Latest news with #RomeoandJuliet
Hindustan Times
a day ago
- Politics
- Hindustan Times
Adolescence, consent & the grey zone for Pocso
Indian law puts the age of consent at 18. This means that sex with a girl below the age of 18, even if she consents, amounts to rape under the stringent Protection of Children from Sexual Offences (Pocso) law. The law does not recognise the relationship between the 14-year-old girl and the 25-year-old man. In a trial court, the girl told the judge she loved the man and wanted to live with him. Sorry, said the judge, and sentenced him to 20 years in prison. The man was able to get bail and appealed before the Calcutta High Court (HC). In October 2023, the HC acquitted him but not before a bizarre digression into adolescent sexual urges and advice to young women everywhere to 'control sexual urges as in the eyes of the society she is the looser [sic] when she gives in to enjoy the sexual pleasure of hardly two minutes'. Steeped in patriarchy, stereotypes and outdated notions of chastity, the judge's remarks led to considerable outrage — and the attention of the Supreme Court. Pocso was intended to protect adolescents and children. But the increasing criminalisation of consensual teenage sexual activity has become a problem in a country where every fifth Indian is an adolescent. A five-state study by the Centre for Child and the Law at the National Law School found that in 20% of Pocso cases, the victim said she was in a consensual relationship, or marriage, with the accused. Who files these cases? In one third of rape cases being tried in Delhi and Mumbai in 2013, it was the parents of daughters who had filed complaints — maybe her boyfriend was of a different caste or faith or maybe they were just upset at her exercise of agency. This desire for control extends to khap panchayats and even elected leaders who have said parental consent should be mandatory for love marriages. The irony of weaponising a law intended to protect adolescent girls to control them is evident. 'This was a classic Pocso case,' says Madhavi Divan, amicus curiae in the matter. 'But the truth is more complicated. The girl is very sure of her choices and determined to protect her small family.' One solution to prevent the abuse of Pocso could be a 'Romeo and Juliet' clause adopted this year in the UK that exempts consensual teenage sex from mandatory reporting of child sexual abuse. The clause is intended to provide some discretion in limited situations to avoid 'unintentional consequences'. But a more long-term solution suggested by Divan is to have a national sex education policy so that adolescents are made aware of the consequences of a sexual relationship. The Supreme Court has asked the Union government to consider devising such a policy. In a country where 22% of female adolescents are married as children, sex education remains a red flag. A Unesco report found that 71% of youth aged between 13 and 30 in 17 states said they had not been taught about sexuality by either teachers or parents. The Supreme Court has upheld the conviction of the man for sexually assaulting a minor girl in 2018 but refused to sentence him, noting that the victim would be the 'worst sufferer' if he was to be jailed again. The girl, meanwhile, told the court she wants to complete her education and get on with her life. Namita Bhandare writes on gender. The views expressed are personal
Boston Globe
2 days ago
- Entertainment
- Boston Globe
Boston Ballet takes a leap of faith with Jean-Christophe Maillot's ‘Roméo et Juliette'
Boston has seen many versions of Prokofiev's 'Romeo and Juliet' ballet. The Kirov brought Leonid Lavrovsky's 1940 Soviet première staging to the Wang Center in 1992. Over the past 40 years, Boston Ballet has offered versions by Choo San Goh, Daniel Pelzig, Rudi van Dantzig, and John Cranko. Now, as its 2024–25 season closer, the Ballet is presenting the stripped-down, streamlined creation that Les Ballets de Monte-Carlo director Jean-Christophe Maillot devised in 1996, and it's safe to say Boston has never seen a 'Romeo and Juliet' like this one. Thursday's opening night at the Citizens Opera House slid off the rails from time to time, but stupendous performances from Advertisement Prokofiev's score is a literal evocation of Shakespeare's play; that's why, regardless of choreography, stagings of the ballet tend to the traditional, with sumptuous Renaissance costumes and sets, a carnival atmosphere in the town square, and lots of swordplay. 'Roméo et Juliette' goes its own way. Ernest Pignon-Ernest's sliding white panels and ramps and blocks conjure the backdrop for a dream sequence; Dominique Drillot's atmospheric lighting sets the emotional tone for each scene. Jérôme Kaplan dresses the Montagues in pale tones and the Capulets in darker shades, everything long and flowing and floppy, no two outfits quite alike. Ernest Pignon-Ernest's sliding white backdrop and Dominique Drillot's atmospheric lighting provide emotion and contrast in each scene. Rosalie O'Connor The Prince, Lord Capulet, and Lord and Lady Montague have been eliminated from the cast, along with the Gypsies, the market wares, and anything resembling a sword or dagger. The full score can last close to 150 minutes; here, about a half hour has been removed, mostly ensemble numbers. Thursday's performance, with an intermission after act one and a pause between acts two and three, ran a reasonable 2½ hours. The Boston Ballet Orchestra under music director Mischa Santora was in top form; the erotic Knights' Dance in particular had the weight and accent it needs and doesn't always get. Advertisement 'Roméo et Juliette' opens with the credits — including the performance's principal cast — projected on a scrim while the orchestra plays the Introduction, a nice touch. When the curtain rises, we see Friar Laurence being hoisted aloft, in a crucified position, by two 'acolytes.' Maillot's conceit is that the story is being narrated by the friar, who's racked by regret at having failed the star-crossed lovers. It's a bold idea, given that he's a very minor presence in the score, but it's not a good one. Wearing a clerical collar and acting more like the Revivalist in Martha Graham's 'Appalachian Spring' than Shakespeare's humble Franciscan, this Friar Laurence stalks the action in one-dimensional anguish, his silent screams powerless to affect the outcome. It would be the same ballet, only better, without him. Maillot's contemporary choreography adds to a "Romeo and Juliet" unlike any other performed in Boston before. Rosalie O'Connor Maillot's version still has much to recommend it. His contemporary choreography is, like the costuming, flowing and floppy, but it has an angular quality that suits the music. His Romeo and Juliet are giddy, dizzy, frolicking teenagers; one moment she's backing off when he tries to kiss her, the next she's kissing him. In the balcony scene Thursday, Chae and Cirio were all speed and spontaneity, and their nuances made conventional ballet partnering seem generic. Advertisement A slinky, slit-skirted Rosaline (Emma Topalova on Thursday), who like Juliet is a Capulet, shines as Romeo's first love before a spiky Tybalt (Yue Shi) intervenes. Maillot's jittery, overworked Nurse (Courtney Nitting) is comic but not ridiculous; a sassy Mercutio (Sun Woo Lee) and a peacemaking Benvolio (Daniel R. Durrett) get room to ramble in the 'Masks' prelude to the Capulet party. Lady Capulet ( The delivery of the tragedies in the ballet's second and third acts occasionally feels out of place and uneven. Rosalie O'Connor Acts two and three are less rewarding. A slapstick puppet show in the square anticipates the deaths to come. When Tybalt kills Mercutio, slapstick Mercutio's prolonged death agony, a highlight of the score and a showpiece for the dancer, is cut. Romeo's pursuit of Tybalt is enacted in slow motion, a neat counterpoint to the lickety-split music, but the eventual brutal strangling seems out of place. Maillot is, again, at his best with Romeo and Juliet in the lovers' farewell, where she slaps him for killing Tybalt before falling into his arms and coaxing him back to bed. By now, though, the Nurse's idiosyncrasies and Lady Capulet's histrionics have begun to wear thin. An underused Paris exits the reluctant Juliet's bedroom and is never seen again. After a perplexing sequence with Friar Laurence and the acolytes that has nothing to do with the all-important potion, Juliet in bed becomes Juliet in the tomb. Romeo appears and rams his head into the base of the bier; Juliet wakes and, with Friar Laurence looking on helplessly, strangles herself with a long red rope of sheet that she seems to have pulled from Romeo's body. No Capulets or Montagues arrive to reconcile. Watching this bleak dénouement, you could sympathize with Prokofiev's original impulse to rewrite Shakespeare and give the ballet a happy ending. Advertisement ROMÉO ET JULIETTE Music by Sergei Prokofiev. Choreography by Jean-Christophe Maillot. Sets by Ernest Pignon-Ernest. Costumes by Jérôme Kaplan. Lighting by Dominique Drillot. Presented by Boston Ballet. With the Boston Ballet Orchestra conducted by Mischa Santora. At Citizens Opera House, through June 8. Tickets $32-$232. 617-695-6955, Jeffrey Gantz can be reached at Jeffrey Gantz can be reached at
Yahoo
3 days ago
- Entertainment
- Yahoo
3 Young and the Restless Couples Who Are Headed for a Summer Breakup
Summertime is approaching on The Young and the Restless. While it's usually a season for passionate romances, this year it's going to be one of heartbreak. Here's a look at a few Genoa City couples who might not make it through the summer. Young lovers Kyle (Michael Mealor) and Claire (Hayley Erin) have become a main focus of the show. With their families feuding, they've been touted as Y&R's version of Romeo and Juliet. Yet, despite objections and interference from Victor (Eric Braeden), their relationship is still going strong. However, that all will change with their latest obstacle. Victor has enlisted the help of Audra (Zuleyka Silver) to break up his granddaughter's relationship. Audra is working her magic on Kyle by taunting him with her new business venture. Kyle being an opportunist sees this as a way to gain intel to help Jabot. Yet, his plan to cozy up to Audra could backfire, costing him his girlfriend. Mariah (Camryn Grimes) and Tessa (Cait Fairbanks) aka Teriah are front and center in a new storyline. Unfortunately, it's not one that Teriah fans aren't happy with. Mariah's keeping a secret from Tessa that could destroy their marriage. Whatever happened on Mariah's trip is making her feel guilty and creating distance between her and Tessa. As distance grows between the couple, it leaves the door open for Tessa to grow closer to Daniel (Michael Graziadei). Audra had finally turned over a new leaf when she began dating Nate (Sean Dominic). But now she stands to lose her beau when she reverts back to her bad girl ways. Audra is eager to return to the corporate world, and Victor's offer was too good to pass up. Not only will she get funding for her company, but she'll also get her long-awaited revenge on Kyle. Yet, Audra's scheme might cost her the one man who loves her. Audra is willing to do whatever it takes to keep her end of the deal. Her business venture relies on breaking up Kyle and Claire's relationship. Audra might take things too far and betray Nate, who warned her about accepting Victor's offer.
Time of India
3 days ago
- Entertainment
- Time of India
Shakespeare in 2025: 10 legendary lines that still speak to students
Four centuries have passed since William Shakespeare inked his mind into plays and poetry, yet the echo of his writing continues to pulse through the conversations and thoughts of today. The Bard of Avon didn't just author plays and sonnets; he crafted a timeless world for generations to float through when seeking inspiration and self-reflection. The cobblestone streets of 16th-century England continue all the way to modern classrooms around the globe, and Shakespeare's language has proven remarkably resilient. His phrases have woven themselves so deeply into the cultural fabric that his works are often quoted even without proper acknowledgement of his contributions. For students embarking on their literary journey, or those who seek to enlighten themselves about the literature legend, these ten quotes are quintessential. 1. "To be, or not to be: that is the question." (Hamlet) When Hamlet wrestles with existence itself, he voices perhaps literature's most famous philosophical dilemma. This isn't merely about life and death, it's about choice, courage, and the weight of consciousness. Students often discover that this line opens up profound discussions about decision-making and the human condition that feel surprisingly contemporary. 2. "All the world's a stage, and all the men and women merely players." (As You Like It) Shakespeare presents life as an elaborate performance where each person assumes different roles throughout their existence. This theatrical metaphor continues to resonate because it captures something fundamental about how we navigate social expectations and personal identity, themes that feel especially relevant to students figuring out their place in the world. 3. "Romeo, Romeo, wherefore art thou Romeo?" (Romeo and Juliet) Beyond its romantic surface, Juliet's lament reveals the tragedy of social barriers and predetermined identities. She's not asking where Romeo is, but why he must be who he is, a member of her family's enemy house. This quote illuminates how external circumstances can complicate our deepest connections. 4. "Et tu, Brute?" (Julius Caesar) In just three words, Shakespeare captures the devastating moment when trust shatters completely. Caesar's final words to his friend Brutus have become shorthand for unexpected betrayal, demonstrating how the playwright could distill complex emotions into unforgettable phrases. 5. "The lady doth protest too much, methinks." (Hamlet) This observation about excessive denial has found new life in our age of public discourse and social media. When someone's defense becomes suspiciously elaborate, we recognise the psychology Shakespeare identified centuries ago, that overstatement often reveals what it attempts to conceal. 6. "What's in a name? That which we call a rose by any other name would smell as sweet." (Romeo and Juliet) Juliet argues that labels shouldn't determine worth, a concept that speaks powerfully to contemporary discussions about identity, stereotypes, and social categories. Shakespeare understood that society's tendency to judge by surface markers often obscures deeper truths. 7. "Fair is foul, and foul is fair." (Macbeth) The witches' paradoxical chant introduces a play where moral boundaries constantly shift. This line has become a touchstone for discussing how appearances can deceive and how good and evil aren't always clearly defined, lessons particularly relevant in our complex modern world. 8. "Parting is such sweet sorrow." (Romeo and Juliet) Shakespeare captures the contradictory emotions of goodbye, the pain of separation mixed with love's enduring promise. This oxymoron perfectly expresses how human feelings often resist simple categorisation, making it endlessly quotable for anyone experiencing complicated farewells. 9. "Brevity is the soul of wit." (Hamlet) Ironically delivered by the verbose Polonius, this advice about concise communication remains remarkably relevant in our information-saturated age. Shakespeare understood that the most powerful messages often come in compact packages, a lesson every student writer should embrace. 10. "All that glitters is not gold." (The Merchant of Venice) This warning against superficial judgment has become one of English literature's most enduring proverbs. In Shakespeare's hands, it serves as both practical advice and philosophical insight about the difference between appearance and reality. Why These Words Endure Shakespeare's genius lies not only in storytelling but in distilling universal human experiences into unforgettable language. These quotes endure because they speak to timeless struggles, identity, love, betrayal, choice, and mortality. For students, engaging with them offers more than literary insight; it provides a vocabulary for life's complexities. Written to be spoken aloud and felt, they remain alive, connecting us across centuries to share enduring truths about the human condition. Ready to empower your child for the AI era? Join our program now! Hurry, only a few seats left.
NZ Herald
6 days ago
- General
- NZ Herald
Wellington kura celebrating ‘bittersweet' $35m long-awaited upgrade
'They do that despite the lack of resources, and they do that because they have kaiako [teachers] and principals who are passionate, who create their own resources and do their very best, but they shouldn't have to do that.' Reporting by RNZ shows students at kaupapa Māori schools attempt more NCEA credits and are more likely to get merit and excellence endorsements than those at comparable mainstream schools. The year 1-8 students of Ngā Mokopuna cheered and clapped when a render of their new school was shown on a big screen. School tumuaki Rawiri Wright said whānau and children were 'delighted' but the moment was 'bittersweet' as Wright thought about the many other kura that were not getting funding and renovations. He said 40 of 69 kura kaupapa Māori nationwide had unsafe and inadequate teaching spaces. 'The general public has no idea of the extent of resource inequity kura kaupapa Māori has had to endure over the past 40 years. 'This is a bittersweet moment for us. We're delighted at the confirmation of funding to us. But we're mindful also of many other whānau who continue to wait and who have to continue to endure substandard buildings and facilities.' Wright said the new build would include a library and indoor sports facility so students can train year-round and the school can host other kura. Budget 2025 included a $36m Māori education package. This was part of a wider $2.5b boost in education in Budget 2025. The Māori education package included establishing a $10m virtual learning network so kura teachers could 'beam' into classrooms in other parts of the country where there were shortages. It also includes $4.5m to develop curriculum resources in te reo Māori - such as Shakespeare, like Romeo and Juliet in te reo, and New Zealand literature, like Keri Hulme's The Bone People. Funding for the $36m Māori education packages comes at the cost of other Māori education, including the Wharekura Expert Teachers' initiative, which has been disestablished.
