Thus, adaptations of Shakespeare's text are necessarily involved in queering the queer(ed): a pomosexual process that ultimately leads to the breakdown of the normative signification system. 'Romeo and Juliet' is a historical text that has been adapted, and thus queered, numerous times Shakespeare's 'Romeo and Juliet' is itself an adaptation and therefore is always already a queer text.

Adaptation, as a process of re-writing/disrupting a normative, 'originary,' historically situated text, is by definition a queer process. I argue that the plays staging evokes the guarded interiority of its young protagonists and establishes private spaces in which they constitute themselves as. I argue that queering involves the non-normative and disruptive process(es) of reading texts. It is never mentioned in the play why they. Act 2, Scene 1 After the conclusion of the ball, Romeo sets out to find Juliet. By engaging in new queer or pomosexual readings of Shakespeare's text, in relation to various adaptations, including 'Shakespeare in Love, Tromeo and Juliet ', and 'Get Real', this thesis challenges the traditional heteronormative reading of the play and argues that the play itself is queer. How will Sampson and Gregory talk and act This is the first mention that Montagues are the enemies of the Capulets. The Chorus recites a short sonnet concerning Romeo and Juliets forbidden love. 'This work investigates Shakespeare's 'Romeo and Juliet', one of the exemplary heteronormative love stories in Western culture.

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