Abstract This article analyses the ways in which Rudolf Nureyev’s depiction of Juliet in his 1977 Romeo and Juliet ballet comments on and expands Shakespeare’s characterization of his tragic heroine. It argues that Nureyev uses the specific possibilities of his medium to accentuate the aspects of Juliet’s role that make her stand out among the female protagonists in Shakespeare’s tragedies: her capacity to reflect on her actions and her moments of inner struggle and decision-making. The wordless nature of his genre leaves Nureyev particular freedom to fill gaps in the text and expand on hints in the play, a freedom which he uses to highlight Juliet’s central role in the plot development and her psychological evolution. His most striking innovation lies in the way in which he translates Juliet’s soliloquies—an uncharacteristic form of speech for a woman in Shakespeare’s tragedies—into movements. The unconventional use of the traditional balletic device of the vision scene in Nureyev’s ballet highlights the recurrent theme of reversed gender roles in Shakespeare’s play.

中文翻译：

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朱丽叶无声的独白：鲁道夫·纽里耶夫的罗密欧与朱丽叶中的思想过程可视化

摘要 本文分析了鲁道夫·纽里耶夫在其 1977 年的罗密欧与朱丽叶芭蕾舞剧中对朱丽叶的描绘，是如何评论和扩展莎士比亚对其悲剧女主人公的刻画。它认为，努里耶夫利用他的媒介的特定可能性来突出朱丽叶角色的各个方面，这些方面使她在莎士比亚悲剧中的女性主角中脱颖而出：她反思自己的行为以及内心斗争和决策时刻的能力。他的类型的无言性质使 Nureyev 拥有特别的自由来填补文本中的空白并扩展剧本中的暗示，他用这种自由来突出朱丽叶在情节发展和她的心理演变中的核心作用。他最引人注目的创新在于他将朱丽叶的独白——莎士比亚悲剧中女性的一种不同寻常的演讲形式——转化为动作的方式。Nureyev 芭蕾舞剧中对视觉场景的传统芭蕾舞装置的非常规使用突出了莎士比亚戏剧中性别角色颠倒的反复出现的主题。