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Romeo speaks to himself in the aside in "Romeo and Juliet", scene two. Asides are used so that the character can say something to the audience that the other characters are not supposed to be able to hear.
When Romeo first sees Juliet dancing at the party, he fell in love.
Juliet initially agrees to marry Paris due to family pressure, but she does not love him and ultimately tries to avoid the match by faking her own death. She treats Paris politely, but her true affections lie with Romeo.
You are of course referring to the famous balcony scene from Romeo and Juliet, Act II Scene 2. In this scene Romeo is lurking in the dark in the Capulet garden when he spots Juliet standing in her bedroom window. He will stand still while watching her and commenting on her appearance and his feelings about her in a voice only the audience can hear. At the same time she comments on her feelings about Romeo in a voice which Romeo can hear. A good actor will use all of his skills in playing the part of Romeo in this scene. His emotions are primarily expressed in the words he says, but the way he delivers them is also important, so the audience knows that he is sincere. Although this scene does not call for much by way of physical acting, the way the actor stands can also help convey his desire for and attraction to the girl on the balcony.
In Act 1, Scene 5 of Romeo and Juliet, Juliet says, "My only love sprung from my only hate!" This line reflects the central conflict of the play, as Juliet realizes that she has fallen in love with Romeo, who belongs to the rival family. It also sets the tone for the tragedy that will unfold due to the feuding families.
The only plan Juliet's parents make for her in the play is for Juliet to marry Paris.
In Romeo and Juliet Capulet is stating to Paris that Juliet is his only surviving child, all the rest died.
It gives a preview of the play: the bitter quarrels of the Montagues and Capulets are ended only by the death of their children, Romeo and Juliet. The 16th century audience would expect drama and gore, making them excited.
Romeo and Juliet express their love for one another.'profess' a plus
Most of the dialogue in the "balcony scene" takes place at the window in Juliet's room. Only the final line is on the actual balcony.
Nobody, actually. Paris only approaches Capulet about marrying Juliet in scene 2, which is halfway through Act One.
Since there are four different scene fives in the play, I cannot say much about the particular scene. I can, however, say something about making a scene seem natural. No scene in theatre is natural. There are conventions about what you are prepared to accept. You can accept that when Juliet stabs herself, real blood does not spurt out of her arteries. You can accept that when it comes time for the curtain call, the actors playing Romeo, Juliet, Tybalt and Mercutio will all take bows. You can accept that we skip over time and only see the interesting bits of the action. We can accept that the playwright has put interesting words in the people's mouths instead of the insipid tripe and the garbled gibberish that usually comes out of people's mouths. In some forms of theatre the audience is called upon to accept some pretty wild things: that one person is simultaneously a whole group of people, that an empty stage is a forest or the inside of a dumpster or outer space, that the actor is holding a gun on someone when there is nothing in his hand, and so on. Audiences regularly accept such things with no difficulty and go on to enjoy the drama. Audiences will not, however, accept these conventions unless the actors accept them and never let go. An audience will accept that a middle-aged man is a young girl if he behaves with complete and sincere conviction like a young girl. Romeo and Juliet does not usually require that extent of audience faith. But the audience must accept that Romeo and Juliet really speak those lines because they mean them and are so in love that their words come out in poetry. To do this the actors must believe that there are no other words in which they could possibly express what they want to say. This is the one and only way to make any play seem natural. The actor must get the audience to come along with him or her into this fantasy world and temporarily accept it as natural, because the actor accepts it as such.