credited as fundamental to the victory, giving courage and strength

to the soldiers. The French had been pressing Orleans for almost

eight months and were unable to overcome the English defenses.

However, with Joan at his side, religious and patriotic fervor

rekindled in the troops and led them to victory.

There are stories parallel to this one that inform that Joana's

figure was different. She would have arrived to battle on a white

horse, steel armor and holding a banner with the cross of Christ,

circumscribed with the names of Jesus and Mary. According to this

other version, Joana was simply drawn by the supernatural

fascination of her dreams and proposed mission to carry out

according to divine will and, without knowing anything about the art

of war, she commanded the rude soldiers, with an angelic air and, in

her presence, no one reacted. dared to say or commit

inconveniences. She was extremely disciplined.

After the victory at Orleans, the English thought that the French

would try to reconquer Paris or Normandy, but instead, Joan

convinced the Dauphin to begin a campaign along the Loire River.

This was Joana's strategy to lead the Dauphin to the city of Rouen.

Joan made her way to several fortified points on bridges along the

Loire River. On June 11 and 12, 1429, he participated in the French

victory at the battle of Jargeau. On June 15th, it was the turn of

the battle of Meung-sur-Loire to be fought. The third victory was at

Beaugency, on June 16th and 17th of the same year. One day after

his last victory he went to Patay, where his participation was little.

The fighting in the region, the only battle in the open field, was

already taking place without the presence of Joan of Arc.

Coronation of Charles

Coronation of Charles VII

About a month after her victory over the English at Orleans, she led

the Dauphin Charles VII to the city of Reims, where he was crowned

king of France on July 17, 1429. Joan of Arc's victory and the king's

coronation ended for rekindling French hopes of freeing themselves

from English rule and representing the turning point in the war.

The path to Reims was considered difficult, as several cities were

under the rule of the Burgundians. However, Joan's fame had spread

across much of the territory and made the dauphin's Armagnac army

feared. Thus, Joan passed without problems through successive

cities such as Gien, Saint Fargeau, Mézilles, Auxerre, Saint Florentin

and Saint Paul.

From Gien, invitations were sent to various authorities to attend the

consecration of the dauphin. In Auxerre, it was even thought about

resistance from a small enemy troop that was in the city. After

three days of negotiation it was possible to get there without any

problems. The same happened in Troyes, where negotiations lasted

five days. Arrival in Reims was on July 16th.

It is known that the day of the definitive consecration of the

French king in Reims Cathedral was on July 17th and it was not the

most splendid ceremony at the time, as the circumstances of the

war prevented it from being so. Joana watched the consecration

from a privileged position, accompanied by her banner.

Paris

Statue of Joan of Arc at Notre-Dame Cathedral in Paris

Theoretically, Joana no longer had anything to do in the army, since

she had fulfilled her promise perfectly and had correctly followed

the orders that, according to her, the voices had given her. But

Joan, like many others, saw that as long as the city of Paris was

taken by English troops, the new king could hardly have clear control

of the Kingdom of France.

On the same day as the coronation, emissaries from the Duke of

Burgundy arrived and negotiations began to reach peace, or a truce,

which was finally what was agreed upon. It was not the peace that

Joana wanted, but at least it was there for fifteen days. However,

the truce was not free, as there were political interests behind it.

Charles VII needed to take Paris to exercise his authority as king,

but he did not want to create a bad image with a violent conquest of

lands that would become his domain. This was what motivated him to

sign the truce with the Duke of Burgundy, as a need to buy time.

During the truce, Charles VII took his army to Île-de-France (the

French region that houses Paris). There were some clashes between

the Armagnacs and the English alliance with the Burgundians. The

English abandoned Paris, heading towards Rouen (or Rouen in

French). It then remained to defeat the Borguinhões who still

remained in Paris and the neighboring regions.

Joana was wounded by an arrow during an attempt to enter Paris.

This accelerated the king's decision to retreat on September 10,

1429. With the stop, the French king did not express the intention

of definitively abandoning the fight, but chose to rethink his

strategy and defend the option of achieving victory through peace,

treaties and other opportunities in the future.

The end of Joan of Arc

The capture

In the spring of 1430, Joan of Arc resumed the military campaign

and began trying to liberate the city of Compiègne. During an attack

on the Margny field, controlled by the Burgundians, French allies of

the English, Joan ended up being arrested on May 23, 1430. Between

the 23rd and 27th she was taken to the castle of Beaulieu-lès-

Fontaines. Joana was interviewed between the 27th and 28th by the

Duke of Burgundy himself, Philip III. At that time Joana was the

property of the Duke of Luxembourg. She was taken to Beaurevoir

Castle, where she remained all summer while the Duke of

Luxembourg negotiated her sale. When selling it to the English,

Joana was transferred to Rouen.

The process in Rouen

Historical painting by Paul Delaroche showing Cardinal Henry

Beaufort interrogating Joan of Arc in prison

Joana was imprisoned in a dark cell and watched by five men. In

contrast to the good treatment she had received in her first prison,

Joana was now experiencing her worst times.

The case against Joan began on January 9, 1431, and was led by the

Bishop of Beauvais, Pierre Cauchon. It was a process that would pass

on to posterity and that would convert Joana into a national heroine,

due to the way in which it developed and brought the end of the

young woman, and of the legend that still today mixes reality with

fantasy.

Ten sessions were held without the presence of the accused, only

with the presentation of evidence, which resulted in the accusation

of heresy and murder.

On February 21st, Joana was heard for the first time. At first she

refused to swear the oath of truth, but soon did so. Joana was

questioned about the voices she heard, about the militant church,

about her masculine attire. On the 27th and 28th of March, Thomas

de Courcelles read the 70 articles of Joana's accusation, which were

later summarized to 12, more precisely on the 5th of April. These

articles supported the formal accusation for the Maiden seeking her

conviction.

On the same day 5, Joana began to lose health due to eating

poisonous foods that made her vomit. This alerted Cauchon and the

English, who brought him a doctor. They wanted to keep her alive,

especially the English, because they planned to execute her.

During the doctor's visit, Jean d'Estivet accused Joana of having

knowingly eaten the poisoned food to commit suicide. On April 18,

when she finally found herself in danger of death, she asked to

confess.

The English became impatient with the delay in the trial. The Earl of

Warwick told Cauchon that the process was taking too long. Even

Joan's first owner, Jean of Luxembourg, introduced himself to Joan

and offered her to pay for her freedom if she promised not to

attack the English any more. From May 23rd, things accelerated, and

on May 29th, she was condemned for heresy.

Death

Joan of Arc being burned alive

Joan was burned alive on May 30, 1431, aged just nineteen. The

execution ceremony took place in the Old Market Square (Place du

Vieux Marché), at 9 am, in Rouen.

Before the execution she confessed to Jean Totmouille and Martin

Ladvenu, who administered the sacraments of Communion to her. She

entered, dressed in white, into the square full of people, and was

placed on the platform set up for her execution. After reading their

verdict, Joana was burned alive. His ashes were thrown into the

River Seine, so that they would not become an object of public

veneration.

After the death of Joan of Arc

The review of her process began in 1456, when she was considered

innocent by Pope Callixtus III, and the process that condemned her

was considered invalid, and in 1909 the Catholic Church authorized

her beatification. In 1920, Joan of Arc was canonized by Pope

Benedict XV.

Another version states that twenty years after her condemnation to

the stake, Joan of Arc's mother asked the Pope of the time,

Callixtus III, to authorize a commission that, in a calm and in-depth

research, recognized the nullity of the process due to defects in

form and content. Joan of Arc in this way had her honor

rehabilitated, and the name sorceress and witch was erased so that

she could be recognized for her heroic virtues, coming from a divine

mission.

She was proclaimed a Martyr for the Fatherland and the Faith.

Saint Joana is syncretized in Afro-Brazilian religions with the orixá

Obá.

Legacy

An engraving of Joan of Arc, from 1903

Joan of Arc became a semi-legendary figure in the four centuries

after her death. The main sources of information about her were

chronicles. Five original manuscripts of his sentencing trial surfaced

in ancient archives during the 19th century. Soon, historians also

located the complete records of his rehabilitation trial, which

contained sworn testimony from 115 witnesses, and the original

French notes from the Latin sentencing trial transcript. Several

contemporary letters have also emerged, three of which bear the

signature Jehanne in the unsteady hand of a person learning to

write. This unusual wealth of primary source material is one of the

reasons DeVries states, "No person from the Middle Ages, male or

female, has been the subject of further study."

Joan of Arc came from an obscure village and rose to prominence as

a teenager, and did so as an uneducated peasant. The French and

English kings justified the ongoing war through competing

interpretations of inheritance law, first regarding Edward III's

claim to the French throne and then that of Henry VI. The conflict

had been a legalistic dispute between two related royal families, but

Joan turned it along religious lines and gave meaning to features

such as that of the squire Jean de Metz when he asked: "The king

must be expelled from the kingdom; and are we to be English?" ". In

the words of Stephen Richey, "she transformed what had been a dry

dynastic dispute that left the common people indifferent except for

their own suffering, into a passionately popular war of national

liberation." Richey also expresses the breadth of his subsequent

appeal:

Statue of Joan of Arc in Orléans, by Denis Foyatier, 1855

The people who persecuted her in the five centuries since her death

tried to make it all: demonic fanatic, spiritual mystic, naive and

tragically misused tool of the powerful, creator and icon of modern

popular nationalism, adored heroine, saint. She insisted, even when

threatened with torture and faced with death by fire, that she was

guided by voices from God. Voices or no voices, their achievements

leave anyone who knows their story shaking their heads in amazed

amazement.

From Christine de Pizan to the present, women look to Joan as a

positive example of a courageous and active woman.[27] She

operated within a religious tradition that believed that an

exceptional person from any level of society could receive a divine

calling. Some of their most significant help came from women. King

Charles VII's mother-in-law, Yolande of Aragon, confirmed Joan's

virginity and financed her departure to Orléans. Joan of

Luxembourg, aunt of the Count of Luxembourg who had kept her in

custody after Compiègne, eased her conditions of captivity and may

have postponed her sale to the English. Finally, Anne of Burgundy,

the Duchess of Bedford and wife of the Regent of England, declared

Joan a virgin during pre-trial investigations.[28]

Three separate French Navy ships were named after her, including a

helicopter carrier that was removed from active service on 7 June

2010. Currently, the French far-right political party Front National

holds rallies at her statues, reproduces his image in party

publications, and uses a tricolor flame partially symbolic of his

martyrdom as his emblem. Sometimes this party's opponents satirize

its appropriation of its image. The French civic holiday in his honor,

established in 1920, is the second Sunday in May.

World War I songs include "Joan of Arc, They're Calling You" and

"Joan of Arc's Reply Song".

Relics

Jeanne d'Arc, author unknown, c.1580

The so-called relics of Joan of Arc are kept in the Chinon art and

history museum. Property of the Archbishopric of Tours, they were

deposited in this museum in 1963. The glass bottle that contains

them was discovered in Paris, in 1867, in the attic of a pharmacy,

located on rue du Temple, belonging to a pharmacy student, M.

Noblet . The parchment that closed the opening of the bottle bore

the words: "Remains found under the pyre of Joan of Arc, virgin of

Orleans".

The jar contains a four-inch-long human rib covered in a blackened

coating, a piece of linen fabric about six inches long, a cat's femur,

and fragments of charcoal.

A microscopic and chemical analysis of the rib fragment shows that

it was not burned, but impregnated with a black plant and mineral

product. Its composition is more similar to that of bitumen or pitch

than to organic waste of human or animal origin, reduced to the

carbon state by cremation.

The “noses” of great perfumers (Guerlain and Jean Patou) notably

detected a scent of vanilla in the piece of rib. Now, this perfume can

be produced by the "decomposition of a body", as in the case of

mummification, but not by cremation.

Clothing

Joan of Arc at the Coronation of Charles VII, by Jean Auguste

Dominique Ingres (1854), is a notable example of attempts to

feminize her appearance. At work, long hair and a skirt around the

armor can be seen.

Joan of Arc wore men's clothing from the time of her departure

from Vaucouleurs until her abjuration in Rouen. This motivated

theological debates in its own time and raised other questions in the

20th century as well. The technical reason for his execution was a

law on biblical clothing. The second trial reversed the conviction in

part because the sentencing process had not considered the

doctrinal exceptions relating to this text.

In terms of doctrine, she was prudent in disguising herself as a

squire while traveling through enemy territory, and was cautious in

wearing armor during battle. The Chronique de la Pucelle states that

this deterred sexual abuse while she was camped in battles. The

clergyman who testified at her second trial stated that she

continued to wear male clothing in prison to deter molestation and

rape. Preservation of chastity was another justifiable reason for

cross-dressing: her clothes would have deterred a mugger, and men

would have been less likely to think of her as a sexual object in any

case.

The sword

The sword that accompanied Joan of Arc during all her battles was

discovered under her indication under the slabs of the church of

Sainte-Catherine-de-Fierbois (Indre-et-Loire), among other swords

buried by passing soldiers. This very ancient sword was decorated

with five crosses. The rust that covered her would disappear as soon

as Joan of Arc had the sword in her hand.

Jean Chartier, in the Journal of the seat and Chronicle of the Maid,

mentions the sword and the circumstances of its acquisition by the

maid: the king wanted to give a sword, she asked Sainte-Catherinede-

Fierbois, we asked her if she I wanted it and I said no. A

blacksmith was sent from Tours and discovered the sword among

several votive offerings deposited there, apparently in a chest

behind the altar. Joan broke this sword on the back of a prostitute,

in Saint-Denis, according to the Duke of Alençon, probably after the

failed attempt against Paris. It seems that she used to strike the

backs of prostituted girls with this sword, these incidents being

mentioned in Auxerre by the columnist Jean Chartier and on his

page, Louis de Coutes, by the Château-Thierry stage. Charles VII

was very dissatisfied with the breaking of the sword. In fact, it had

assumed the appearance of a magical weapon among Joan's

companions, and its destruction was a bad omen. We have no idea

what happened to the pieces.

In this context, I want to thank you once again for this formidable

work that tells the real story of a young woman who fought against

the English in defense of France, which I explained here

philosophically as a chronicle about a drama, the story of Joan of

Arc, and I want to thank to everyone and wish you my best hugs and

thank you!

I want to thank you for this work prescribed here as a very familiar

example of a great people who have always dedicated themselves to

popular culture and I want to say that we are well acquainted with

the finest nature and I see that it makes us look for the true reason

for knowing much better the life and the ancient world and I want to

wish everyone this wonderful story in which it portrays us about

several romantic songs of very deep love about a past that was stuck

in time and that still reveals to us today and shows us the simple

reason why we know much better about close to beautiful old stories

that today we will find an answer to your questions and that can

make us know their unforgettable value up close and I want to say

here at the end with lots of love and affection to all my listeners

wherever they are, be it me, you or whoever it is, the world will

always be the same as always because what changes is our ways of

thinking and that life is an endless resonance and that we must

always go back to the old time that perhaps it can and wants to tell

us that life has always been a simple reaction and revelation that

made us seek, above all the certainties and uncertainties, the pure

and hard notion that made man stop in time when he was undecided

about life and its nature that made him recognize himself through

time and teach him about the emptiness of death to get to know life

better up close and that ancient times had always kept us fuller and

more adapted to a simple notion of facing ourselves and

understanding life better and it is said that science made man on

ancient times and that today man can govern and make life the best

disciplines for living, only by knowing life much better and conserving

over time that he can be in a great relationship with nature that is

limited to a circuit in the life of space and time. Here, with much

deep love, I want to thank all my dear friends who are always

enjoying here, in this climate of peace and love, the best

international romantic songs that make us look for the present, past

and future of a new and unforgettable generation that always will

show us with more affection and dedication the best tests of living

and holding back on the more than dreamed of educations and

lessons that have always been stories in the life of man on earth and

I want to wish here to all my dear friends, from friends to friends a

unforgettable strong hug from writer and radio host Roberto

Barros. Hugs and have a good day!

By: Roberto Barros