The 2015 Linny Fowler WillPower Tour STUDY GUIDE

Transcription

1 The 2015 Linny Fowler WillPower Tour STUDY GUIDE

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3 Pennsylvania Shakespeare Festival s production is part of Shakespeare in American Communities, a national program of the National Endowment for the Arts in partnership with Arts Midwest. The Linny Fowler WillPower Tour is made possible through a generous gift from: Beall and Marlene Linny Fowler And these generous supporters: The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare in American Communities. The Pennsylvania Shakespeare Festival is one of 40 professional theater companies selected to participate in Shakespeare in American Communities, bringing the finest productions of Shakespeare to middle- and high-school students across the United States. This is the 13 th year of this national program, the largest tour of Shakespeare in the United States. Anonymous Jaqueline Brown in honor of Mr. William B. D Alton Sr. Lee and Dolly Butz Capital Blue Cross The Century Fund Tom and Gayle Cichocki Crayola DeSales University Donald DuPont Embassy Bank Gadomski Foundation K12 Systems John Kennedy in memory of Paul Marsters Anne and Bruce Lawrence Mr. and Mrs. Dean and Wendy Macinskas Roseann Paciotti in honor of John and Aurelia Stella The Pennsylvania Council on the Arts Michael and Christine Perrucci Brenda Shahpari-Azar in memory of Asghar Shahpari-Azar Shakespeare in American Communities Sara Ann Thomas Wells Fargo Bank, N.A.

4 Our performance of Julius is designed to energize and inspire your students- instilling a greater understanding and appreciation of theater, Shakespeare, and language, both spoken and written. The post-show discussion allows students to directly connect with the actor-teachers. For schools that have contracted for the full day program, workshops provide students with activities which illuminate the vitality of Shakespeare s words and characters in a highly engaging experience. This study guide gives you information and activities specific to this production of Julius which is designed to give young people a fresh view on a classic work. There is also information and resources on Shakespeare s life language, and theater. We will bring all our skill, passion, and artistry to the task. We hope you and your students enjoy, and will be filled with, WillPower! PREPARING STUDENTS What Can We Do to Prepare? 5 Synopsis of the Play 6 Characters in Julius 7 WillPower Actors 8 WILLIAM SHAKESPEARE Who Was This Guy? 10 Shakespeare s England 11 Shakespeare s Theater 13 Shakespeare Timeline 14 Shakespeare s Language 15 Shakespeare s Inspiration 16 Shakespeare Inspires 17 The Play in Performance 18 Historical Accuracy & Anachronisms 19 Julius : A Historical Timeline 20 Roman Government 21 Quotes: On Shakespeare 22 CLASSROOM EXERCISES Before Reading Julius 23 While Reading Julius 24 After Reading Julius 25 After Seeing Julius 26 More Activities Before Reading 27 More Activities While Reading 29 The Day of the Play 31 Essay & Discussion Questions 32 REFLECTION WORKSHEET 33 CHARACTER QUIZ 34 OPPORTUNITIES AT PSF 35 SHAKESPEARE COMPETITION 36 ACADEMIC STANDARDS 37 SOURCES & RESOURCES 38 4

5 What can we do in class to prepare? Read the synopsis. We know time is tight in the classroom and your students may not have the opportunity to read the whole play. That s okay, but do give them a sense of the story. The experience of seeing the play will not be spoiled by knowing the end; it will only be enhanced. Shakespeare s plays are driven by language and character. If we know the plot ahead of time, there is no worrying about following the events and we are able to enjoy Shakespeare s language and the journey of the play. Our synopsis is on page 6. Get to know the characters. Shakespeare liked to create large casts of characters. The people in his plays are as detailed and diverse as the people in our world. As their names can be unusual, it is helpful to review who is who and what they do before the play begins. Just like in Shakespeare s day, our WillPower actors play multiple roles. Take a look at page 8 to find out how we perform Julius with only nine actors! Introduce the language. Try thinking about Shakespeare s language as 400 years younger than the English we speak today. It is more vibrant, imaginative, and full of passion and power. This is the element that creates the wild ride of a Shakespearean play. At first, our modern ear can be overwhelmed by the richness and complexity of the text. If you listen closely and give yourself a few minutes to adjust, the language will begin to reveal its exceptional beauty. Try the classroom activity on page 27 and 28 as a warm-up. Play your part. Remind your students that the performance happens in real time and they have a very important role to play. The actors will often be looking at and speaking directly to the audience as an acting partner and looking for a response. We invite students to participate as an engaged and supportive audience. When the audience is attentive and responsive, they share in the creation of magical theater moments. Live theatre is not the same experience as going to the movies or watching TV at home. In the same way, noises and distracting behavior will have a negative impact on the actors concentration and performance, and affect the experience of the other spectators. Audience members should not talk to each other, unwrap candy or other food, search through a purse or backpack; they should also shut off wristwatch alarms and cellphones. Texting distracts those around you from the live event and you might miss the kiss, a bawdy joke, or an inspiring moment. Don t check out! Remember that actors can see and hear the audience. 5

6 Act 1 Beware the ides of March. Julius returns to Rome after fighting a long civil war with his fellow consul-turned-enemy, Pompey. The whole city is there to celebrate s victory or so it seems. From the crowd emerges a soothsayer, who warns to beware the ides of March, referring to March 15 th in the Roman calendar, and meaning that s time of reckoning will come on that day. decides to ignore the warning. Cassius, a Roman senator, begins to plot against, fearing will hold too much power over the people. Cassius attempts to convince Brutus, another senator and s close friend, that will become a tyrant. Cassius, when alone, reveals to the audience that he believes Brutus is easily manipulated, and instructs a politician named Casca to help him write forged letters to Brutus, further urging him to turn against the emperor. Act 2 Cowards die many times before their death; The valiant never taste of death but once. After much convincing, Brutus agrees that must be killed in order to save Rome from tyranny. The conspirators, led by Cassius, convene at Brutus house in the dark of night to confirm alliances and establish a plan for assassination. Portia, Brutus wife, is wary of her husband keeping secrets from her. Meanwhile, s wife Calpurnia has been having horrible nightmares that predict her husband s death. On March 15 th, she begs not to go to the Senate, but he refuses to listen to her pleas. Act 3 Et tu, Brute? With everyone convened at the Senate, the conspirators put their plan into action. s ally Mark Antony is lured away and in his absence the conspirators surround and brutally stab him to death. After is killed, Mark Antony privately vows revenge for the death of his friend. The city holds a grand funeral for, and both Brutus and Antony come to speak to the Roman people. Brutus speaks first, and attempts to convince the crowd that deserved to die. Antony s speech quickly turns the crowd against the conspirators, and an angry mob chases them out of the city, leaving Antony free to inherit s power. Act 4 There is a tide in the affairs of men, which, taken at the flood, leads on to fortune Antony sends troops against Brutus and Cassius, who are now outside the cities with their armies. Tensions erupt between Brutus and Cassius in the military camp, and they get into a heated argument. It is only when Cassius offers his life as proof of his loyalty the two are able to forgive each other. Meanwhile, Brutus wife Portia has killed herself. s ghost appears to Brutus, and informs him that they will meet again at Philippi -- the field where they will face Antony s army in battle. Act 5 This was the noblest Roman of them all. The two sides finally meet on the battlefield. After receiving a false military report that predicts a terrible fate for his troops, Cassius orders his servant to kill him. Brutus remains fighting, but is ultimately overcome by Antony s army in a second battle. Defeated, Brutus asks one of his soldiers to hold his sword as he runs into the blade, ending his life. In the chaos, Antony finds Brutus body and, proclaiming him in the end to be a noble man, prepares to give him an honorable burial. 6

7 The characters in our play All names in UPPER CASE refer to the names that the characters are addressed as in the play Julius CAESAR- a military hero, named dictator of Rome CONSPIRATORS AGAINST CAESAR Marcus BRUTUS- praetor of Rome, reluctantly joins plot against Caius CASSIUS- instigator of the plot against DECIUS Brutus- persuades to visit the Senate, despite warnings against it CASCA- first to stab METELLUS Cimber TREBONIUS TRIUMVIRS OF ROME (after s death) OCTAVIUS - claims to be s heir, causing tensions with Antony Mark ANTONY- s most loyal follower, but nonetheless power hungry and manipulative LEPIDUS- has the least power out of the three triumvirs HOUSEHOLDS CALPHURNIA- wife of PORTIA- wife of Brutus LUCIUS- personal servant to Brutus TRIBUNES OF THE PEOPLE MARULLUS both oppose s rule FLAVIUS OTHERS A SOOTHSAYER-warns to beware the Ides of March ARTEMIORUS-attempts to warn of the plot against him Members of the Army 7

8 Peter Danelski (Maurellus/Octavius/Metellus Cimber) Peter is very grateful to be a part of this year s WillPower Tour. He is a graduate of DeSales University. He studied for his master s at Trinity College Dublin. During his time in Ireland, he remained active within Trinity s Dublin Players as well as the Lir National Academy. He has also spent several seasons with PSF. His past festival credits including The Two Gentleman of Verona, Henry VIII, The Two Noble Kinsmen, among others. Love to Rosebud. Arlen Hancock (Cassius) is stoked to make his Pennsylvania Shakespeare Festival debut and to share this play with you today! Arlen is a Philadelphia based actor with a BFA in acting from The University of the Arts. Prior to college he spent four years training at the Norfolk Governor's School for the Arts. Recent credits include The Tempest (Commonwealth Classics), Midsummer (Philly Shakes Co.) and Hamlet (Rev Theater). For more info visit As always, for his sister Rachel. Alexander Korman (Marc Antony) most recently performed in Henry VIII (Sir Thomas Lovell) at The Shakespeare Theatre of New Jersey. Past credits include The Tempest (Ferdinand) at Olney Theatre Center; Macbeth, The Comedy of Errors and a new adaptation of Homer's Odyssey with the National Players, a country-wide classical touring company. He has performed off-broadway in Extant Arts' production of Richard III (Richmond) and As You Like It (Oliver) at Inwood Shakespeare Festival. He is a graduate of Colgate University. Dorbens R. Lemma (Brutus) was born in Haiti and raised in Florida. Dorbens is a graduate of the American Musical and Dramatic Academy. Theatre credits include: Black Wall Street, Shadows the Musical, Sweating Bullets, Julius, Adam and Eve and Josephine. He has co-created workshops and showcases and plans to revisit the movement of creative collaboration and encouraging more artists to create their own work as he aspires to continue doing. He is also incredibly excited to be a part of this production of Julius with the Pennsylvania Shakespeare Festival! James Miller (Casca) is a Colorado born actor, currently in a nomadic state around New York City. This will be his first time working with the Pennsylvania Shakespeare Festival, and his recent work includes Bottom in The Bloomsburg Theater Ensemble's school tour of A Midsummer Night's Dream, and multiple roles in New York City in plays with names too astonishingly long to fit into a small bio. He is very excited to be on the road spreading the word of the bard once again. 8

9 Annabelle Rollison (Decius/Cinna/Citizen) is thrilled to be making her professional debut with Pennsylvania Shakespeare Festival s WillPower Tour! She was born and raised in California, and earned her BFA in Acting from UC Santa Barbara in She is also a proud member of NYU Graduate Acting, class of 2013, and an alum of the British American Drama Academy s 2009 summer intensive. She would like to ask that you please not tear her to pieces, as she is only a poet. Simone Stadler (Portia/Flavius/Lucius/Citizen) is a New York-based actor, originally from Portland, OR. She is very excited to be making her PSF debut with Julius. Past credits include A Midsummer Night's Dream (Brooklyn One), Laughter After Midnight (Theater for the New City), Romeo and Juliet (Brooklyn One), Twelfth Night: A Radio Play (Anthology Podcast), The Last Days of Judas Iscariot (Beloit Independent Theater Experience), A Streetcar Named Desire (Beloit College) and The Tempest, where she got to exercise her skills in aerial acrobatics. Alex Thompson (Julius ) is a recent graduate of Syracuse University. Recent credits include The Heart s Impatience (Stephan Zweig), Parade (Newt Lee), Speed-the-Plow (Bobby Gould), Cole (Ensemble), and Merrily We Roll Along (Jerome). Alex s additional credits include As You Like It, Richmond in Richard III, and Exton in Richard II performed at the Shakespeare Theater of New Jersey. Aurea Tomeski (Calphurnia/Soothsayer/Lepidus) performed most recently in STNJ s LIVE! tour of Midsummer as Titania/Hippolyta. NY credits include: world premiere of Dead Special Crabs at The Barrow Group (Wide Eyed Productions), Women and Wallace (Box Colony Theatre), Tapefaces (Ars Nova), Crimes of the Heart (Kraine Theatre). Regional: Macbeth, Romeo and Juliet (California Shakespeare Company), Oliver Twist (A Noise Within), Entropy General (Alive Theatre), History of the Devil (Garage Theatre). Aurea is a graduate of The New School for Drama MFA program and proud member of Wide Eyed productions. Karyn Bohli (Production Stage Manager) recently graduated from DeSales University with her Bachelor s Degree in Theatrical Design and Production. Previous production stage management credits include Little Women, The Music Man, The Trial of Ebenezer Scrooge (DeSales University), Cinderella, Beauty and the Beast (PSF). Other Credits: Assistant stage manager for PSF s Sweeney Todd, The Importance of Being Earnest, Measure for Measure, Lend Me A Tenor, Macbeth, and Around the World in 80 Days. Love and thanks to her family and friends. 9

10 Our knowledge of William Shakespeare s life is pieced together from limited primary sources for information: his own works, various legal and church documents, and references to him, his plays, and his genius in third-party letters. Here s what we do know: William Shakespeare was born in Stratford-upon-Avon on or about April 23, Records from Holy Trinity Church tell us he was baptized there on April 26, His father was John Shakespeare, a glove-maker, and his mother was Mary Arden, a land-owning heiress. William was the third of eight children, three of whom died in childhood. His father was fairly successful and was an alderman and a high-bailiff (mayor) of Stratford. It is assumed that he went to the free grammar school in Stratford, which was considered an excellent school. It seems certain that Shakespeare never went on to University. The next documented event is Shakespeare s marriage to Anne Hathaway on November 28, They had three children: a daughter, Susanna, and twins, Hamnet and Judith. Hamnet died at age 11. We lose track of Shakespeare for the next seven years. There are rumors that he was fond of poaching and had to flee Stratford after an incident with one of the gentry there. He began to make a name for himself in London by 1592, possibly earlier, as both an actor and a playwright. Unfortunately, the plague forced the closing of the theaters in By 1594 the plague had abated, and Shakespeare was acting, writing, and performing the duties of a managing partner for the Lord Chamberlain s Men. This was a popular company, enjoyed by the commoners as well as royalty. It was around this time that Shakespeare and company made plans for the Globe Theater. The Globe was to be across the river from London, and was built around In total, Shakespeare wrote 37 plays that have survived (or 38, depending on the point of view of the particular scholar) and numerous sonnets and poems. April 23, 1616 is the day that marks Shakespeare s death (the same as his birthday!) though we are uncertain of that date s precision. We do know he was buried in Stratford, with services at the Holy Trinity Church on April 25, In his infamous will, he left his properties to his daughter Susanna, and to his wife his second best bed. 10

11 Elizabeth I was one of the most popular and longest-reigning monarchs in English history ( ). Images of her curly red hair and her reputation for possessing a shrewd political mind are well-known through books, movies, and works of art. Elizabethan England was a time of great literary and artistic flowering, as well as royal turmoil and global conquest. Elizabeth I presided over a country rocked by nearly a century of religious upheaval. The country had endured radical ideological shifts, accompanied by public persecutions, as each new monarch took the throne. Elizabeth was the daughter of Anne Boleyn and the infamous Henry VIII of England. She became Queen of England at age 25 after her half-brother and halfsister had each briefly reigned and died. Her sister Mary s reign had been particularly brutal and violent. Nonetheless, the age of Shakespeare was a great time in English history. The reign of Elizabeth saw England emerge as the leading naval and commercial power of the Western world with the defeat of the Spanish Armada in 1588, and she firmly established the Church of England (begun by her father, Henry VIII, after a dispute with the Pope.) At this time, London was the heart of England, reflecting all the vibrant qualities of the Elizabethan age. Its dramatists and poets were among leading literary artists of the day. London s population grew 400%, swelling to nearly two hundred thousand people in the city proper and outlying region by the time a young man named Shakespeare came to town. During the Elizabethan period, table manners were very different than they are now. Even noble people would throw bones on the floor when they were finished, and forks were a rarity at any table. Bread and meat were the two most important staples on the English diet. They also enjoyed a lot of wine and cheese but ate very few fruits and vegetables. This poorly balanced diet was one cause of the many illnesses that swept through Elizabethan England. Sicknesses resulted from malnutrition and improper cooking habits. Also, smallpox and syphilis were common afflictions passed from person to person. But the major cause of death during Elizabethan England was the plague known as the Black Death, which flooded all of Europe. It was carried by rats living in the streets. People used herbal remedies for many ailments, but unfortunately, only the very rich were able to afford doctors or apothecaries. 11

12 The fashions of both men and women were extravagant and complicated. Men and women alike were very hair-conscious; they spent a lot of time and money getting their hair dyed red or blonde (the most fashionable colors.) Men would trim and style their beards, and women wore their hair in combs, nets, or jeweled pins. At the time, a high forehead was considered very attractive, so women would pluck the hair from their front hairlines. Both sexes wore wigs, especially when they lost their own hair or if it turned gray. In terms of clothing, women wore very long dresses that dragged on the ground, and their bodices were very tightly-laced and came to a point at the waist. The sleeves were puffy around the shoulders and tight around the lower arms. Very large ruffles around the neck were popular with both men and women, and were considered a status symbol for the upper classes. Men wore shorter breeches or pants with brightly colored stockings underneath to show off their calves. Large, ornate jewels were worn by both sexes, and were often so heavy that it made dancing difficult. In addition to attending public theatres, the Elizabethan people engaged in sports: soccer, swimming, fishing, bowling, wrestling, and tennis. The people of a town would also gather together on holidays for huge parties and festivals, particularly on All Hallow s Eve (Halloween) and the Twelfth Night of Christmas. One rather morbid pastime of Elizabethan England was watching the public punishments of criminals. In many towns, the stocks were permanent fixtures where felons would be locked into place for mockery and torment by the townspeople. Public executions were also well attended. Bear-baiting and cock fighting were other popular and gruesome sports. 12

13 In Renaissance England, theater was an important part of everyday life. Public theaters were built in and around the city of London and were open to all. The most expensive seats were in the balconies but the cheapest admission charge was for the groundlings, the people who stood on the ground in front of the stage. In 1599 the Globe opened. It was an open-air polygonal amphitheater with many levels and could seat up to 3,000 people. The stage area was a large platform that jutted out from the building and allowed for the audience to surround it on three sides. There was no curtain in front of the stage. A curtained area at the back of the stage could be opened to reveal another room, or some kind of surprise. Above this area was a balcony. This would be a place for kings to address the masses or perhaps for Juliet to talk to Romeo. Below the stage was a trap door that was used for special effects (Shakespeare was very fond of ghosts!) Behind the stage was the tiring house, a place where actors changed costumes and could rest between scenes. This open-air theater was dependent on natural lighting and good weather. Costumes and props (guillotines, ladders, crowns, etc.) may have been extravagant in some cases. The set did not change from show to show. When the play was to shift location, spoken lines set the scene ( How dark is this night! ) They did use music and sound effects such as cannons and drums. Many plays also had songs. Men played all of the roles- In Shakespeare s day, females were not allowed on the stage (until after 1660). Now, women often step into roles originally intended for men. Shakespeare trusted the audience s imagination, and so do we. Actors played many parts- At the Globe, an actor might have played seven parts in a single play! Our actors also double up. It is fun for them and the audience to see them play multiple roles. One fixed set- Like Shakespeare s company, WillPower uses a few pieces of scenery, such as benches and thrones, to imply a new location, but mostly we trust the descriptive language to change the scene. No lighting design- As with the set, the lighting did not change with each scene (unless the sun went behind a cloud!) No intermission- Shakespeare often didn t have an intermission, and neither do we. Shakespeare used music- Unfortunately, we can t bring live musicians on tour like the ones who performed at the Globe. But we do use recorded music to create moods and help tell the story. 13

14 1564 William Shakespeare and Galileo are born Pencils are first manufactured in England Two comedies are performed at a Spanish mission in Tequesta, Florida 1576 The first playhouse in England is run by James Burbage Spanish Armada is battered by the English 1590 Henry VI, Part 1 becomes William Shakespeare's first play to open onstage Shakespeare writes Romeo and Juliet Shakespeare's A Midsummer Night's Dream is completed The Globe Theatre is built. Shakespeare writes and Much Ado About Nothing Shakespeare writes Hamlet James VI of Scotland rises to the English throne after the death of Elizabeth I, uniting England and Scotland under one crown and takes the new name, James I Miguel de Cervantes publishes Don Quixote Shakespeare writes Othello, King Lear, and Macbeth Jamestown, Virginia is founded Johannes Kepler establishes that the planets move in an elliptical path around the sun; Galileo builds his first telescope The King James Bible is published English settler John Rolfe marries Pocahontas, the daughter of a Native American chief William Shakespeare and Miguel de Cervantes both die Publication of the First Folio. 14

15 The English language and vocabulary were expanding rapidly in Renaissance and Elizabethan England. Several factors contributed to this: Scientific progress Rediscovery and publication of classical texts Prized social skills to offer stirring praise or stinging insults Interest in foreign languages Publication of The King James Bible (1611) approximately 8,000 different words. An average person might make use of 17,000 words in a lifetime. Shakespeare used more than 34,000. It has been said that Shakespeare invented, or was the first to commit to print, 1,700 words in writing his plays, sonnets, and long poems. Here are some words and phrases that first appeared in print in Shakespeare s plays: Alligator Castigate Manager full circle Critical Gnarled Puke Equivocal Jaded dead as a door-nail Gloomy Mimic Impede Auspicious too much of a good thing Leapfrog Dauntless Obscene Rumination Torture Frugal Eyeball Petition elbow-room Rancorous Unmitigated all that glisters is not gold Eyesore good riddance Reinforcement Luggage Pedant Majestic Worthless sorry sight Hoodwinked Lonely Zany Outbreak heart of gold Divest Mountaineer Laughing stock 15

16 As the title suggests, the story of Julius is pulled directly from the pages of Roman history. Though it is categorized as a tragedy instead of a history play in Shakespeare s canon, Julius is a reasonably accurate account of events that happened in Rome around 44 B.C. The people that Shakespeare wrote about were real, and the story he tells is an important part of ancient history. Shakespeare s main source for Julius was a Roman bibliographic collection by Plutarch called Lives of the Noble Greeks and Romans. Plutarch was an ancient historian who chronicled the lives of important figures in history, and his biographies would have been extremely accurate descriptions of the lives of Julius, Marcus Brutus, and Mark Antony. There were other potential sources for the work, such as a biography about written by John Higgins called A Mirror for Magistrates, a philosophical poem called Nosce Teipsum (Know Thyself) by John Davies, and multiple works by the biographer Cicero. Shakespeare s source for s famous line, Et tu, Brute? (or, And you, Brutus? ) is uncertain. The line is not referenced in ancient Latin sources by Plutarch or Cicero, and Shakespeare did not create the line himself. It is speculated that the line had become popular in other theatrical accounts of Julius written in the 1500s, and that Shakespeare may have simply taken this line from these previous plays. However, Shakespeare s version of Julius remains the most popular, well known, and remembered adaptation of s life known to date. Julius, a play full of political drama, moral ambiguity, and the hunger for power, was written as a response to the world Shakespeare was living in. When Shakespeare wrote about the historical events of Julius s lifetime, he was echoing the worry that many people in Elizabethan England felt towards the end of Queen Elizabeth s reign. Queen Elizabeth, the stalwart virgin queen, had yet to produce or name an heir to the throne, which could leave England in political turmoil if she passed away suddenly. The people of England feared that a civil war, much like the one that occurred after s assassination, would plague England when Elizabeth died. This mood of fear and uncertainty is present in the play s text, and the people attending its first performances would have related to the themes and issues facing the characters in the play due to s death. In this way, the play was both an accurate historical drama and a pivotal political piece. 16

17 Artists have always been interested in reinventing Shakespeare. They are as inspired by him as he was by the artists who came before him. Since the original production of Julius back in the 1500s, the story has been interpreted and re-imagined in numerous ways. For film makers, the story of the assassination of has always been intriguing, and since the 1950s quite a few notable film adaptations were made, including the 1953 movie that starred Marlon Brando (Vito Corleone in The Godfather) as Mark Antony. Julius has even appeared in music, with German composer Robert Schumann writing a concert overture entitled Julius in Other composers have adapted it as well, such as the Italian Giovanni Bononcini and the Czechoslovakian Josef Bohuslav Foerster. The first known instances of parody productions of Julius began in the 1950s. In 1958 a Canadian comedy duo Wayne and Shuster performed a sketch called, Rinse the Blood off My Toga, and it was shown on the popular variety hour TV program, The Ed Sullivan Show. More recently, a comedy team from Australia produced Dead, a comedy musical, in More serious adaptations include the 1960 film An Honorable Murder, and the 1973 television movie Hiel produced by the BBC, which was meant to make the play accessible for young children. This version was later adapted into a play. The popular young adult series The Hunger Games is particularly influenced both by Roman history and Shakespeare. The references to the world in which Julius lived appear over and over again within the pages of all three novels, beginning with the name of the county, Panem. This name comes from the Roman panem et circenses which means bread and circuses, referencing a tradition where the Roman leaders would distract the citizens from ongoing turmoil by giving them food and lavish spectacles, much like the Capitol does in the Hunger Games. The names of the characters in the book also appear in Julius, for example, Katniss stylist s name is Cinna, just like the poet who is killed in Julius, and a member of Katniss prep team, Flavius, is named after a tribune who opposes in the play. Even the names and Brutus are found within the books, first with the Capitol reporter Flickerman, who acts arrogant and godlike, and Brutus, a District 2 victor in the Games. This does not even begin to cover the other references from Roman history, such as a character named Romulus Thread, who is named for the founder of the city of Rome, or Plutarch Heavensbee, named for a famous Roman author. There are many lines from the prose in Julius that have inspired artistic endeavors in modern generations. Mark Antony s line The evil that men do lives after them; The good is oft interred with their bones, is referenced both in an Iron Maiden song and a Buffy the Vampire Slayer novel. In the book Fahrenheit 451 by Ray Bradbury, Brutus line, There is no terror, Cassius, in your threats, for I am armed so strong in honesty that they pass me as an idle wind, which I respect not! is uttered as some of a character s last words. The wildly successful young adult novel and film The Fault in Our Stars is derives its name from Cassius line, "the fault, dear Brutus, lies not in our stars, but in ourselves." This line was also quoted in the movie Intolerable Cruelty by the character Miles Massey, played by George Clooney (Danny Ocean in Ocean s Eleven, and Matt Kowalski in Gravity). 17

18 Julius is most likely one of the first plays to have been performed at the Globe, with the first written record of its performance in After Shakespeare s original productions of the play, it was performed again in the 17 th and 18 th centuries, but unlike other Shakespearian plays, it was rarely adapted outside of its original form. In the year 1864, John Wilkes Booth, a well-known actor who would end up assassinating President Abraham Lincoln, played Mark Antony in a benefit performance of Julius alongside his brothers Edwin and Junius, who played Brutus and Cassius. Ironically, it is said that when he shot President Lincoln, he shouted Sic semper tyrannis, or, death to tyrants, which is what Brutus says to as when he stabs him. A large scale production of Julius was staged in 1916 in the Beachwood Canyon in Hollywood, California. The large natural bowl of the canyon was used to stage huge, elaborate battle sequences. In a similar manner, in 1926 a production was launched at the Hollywood Bowl mainly to give jobs to unemployed actors. The production was massive and featured a stage the size of a city block and a cast of more than three thousand people. Orson Welles produced Julius in 1937 and revised and embellished the script. The characters were John, Edwin, and Junius Brutus Booth dressed in uniforms similar to those of Nazi Germany and Fascist Italy, drawing very clear parallels between the reign of and those of Hitler and Mussolini. He also cut the script down quite a bit, added lines from other plays, and reduced Act 2 to a single scene. The production was widely popular and toured the country in Julius has appeared in modern performances as well, often updating the setting to appeal to a contemporary audience. In 1984, the Riverside Shakespeare Company put on a production called, CAESAR! which placed the action of the play in modern Washington, with the characters dressed in present-day garb. In 2005, Denzel Washington (Coach Herman Boone in Remember the Titians) starred as Brutus in the first Broadway production of Julius in 50 years, and although the play received awful reviews, it still did well due to Washington s fame. The play has also been performed with nontraditional casting, such as the all-african American performance directed by Gregory Doran in 2012, and the all-female piece directed by Phyllida Lloyd, also produced in The play s themes of moral conscience and the balance of power are still extremely relevant in this modern age, making contemporary performances of Julius uniquely pertinent to today s audiences. 18

19 Julius is based on historical characters and events. All of the main characters in the play are real people, and the events chronicled throughout the play actually took place. However, simply because the play is historically based does not mean that Shakespeare did not take some creative liberties in staging the drama of the famed. To begin with, Shakespeare took the historical events that took place over months and years and condensed them down into just a few days or hours. For example, in the play, s assassination and funeral take place in the same afternoon, while in reality, that all took place over the course of a couple of days. Additionally, Brutus and Cassius flight from Rome, which happens immediately after Antony s speech in Shakespeare s script, did not happen until months after s funeral took place. Towards the end of the play, Shakespeare has the two battles at Philippi happen in a single afternoon, one right after the other. According to historical documents, there were 20 days in between each of these battles. Shakespeare used his creative license to help the historical events flow more smoothly and fit into just a few hours at the theatre. In addition to condensing the dates of historical events, Shakespeare also included a number of anachronistic elements in the play. The word anachronistic means something that is not in its correct historical or chronological time, that is, characters in the play will make references to objects that would not have been found in Ancient Rome. For example, a few characters mention wearing hats, and is once described wearing an Elizabethan doublet. A clock is also referenced at one point, an invention that would not be made until the early 14 th century. All of these items would not be historically accurate for people living in ancient Rome; however, it provided a way for Shakespeare to link his historical characters and events to people of the Elizabethan time period. It is safe to say that despite some historical deviations Shakespeare used to make the story his own, Shakespeare s text is nonetheless the most notable and remembered of all the dramatic accounts of Julius from the Elizabethan time period. 19

20 60 B.C is elected consul., Pompey and Crassus form the First Triumvirate 59 B.C marries Calphurnia. Pompey marries s daughter Julia. names Pompey his heir. 58 B.C leaves Rome for conquest in Gaul. 57 B.C Street fighting in Rome as politics turn violent. 55 B.C Pompey and Crassus are consuls. invades Germany and Britain. publishes his account of the war in Gaul. 54 B.C Julia dies in child birth. Violence and unrest begin in Rome. 53 B.C Crassus is killed. Consular elections are postponed due to civil unrest. 52 B.C Martial law declared. Pompey appointed dictator. 50 B.C Senate orders and Pompey to resign command over their armies. Pompey raises troops to combat. 49 B.C invades Italy: Pompey abandons Rome. defeats Pompey. The Senate names dictator and he returns to Rome. 48 B.C Pompey flees to Egypt and is murdered. Cleopatra is Queen of Egypt. 47 B.C pardons Brutus and Cassius for siding with Pompey. fights Pompeians in the East, Africa, and Spain. 46 B.C s dictatorship is extended for ten years. Pompey s sons renew the war and are defeated. 45 B.C triumphs in the civil war. is granted the permanent, hereditary title of Imperator (Emperor). names Octavius his heir. General amnesty declared for Pompey s partisans. 44 B.C is appointed dictator for life. is assassinated. Senate grants amnesty for the conspirators. Antony s speech at s funeral causes riots. Brutus and Cassius flee Rome. 43 B.C Octavius and Antony compete for power in Rome. Octavius, Antony, and Lepidus form an uneasy alliance. They march on Rome and take power. 42 B.C declared a Roman god by the Senate. Antony and Octavius pursue Brutus and Cassius. The armies meet at Philippi. Cassius commits suicide. Second battle at Philippi: Brutus commits suicide. 20

21 In order to help understand the world of Julius, it is important to know the historical background of the Roman people. The people Shakespeare wrote about really existed and lived in Rome in 44 BC, and their lives were all affected by the political turmoil that was taking place at that time. Before Julius took control of Rome in 48 BC, the Roman government was a republic. A republic meant that power was held by the people of Rome and their elected representatives, which included elected or nominated presidents (called consuls) who governed the city of Rome. Two consuls were elected and allowed to serve for only one year. After that, they would be replaced by new consuls. The Senate existed as a governmental body to discuss the issues of the time and give advice to the Roman consuls. The Senate, while it was supposed to be in favor of the people, generally made decisions that favored the upper classes of society, advancing their personal desires and motives. Nevertheless, Rome grew to be a great world power under this model of a republic. The immense power and wealth of Rome inspired ambitions of power for many. Soon, those who did hold positions of power began to feel that Rome would best be served under an Emperor, or a single ruler, who held veto power over the Senate. One of these men was Julius. had formerly made a political alliance, called a Triumvirate, with two other leaders: Crassus and Pompey. This alliance was made in order to establish power against the Senate, but was also made to further the personal ambitions of the individual men. himself was a strong military leader who had gained large amounts of power and land for the Roman Republic, and his military prowess positioned him above the others in the Triumvirate politically. In 49 BC, after s victory in the Gallic Wars, the Roman senate ordered him to step down. He refused, and invaded Rome under arms, beginning a civil war that ended with s victory, placing him in a very strong political and social position. During this time, both Crassus and Pompey were killed in battle or political intrigue, therefore leaving complete control of the Roman government. He began a series of lengthy reforms and centralized the government of the Republic. Ultimately, the people named supreme dictator of Rome, in admiration of his military victories and successful reforms. Despite s popularity, some still disapproved of the idea of a single dictator leading Rome. They felt that one person holding all of the power could only lead to corruption. As a result, he was assassinated on March 15, 44 BC, and a new series of civil wars broke out across the Roman republic. After the death of, the republic was never restored to its former glory. Octavius, s adopted heir, was the victor of these civil wars, and under his dictatorship the era of the Roman Empire began, with one single leader staying consistently at the helm, changing the face of the Roman government forever. 21

22 A young man from a small provincial town a man without wealth, without powerful family connections and without a university education moved to London in the late 1580 s and in remarkably short time, became the greatest playwright not of his age but of all time. His works appeal to the learned and the unlettered, to urban sophisticates and provincial first-time theatergoers. He makes his audience laugh and cry; he turns politics into poetry; he recklessly mingles vulgar clowning and philosophical subtlety. -Stephen Greenblatt, Contemporary Scholar Just plunge right in (to Shakespeare). See a play, read it aloud, rent a video, listen to a tape. It s up to you. When you look at Shakespeare close up, he s not as intimidating as when he s seen from afar. Norrie Epstein, The Friendly Shakespeare It was Olivier s Henry V that made me realize that Shakespeare is about real people and that his language wasn t simply beautiful poetry. -Robert Brustein - Ben Jonson, Elizabethan Playwright What point of morals, of manners, of economy, of philosophy, of religion, of taste, of the conduct of life, has he not settled? What mystery has he not signified his knowledge of? What office, or function, or district of man's work, has he not remembered? What king has he not taught state, as Talma taught Napoleon? What maiden has not found him finer than her delicacy? What lover has he not outloved? What sage has he not outseen? What gentleman has he not instructed in the rudeness of his behavior? -Ralph Waldo Emerson My advice to anyone seeing Shakespeare: Don t worry so much! Just make sure your ears are clean and your eyes are sharp. Listen and look and watch. Look at the distance people stand from each other; Look at the relationships being developed. Stay with it. Don t negate the move that Shakespeare will make toward your gut, toward your soul Because he will touch you there, If you allow yourself to be touched. -David Suchet, actor But Shakespeare's magic could not copied be; Within that circle none durst walk but he. - John Dryden 22

23 The dramaturg is an important person in the rehearsal process that helps everyone else understand the story. They might help the playwright revise dialogue to make the plot clearer. If the play was written many years ago, the dramaturg will research historical events that influenced the playwright. The director might ask them about the unfamiliar culture of the people of the play, and actors will come to the dramaturg when they don t understand a word or custom. Dramaturgs are great at research and know a lot about the structure of a good play. Dramaturgy can help you read a play in class, too. Individually or in small groups, research the following topics. Present your findings to the class. As you read, discuss how each item might have influenced the playwright, the values and lifestyle of the people in the play, or how a theater company might present Julius. 1. Take another look at our historical timeline and history of the Roman government on pages 20 and 21. Then, do some research of your own into the long and tumultuous history of the Roman Empire. References to Roman history are found throughout modern literature, film, and art, like in the Hunger Games or in The Fault in Our Stars. Why do you think this is? What is it about Roman history that makes it so applicable to our modern world? Compare some elements of Ancient Rome and the modern United States. Do you think they share more similarities or differences? Why might a play like Julius say to audiences of modern generations? 2. What was it like to see a play during Shakespeare s lifetime? Research the Globe Theater. What structural features of the building would the actors have utilized during the first production of Julius? What were the scenery and costumes like? Where did the audience sit and what kind of people attended the theater? 3. Research famous productions of Julius. What do they have in common? What is different? What type of actors are cast as Brutus? Antony? What time periods are the productions set in? What does that tell you about the kind of story you are about to read? Watch the 1953 Marlon Brando film adaptation of Julius. Do you like the choices that were made in directing the film? How would you adapt the play differently, and why? 4. Take a look at the structure of our modern governmental systems as compared to Ancient Rome (as seen on page 21). What are some similarities and differences? Are we experiencing the same kind of problem as the citizens of Ancient Rome? Think about Julius as a political play. What statements does it make about government, leadership, and power? How might you produce a production of Julius that comments on our modern government, and why? 23

24 Before a play goes into rehearsal, the director must pick the right actor to play each character. How does the director decide what kind of actor to cast in each role? They look for clues in the script about each character s looks and personality in what the character does, what they say about themselves, and what other characters or what the author says about them. As you read Julius, take notes about the characters using the chart below. When you have filled in the first four columns, think of a famous actor who fits the description and cast them! Discuss your casting decisions with your class. Character What the character says about themself What others say about the character What the character does Potential Actors 24

25 A crucial part of putting on a play is attracting an audience to enjoy it! The marketing department s job is to create posters, brochures, website content, and other media to tell potential theater-goers about the play and to entice them to attend a performance. A great poster design begins with a close look at the mood, symbols, and themes of a play. For example, the mood of Macbeth is fatalistic, so PSF s poster for our 2014 production features the ruins of a building and relies on dark colors. Compare our posters for Pride and Prejudice and King John. What do the colors tell you about the mood of each play? A theme of Measure for Measure is doing what is right even when you are the only person doing it- so the figure in our poster is walking alone. Define mood, symbol, and theme. Think about Julius and the most important things an audience member should know about the play. Design a poster using the mood, symbols, and themes of the play. Macbeth, 2014 King John, 2012 Pride and Prejudice, 2011 Measure for Measure,

26 A critic judges the merits of an artistic endeavor. They give their opinion of what they saw and felt when they watched a play, saw a movie, or heard a song. Everyone has an opinion, and by writing a review, you have the opportunity to express yours! As you write your review of Julius, use the outline below as a guide. 1. Introduction. Start by telling the reader what play you saw, who the playwright was, and when and where you saw it. Tell them what kind of show it was (drama, comedy, melodrama, farce, etc.) and give them a brief synopsis of the play. II. Tell your reader what you thought of the play. Things to consider: 1. The Direction. The director is the person who, in the end, is responsible for what you see on stage. They pick and work with the actors, stage the movement, and collaborate on design and costumes for the show. Do you think they did a good job? Were their choices successful in creating an enjoyable performance? What did you think of the pacing of the production- was it too fast or slow? 2. The Acting. Discuss the acting. Did the actors make you believe in what they were doing on stage? Did they make you laugh or cry? Which performances did you particularly enjoy? 3. The Design. How did the design contribute to the production? What did you think of the costumes, set, and sound effects? Did they make the play more enjoyable or were they distracting? III. Conclusion. Summarize your opinions. How did the play make you feel? How did your reactions compare with the people around you (i.e. did they laugh at a joke you didn t like?) What did you particularly like about the production? Did it change your thoughts on theater or life? Did you learn anything new? You might conclude by considering if your appreciation of theater was developed by what you saw. Remember to be specific as you write your review! Include as many details as you can. Your audience wasn t at the performance with you, so it is your job to tell them what you saw and what they missed. P.S. As a critic, it is okay to write down things that you didn t like, too. It s your opinion! 26

27 Activities to do before you read the play 1. A Creative Julius Collage Start a bulletin board for Julius. This will be the place where your class can add pictures, quotes, and poetry that remind them of the characters, plot, events, and key objects of the play. Have them start off by putting pictures or words that represent anything they may know or think they know about Julius before they read it. As they progress through the play, have the class add items to the bulletin board until it is covered with Julius information! As they read, have them look for images of some of the play s major symbols (daggers, blood, statues, etc.) As they go deeper into the play, have them sit down in a circle and discuss their additions to the bulletin board. -Adapted from a classroom activity found in the Chicago Shakespeare Theater s 2002 Julius Teacher s Handbook 2. Perform a Two-Line Play Understanding Shakespeare s language can be a difficult task, especially when reading his plays for the first time. In order to help your students to get a handle on Shakespeare s dialogue, have them work with a partner to create two-line plays. In order to do this, hand each student an index card with a line from Act 1 of the play. Have them split up into pairs, and have them create a short skit using just their two collective lines. Students should choose a set of actions to make sense of these lines. Creativity and experimentation is encouraged! After they create their skits, have each group perform for the class. Discuss the activity with the students. How did they feel delivering the lines? What did they think of Shakespeare's language? What do they think the play is about? Line Suggestions: 1. Hence! Home, you idle creatures, get you home! (1.1.1) 2. A mender of bad soles. ( ) 3. Truly, sir, to wear out their shoes (1.1.32) 4. You blocks, you stones, you worse than senseless things! ( ) 5. We make holiday to see and to rejoice in his triumph. ( ) 6. Beware the ides of March. (1.2.21) 7. Bid every noise be still. Peace, yet again! (1.2.17) 8. Will you go see the order of the course? (1.2.30) 9. Poor Brutus, with himself at war,/forgets the shows of love to other men. (52-53) 10. The eye sees not itself but by reflection ( ) -Adapted from a lesson found on the Folger Shakespeare Library s website 3. Get on Your Feet! Shakespeare writes in iambic pentameter. Although those are big words they make reading Shakespeare easy and fun. First you have to feel the rhythm! Have your students take Flavius first five lines at the opening of Julius and read them silently. Tell them to count the number of syllables in each line-there may be a few lines that do not follow the strict 10 syllable rule, so don t worry! Have the class form a circle and walk as they read the lines out loud. Let 27

28 the rhythm of the lines set the pace for their circle. Remind them to not think too hard about this, just speak the lines and walk! Allow the rhythm of the writing to affect the speed of their steps. Guess what? They re walking in iambic pentameter! When they get to the end of the line have them repeat, repeat, repeat. -Adapted from a classroom activity found in the Chicago Shakespeare Theater s 2002 Julius Teacher s Handbook 4. Try Some Role-Playing! Many of the characters in Julius have to make difficult decisions; especially in regards to the people they are close to. Often in our own lives, we are placed in similar situations. In order to help your students put the events of Julius into context, have them role-play or respond to the following situations, either in pairs, or as a class: 1. A friend is trying to persuade you to do something that is both dangerous and illegal to drive without a license. Your friend says he has to take care of an emergency, and this person knows you can drive, even though you are not allowed to do so legally. What will you do? What will you tell your friend? 2. A good friend of yours has been elected president of the student council. Soon, you notice that he or she is abusing the position by claiming privileges and using it to further his or her social life. How would you deal with this situation? 3. Think of an instance in which you talked yourself into believing something that you wanted to do was really the right thing to do, even when it wasn t. Was it easy to rationalize or make up excuses for the decision? What ended up being the consequence? -Adapted from a lesson plan found on Classzone.com 5. Unleash Your Inner Shakespeare Shakespeare was a talented expressive writer. Have your students do this exercise all on their own. First they should find a location that has a lot of activity, like a school hallway, the cafeteria, or outside somewhere. Once they have chosen their secret destination, they should sit and write for minutes. Tell them to write about whatever they see, hear, smell, or feel. Have them try to make their writing as descriptive as possible. To test their writing skills, ask if they can use a metaphor in their writing. To see how well they described their location, leave out its name and have the entire class guess where it was. -Adapted from a classroom activity found in the Chicago Shakespeare Theater s 2002 Julius Teacher s Handbook 6. Brainstorm! A student s own personal experience and interests can be very useful in helping them connect with a difficult text such as Julius. To help them create connections before reading the play, have them brainstorm a list of power-hungry characters from popular fiction, films, television, and comic books. Have them consider the following questions: 1. What are some characteristics of these people? 2. Do you admire or fear them? 3. Were these characters successful in their quest for power? Why or why not? 4. Are these people portrayed as good people or bad people? 5. How do the characters surrounding these people feel about them? -Adapted from a lesson plan found on Classzone.com 28

29 Activities to do as you read the play 1. How to Move a Crowd Mark Antony s speech in Act 3, Scene 2 is an extremely pivotal moment in the play. You can help your students to understand the oratory techniques Antony uses by having them assess the text of the speech. Have your students read the speech and attempt to write it in their own words. Then have them respond to the following questions: 1. How did Mark Antony feel about? 2. What words does he use to express his feelings? 3. How do you think he would have delivered this speech? Consider his tone of voice, mood and attitude. Does he yell, whisper or cry? 4. Does the tone/mood change during the speech? Then, using student volunteers, have the class read the speech out loud, and attempt to convey a convincing tone, based on their analysis of the text. Once they listen to the speech, have them respond to the following closing questions: 1. How did Antony's speech influence the crowd? 2. What did you notice about the words you decided to stress? 3. If you had been in the crowd when Mark Antony gave his speech, would you have been convinced? -Adapted from a lesson plan found on the Folger Shakespeare Library s website Second Times Help your students to place Shakespeare s plot in a modern context by having them make a class wide 60-Second Times Newspaper. Have your students relay the death of at the Senate as if they were writing a newspaper article. What important plot points would they include? What characters? Are there any quotations they could use? Have them draw or find pictures online to add to their article. Have the class newspaper published and distributed around the school just like a real newspaper! -Adapted from an activity found on BBC.com 3. Smear Campaign Politics play an important role in the lives of citizens both in ancient Rome and today. To help your students place the character s political motivations into a modern context, you can have your class create smear campaigns. Tell students that they have been hired to do public relations for either Brutus and Cassius, or Antony and Octavius. Their job is to conduct a "negative" ad campaign criticizing their opponents. Break the class up into small groups, and have them work together to make radio spots that advertise their point of view and exaggerate their opponents' flaws. Students can write out scripts that will be presented in front of the class. After each is presented, have the class vote: which group of people would you have sided with, and why? -Adapted from a lesson plan found on Classzone.com 29

30 4. Press Conference Sometimes, when looking at all the events that take place throughout the play, it can be difficult to keep track of everything. To help your students better understand character action and motivation in Julius, have them stage a press conference right in your classroom. Have student volunteers play the parts of Brutus, Antony, and Cassius. The press conference should take place shortly after s death, and the class should prepare questions to ask his assassinators. Have the class think about what they really want to know about the characters. Some good starting questions might be, Why did you kill? Do you wish to hold all the power for yourself? and What will you do now that is dead? If you so desire, you can have the students make fake microphones to interview the conspirators. Have the students be creative as possible! -Adapted from a lesson plan found on Classzone.com 5. Antony vs. Brutus Both Antony and Brutus make extremely compelling speeches at s funeral. In order to help your students understand the importance of these speeches, you can create a crowd of spectators right in your classroom. Have a student volunteer come up and read Brutus speech (in Act 3, Scene 2) with pronounced feeling, in an attempt to convince the class of what he is saying. The class job is to listen carefully to the speech and respond verbally either negatively or positively depending on if they agree with the speaker or not. Remind the class to think for themselves, but also take note of how mob mentality and peer pressure can play a role in their responses. After the speech ends, ask the class about their reactions. Do they support him? Why? What specific things did he say that were memorable? Convincing? Repeat the same procedure with Antony s speech. Ask the class if Antony creates a more sobering mood than Brutus does. What does Antony say that is memorable or convincing? At the end, have the class consider both speeches. Which was more effective, and why? Who would you have listened to and why? -Adapted from a lesson plan found on the Folger Shakespeare Library s website 6. Promptbooks When reading the text of a play, we all individually see what the play looks like in our own minds. This activity gives your students a chance to stage the final scene of Julius as they think it should be done. After watching WillPower s production of Julius, have your students consider the following: sound and lighting design, set and costume design, and the acting style. What did they like? What didn t they like? What would they do differently? Allow your students to create their own promptbooks. Hand out a script of the last scene, and have them describe the movements, set, lighting, costuming, and actors they would use in their scene. Have them be as creative as possible; adding any pictures or drawings they feel help illustrate their ideas. Make sure that they explain why they made the choices they did, and remind them that all choices should be supported by the text and knowledge of the characters. Have the students share their promptbooks with the class, and discuss all the different ways one scene can be staged. -Adapted from a lesson plan found on the Folger Shakespeare Library s website 30

31 Julius contains some of the most famous lines in theater. Below is a list of some important lines from Julius that help to set the tone, reveal inner thoughts, and move the story forward. Assign a line to each student. Give the class time to read the line in context, think about who is delivering the line and why, and decide what it means. Then have students explore the lines on their feet, making vocal and physical choices to convey meaning. Reconvene the class into a standing circle, and allow each student to step forward on their turn and perform their line for the group. Beware the Ides of March.-Soothsayer, I, ii The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings. - Cassius I, ii But, for my own part, it was Greek to me. -Casca I, ii The abuse of greatness is when it disjoins remorse from power. -Brutus II, i Cowards die many times before their deaths, the valiant never taste death but once. - II, ii But I am constant as the northern star, of whose true-fix d and resting quality there is no fellow in the firmament. - III, i Et tu, Brute? - III, i O mighty! Dost thou lie so low? All thy conquests, glories, triumphs, spoils, shrunk to this little measure? -Antony III, i Cry Havoc! and let slip the dogs of war. -Antony III, i Not that I loved less, but that I loved Rome more. -Brutus, III, ii Friends, Romans, countrymen, lend me your ears, I come to bury, not to praise him. - Antony III, ii O judgment! Thou art fled to brutish beasts, and men have lost their reason. -Antony, III, ii For I have neither wit, nor words, nor worth, action, nor utterance, nor the power of speech, to stir men s blood: I only speak right on. -Antony, III, ii Put a tongue in every wound of, that should move the stones of Rome to rise and mutiny. -Antony, III, ii I d rather be a dog, and bay at the moon, than such a Roman. -Brutus, IV, iii There is no terror, Cassius, in your threats; for I am arm d so strong in honesty that they pass by me as the idle wind, which I respect not. -Brutus, IV, iii Oh Julius, thou art mighty yet! Thy spirit walks abroad and turns our swords in our own proper entrails. -Brutus, V, iii This was the noblest Roman of them all. -Antony, V, v His life was gentle, and the elements so mix d in him that Nature might stand up and say to all the world, This was a man!. Antony, V, v 31

32 What makes a good leader? Describe some characteristics of a good leader. Choose a leader from history, the modern era, or a book you ve read. Discuss whether or not they held these qualities. What made them a good or bad leader? If you were to revise this play, what revisions would you make? What events would you add or take out? How would you change the characters? Write a summary of your revised plot, emphasizing the changes. In the play, himself dies very early on. Why, then, do you think Shakespeare titled the play Julius? Who is the protagonist of the play? Why? In one sentence, say what you think the main message of the play is. Were Brutus reasons for killing justified? Is murder for the good of one s country ever justified? Why or why not? Do you think was a bad leader for the city of Rome? Was his dictatorship just? What would you have done if you were in Brutus and Cassius positions? How does Mark Antony use language to convince the crowds? What rhetorical devices does he use? Are they effective? Why does he come across as more convincing than Brutus does? What is more important to you: friendship or personal principles? Why? Is there anything you would betray a friend for? What role do superstitious practices play in Julius? Why would the Roman culture be so fixated on the supernatural? Are there any good luck rituals that you have in your own life? To what extent can we as human beings control the future? Do we have any say in our fate? Do we create our own destinies, or are they predetermined? What role do the plebeians (the common people) play in Julius? What kind of power do they hold, if any at all? What is the significance of Mark Antony s final words about Brutus: This was the noblest Roman of them all? Do you agree with this statement? Why or why not? Do you think Antony is being sincere, or is he saying this for his own personal gain? What parallels can you draw between the political turmoil in Julius and today s political scene? Do you think things have changed for better or for worse? How does power influence people? What is the significance of 's dying words, "Et tu, Brute? What do they say about Brutus? What do they say about? What role do women play in Julius? Are Portia and Calpurnia portrayed negatively or positively? Do you think the established friendships in the play are legitimate, or done simply for political alliances? Use textual examples to justify your answer. What role does manipulation play in Julius? Who uses it? Is it effective? Are the people who are manipulated still to blame for their choices and actions? Explain the significance of s line, Cowards die many times before their deaths; the valiant taste of death but once. Who does this apply to in the play? Who can be called valiant? Who can be called a coward? Why? What role does justice play in Julius? Who in the play do you think gets what they deserve? Who do you think has unfair consequences placed on them? Why? Who do you think is the antagonist in this play? Why? Who out of all the characters in the play do you feel is the most morally upright? Why? What role does death play in Julius? Is it used as punishment for immoral actions? Is it an escape? How does death affect each character? Explain the meaning of the storm in Act 1 Scene 3. How does Shakespeare use this as a symbol for future events in the play? Why do you think denied the crown the people wished to give him? Do you think he was sincere, or was it for political reasons? Think about the characters who are leaders in this play: Brutus,, Cassius, Antony, and Octavius. Who do you think is the best leader? Why? 32

33 Name: 1.) What surprised you most in seeing our production of Julius? How did it compare to your expectations? 2.) Which character in the play do you find most interesting? Why? 3.) Julius includes a great deal of plotting and planning. Who in Julius sets the plans in motion? To what ends? Does anyone try to interrupt those plans? 4.) What you think the main message of the play is? Why do you think this? Provide some textual or WillPower production examples to justify your answer. Do you agree with the play s message? Why or why not? 33

34 Name: Write the name of the characters below next to their description. A. Julius B. Brutus C. Cassius D. The Soothsayer E. Octavius F. Casca G. Lucius H. Portia I. Mark Antony J. Calphurnia 1.) Wife of Brutus, she is worried about her husband s well-being and his secretive nature. She commits suicide at the end of the play. 2.) The apparent heir to s throne, he is Mark Antony s rival. 3.) One of the conspirators against. He is the main instigator and convinces Brutus to go through with the assassination. 4.) Newly named the dictator of Rome, he is assassinated early on in the play. He speaks the line, Et tu, Brute? 5.) He warns to beware the Ides of March. 6.) Brutus servant and trusted companion, he refuses to help Brutus commit suicide on the battlefield. 7.) s trusted friend and praetor of Rome. He joins the plot against for the benefit of the people. 8.) One of the conspirators against. He is the first one to stab him in the assassination. 9.) Wife of. She begs her husband to not attend the Senate on the day of his assassination. 10.) Convinces the Roman people to turn on Brutus and take him to war in order to gain power. He speaks the line, I come to bury, not to praise him. 34

35 The Pennsylvania Shakespeare Festival is a professional theater company and the Official Shakespeare Festival of the Commonwealth of Pennsylvania now celebrating its 25 th season on the campus of DeSales University. Every summer, the finest actors, directors, designers, and artisans from Broadway, off- Broadway, regional theater, television and film converge at the Pennsylvania Shakespeare Festival. The area s leading professional theater company, PSF brings five fullscale productions, the WillPower tour, and Shakespeare for Kids to the stage each year. Our Mission is to enrich, inspire, engage and entertain the widest possible audience through first-rate professional productions of classical and contemporary plays, with a core commitment to the works of Shakespeare and other master dramatists, and through an array of educational and mentorship programs. We are on social media! Please tell your students they can like Willpower at facebook.com/pashakespeare of follow on Instagram and Twitter to learn more about upcoming events and stay connected even after your WillPower day has ended. Student Rush Tickets As a WillPower participating school, your students are eligible to attend PSF s professional summer productions at the dramatically reduced price of $5.00 on a rush basis (with their student I.D.) Single ticket prices for the general public are normally $25 - $50+. As a teacher, if you are interested in bringing a group to the Festival, you can take advantage of our great group discounts by calling Catherine Logan at , ext Summer Learning at DeSales University The Summer Theater Institute (STI) at DeSales University, in association with The Pennsylvania Shakespeare Festival, offers professional theater training to high school and college students, and members of the community, as well as the best in drama education for grade school students. The Summer Video Institute (SVI) at DeSales offers students an introduction to the theories and techniques of digital moviemaking. Working with state of-the-art technology, students will design, shoot, and edit films of their own creation. The Summer Dance Intensive (SDI) at DeSales offers professional dance training to students ages 14 and up. The two-week program focuses on technical training in ballet, modern, and jazz dance. For more information on the Division of Performing Arts: 35

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