Mercutio's dance: aspects of inversion in Luhrmann's film William Shakespeare's Romeo + Juliet

This paper derives from a shared interest in Baz Luhrmann’s film William Shakespeare’s Romeo + Juliet. Although we were both fascinated by the character of Mercutio in the film, and in particular his prominent role in the party scene during which the two lovers meet, we realised that our individual perspectives were leading us to formulate separate, and yet not incompatible, readings: on the one hand a postmodern critique focusing on Queer theory and dance culture, and on the other, an analysis informed by Sartrean Existentialism and intertextuality. The common denominator is Mercutio’s, and indeed the film’s, use of inversion. Just as the term inversion itself covers a multitude of genres and meanings, this paper will explore different possibilities and draw seemingly contradictory conclusions. That is the nature of inversion, Luhrmann’s film and Shakespeare’s play itself. As Barbara Babcock writes, “[…] symbolic inversions create Spielraum, a space in which to take chances with new roles and ideas” (Babcock, 1978: 25). Whether he be considered to be toying with Romeo’s affections and making sport with adolescents, or guiding lovers to a place where love may be all there is, Mercutio has a role to play as a gobetween (variously he bridges the gaps between childhood and adulthood, existence and essence, male and female). He creates a space in which adults can play.