Adding stage directions to this scene from romeo and juliet?

Question

How would you add scene directions to this scene?

FRIAR LAWRENCE: So smile the heavens upon this holy act, that after-hours with sorrow chide us not.

ROMEO: Amen, amen! but come what sorrow can, it cannot countervail the exchange of joy that one short minute gives me in her sight. Do thou but close our hands with holy words, then love-devouring Death do what he dare, it is enough I may but call her mine.

FRIAR LAWRENCE: These violent delights have violent ends, and in their triumph die like fire and powder, which as they kiss consume. The sweetest honey is loathsome in his own deliciousness, and in the taste confounds the appetite. Therefore love moderately long love doth so; too swift arrives as tardy as too slow.

(Enters Juliet)

Here comes the lady. O, so light a foot will ne’er wear out the everlasting flint; a lover may bestride the gossamers that idles in the wanton summer air, and yet not fall, so light is vanity.

JULIET: Good evening my ghostly confessor.

Answer 1

i'm not sure what you're asking here. there are already stage directions incorporated into this script you provided. to my mind, and i've been at both ends - as an actor and as a director, stage directions are necessary functions of the actors/objects on stage. for example, "juliet enters"...."friar lawrence closes door"...these things must happen. if you are referring to the actors' blocking, that's a bit different. since i'm not really sure what you're asking i do apologize if the following information is totally useless to you but if you're asking the question from a director's perspective, then you need to get organized. you have to keep track of EVERYTHING so it's important to find a way that makes sense to  you. when i direct, i like to use colored pencils. i brake the scene into director beats and then block it by beats, including the crosses actors may need to make; and i also mark their path so i can roughly see the movement they're making. but this inevitable changes, so be prepared to have to erase everything for the actual rehersals...ps did i mention all of this should be done before you start rehersals??? good. i liked to get a sketch of my space with any props or walls or anything else the actors' use on the sketch and then make many copies and keep them with the script so i can reference them when i need to. hope i answered the right question...sorry if i didn't.

Answer 2

It seems like you've started. The following stage directions are not in the original manuscript. Just entrances and exits.

[Romeo kisses Juliet]

[Juliet returns his kiss]

Does Juliet kiss Friar Lawrences hand? Does she acknowledge him? Does she sit on the bed with Romeo and hold his hand,

=====================================

Here is the script with stage directions for Baz Lurhman's 1996 movie with Leonardo DiCaprio and Clair Danes. Almost every movie version of a Shakespeare play shortens the dialogue . The director has moved the scene from a monk's cell to a church where it can be more theatrical,

=====================================

INT.  CHURCH.  DAY.

TIGHT ON: FATHER LAURENCE:

                         FATHER LAURENCE

            These violent delights have violent ends!

PULL BACK: Father Laurence is preaching energetically from the pulpit.  Hidden from the congregation, Romeo waits in a small alcove chapel at the side of the altar.

                         FATHER LAURENCE (CONT.)

            The sweetest honey

            Is loathsome in its own deliciousness,

            Therefore love moderately.

The Father glances toward Romeo.

                         FATHER LAURENCE (CONT.)

            Long love doth so.

            Too swift arrives as tardy as too slow.



Juliet pushes through the double doors at the far end of the church. Father Laurence motions to the middle-aged choir master who leads the choir into a choral version of Led Zeppelin's "A Whole Lot of Love" with Latin lyrics. Father Laurence hurries from the altar over to Romeo.

                         FATHER LAURENCE (CONT.)

            Here comes the lady.

Juliet bursts into the tiny chapel.  Trying to observe a

vestige of decorum, she greets Father Laurence.

                         JULIET

            Good afternoon to my ghostly confessor.

But before the priest can reply, the two lovers embrace, kissing passionately.

                         FATHER LAURENCE

                   (dryly)

            Romeo shall thank thee, daughter, for us both.

The choir completes the hymn and the priest, realising it is his cue, rushes back to the altar.  He quickly delivers a prayer to the congregation while eyeing the increasingly amorous smooching of the young couple. The choir launch into a joyous chorus and the priest returns to Romeo and Juliet.  He delicately parts the couple.

                         FATHER LAURENCE (CONT.)

            Come, come, and we will make short work.

            For, by your leaves, you shall not stay alone

            Till Holy Church incorporate two in one.

A young boy with a voice like Jamiroquai steps forward.  He launches into a wailing solo.

MACRO CLOSE UP: A simple silver ring.  Engraved on the

inside of the band are the words 'I love thee.'

PULL BACK: Romeo slips the ring onto Juliet's finger as the

priest executes the formal sacrament of marriage.



INT./EXT.  CHURCH.  DAY.

CRANE UP: Through the majestic patterning of stained glass,

and out of the church to find Peter, the chauffeur, cradling

a small camera as he waits nervously beside the limo.

EXT.  CHURCH.  DAY.

The music swells in celebration.  Romeo and Juliet, now

newly-wed, rush from the side door of the church.  The

priest follows, throwing handfuls of rice.  Peter studiously

takes a snap as the bride and groom kiss. Peter holds the door of the limousine open.  Reluctantly Juliet gets into the car. As the car pulls out of the driveway, Romeo runs alongside.

HOLD: On Romeo as he watches the big black car speed away.