TEACHER S GUIDE FOR The Hudson Valley Shakespeare Festival in JULIUS CAESAR

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1 TEACHER S GUIDE FOR The Hudson Valley Shakespeare Festival in JULIUS CAESAR

2 Dear Teacher, Thank you for taking the time to bring your students to Tilles Center. Never has there been a more important time for creativity and innovation in education. Bringing students to live performance helps them to view the world through a new lens, to use their senses in different ways and to appreciate a wide array of art forms and different cultures. This season marks the 24 th year of bringing K-12 students to Tilles Center s school-time matinee series. We are proud to offer professional performances of the highest caliber of artistic excellence. Each program is carefully chosen to both educate and entertain students. We are honored to welcome over 13,000 students through our doors each year. In order to give your group the richest experience possible, please read and share this guide with all teachers and students who will attend the performance. Additional study guides can be downloaded from tillescenter.org. Thank you again for your support. See you at the theater! Elliott Sroka Executive Director Stephanie Turner Director of Arts Education Deborah Robbins Assistant Director of Arts Education Emily Lembo Arts Education Associate

3 Table of Contents Objectives of the Performance...4 Attending a Performance at Tilles Center...5 Your Role As an Audience Member...7 About The Production...9 About the Company...14 Cultural Context...18 Activities Before The Performance...29 Activities After The Performance...32 Elements of a Show...34 Places in the Theater...36 Glossary of Terms...37 Resources...40 Emergency Cancellation...41

4 OBJECTIVES OF THE PERFORMANCE This performance serves to: Introduce students to the environment of a professional performing arts center; Expose students to a live performance with high caliber performers; Maximize students enjoyment and appreciation of the performing arts; Help students develop an understanding of the arts as a means of expression and communication. This teacher s guide is designed to extend the impact of the performance by providing discussion ideas, experiential activities, and further reading that can promote learning across the curriculum. This program can be incorporated into study addressing the Learning Standards for the Arts as stipulated by the N.Y. State Education Department. Detailed information is available at: artlearn.pdf. Learning Standards for the Arts (Theater): Standard 1: Creating, Performing, and Participating in the Arts Students will actively engage in the processes that constitute creation and performance in the arts (dance, music, theater, and visual arts) and participate in various roles in the arts. Theater: Students will create and perform theatre pieces as well as improvisational drama. They will understand and use the basic elements of theatre in their characterizations, improvisations, and play writing. Students will engage in individual and group theatrical and theatre-related tasks, and they will describe the various roles and means of creating, performing, and producing theatre. Standard 2: Knowing and Using Arts Materials and Resources Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles. Theater: Students will know the basic tools, media, and techniques involved in theatrical production. Students will locate and use school, community, and professional resources for theater experiences. Students will understand the job opportunities available in all aspects of theater. Standard 3: Responding to and Analyzing Works of Art Students will respond critically to a variety of works in the arts, connecting the individual work to other works and to other aspects of human endeavor and thought. Theater: Students will reflect on, interpret, and evaluate plays and theatrical performances, both live and recorded, using the language of dramatic criticism. Students will analyze the meaning and role of theater in society. Students will identify ways in which drama/theater connects to film and video, other arts, and other disciplines. Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present society. Theater: Students will gain knowledge about past and present cultures as expressed through theater. They will interpret how theater reflects the beliefs, issues, and events of societies past and present. JULIUS CAESAR Page 4

5 ATTENDING A PERFORMANCE AT TILLES CENTER Main Stage at Tilles Center seats 2,200 people. Hillwood Recital Hall seats 500 people. When you attend a performance at Tilles Center for the Performing Arts, there are a few things you should remember. ARRIVAL AND DEPARTURE Groups will be seated in the theater on a first-come, first-serve basis. Tilles Center cannot reserve seats for school performances. Plan to arrive approximately 30 minutes prior to the show. Performances cannot be held for late buses. C. W. Post Public Safety will direct buses to parking areas. Remain seated on the bus until instructed to unload. Shows generally last one hour. ENTERING THE THEATER Please stagger chaperones throughout the group to help keep students in line and moving quickly to the seating area. Groups are directed into the theater in the order that they arrive. GETTING SEATED Upon entering the theater for seating, ushers will direct students and teachers row by row. It s possible that classes may be split up into two or more rows. With adequate adult supervision, a group split into two or more rows should have enough chaperones to ensure safety. Please allow ushers to seat your group in its entirety before making adjustments. This allows us to continue seating groups that arrive after you. You are free to rearrange students to new seats and to go to restrooms once the group is seated. ENJOY THE SHOW So that everyone can enjoy the performance: There is no food or drink permitted in the theater or lobby areas. Photography and audio/video recording is not permitted during the performance. Please turn off (or leave behind) all ipods or MP3 players, pagers, cell phones. The devices may interfere with the theater s sound system and ringing, alerts, etc are extremely disruptive to both the audience and the performers. Please do not talk, whisper, shuffle or rattle papers or candy wrappers during the performance. Please do not leave and re-enter the theater during the performance. There is no intermission so make sure you visit the restroom prior to the start of the show. JULIUS CAESAR Page 5

6 DISMISSAL A Tilles Center representative will come onstage following the performance to provide directions for dismissal. Please remain seated until you have received these directions. Please Note: CHILDREN UNDER THE AGE OF 4 WILL NOT BE PERMITTED IN THE THEATER UNDER ANY CIRCUMSTANCES PLEASE MAKE CHAPERONES AWARE OF THIS POLICY. TILLES CENTER RESERVES THE RIGHT TO REMOVE STUDENTS (UNDER SUPERVISION OF THEIR TEACHER OR CHAPERONE) FROM THE VENUE SHOULD THEY BE OF INAPPROPRI- ATE AGE OR A DISRUPTION TO THE PERFORMANCE. FOOD AND DRINK ARE NOT PERMITTED IN THE LOBBY AREAS OR THE THEATER. UNFOR- TUNATELY, WE CAN NOT PROVIDE SEATING IN THE BUILDING FOR STUDENTS TO EAT BAGGED LUNCHES. Thank you and enjoy the show! JULIUS CAESAR Page 6

7 YOUR ROLE AS AN AUDIENCE MEMBER TO THE TEACHER: The audience is a very important part of the performance. Please talk to your students about what it means to be an audience member and how a live performance is different from TV and movies. Please share the following information with your students prior to your visit to Tilles Center. Some performances may involve audience participation so students should be prepared to behave appropriately, given the nature of the performance and the requests of the artists on the stage. BEING AN AUDIENCE MEMBER: A theater is an energetically charged space. When the house lights (the lights that illuminate the audience seating) go down, everyone feels a thrill of anticipation. By discussing appropriate audience behavior as a class ahead of time, the students will be much better equipped to handle their feelings and express their enthusiasm in acceptable ways during the performance. Audience members play an important role until an audience shows up, the performers are only rehearsing! When there is a great house (an outstanding audience) it makes the show even better, because the artists feel a live connection with everyone who is watching them. The most important quality of a good audience member is the ability to respond appropriately to what s happening on stage sometimes it s important to be quiet, but other times, it s acceptable to laugh, clap, or make noise! GOOD AUDIENCE MEMBERS KNOW THESE KEY WORDS: Concentration: Performers use concentration to focus their energy on stage. If the audience watches in a concentrated, quiet way, this supports the performers and they can do their best work. They can feel that you are with them! Quiet: The theater is a very live space. This means that sound carries very well, usually all over the auditorium. Theaters are designed in this way so that the voices of singers and actors can be heard. It also means that any sounds in the audience - whispering, rustling papers, or speaking - can be heard by other audience members and by the performers. This can destroy everyone s concentration and spoil a performance. Do not make any unnecessary noise that would distract the people sitting around you. Be respectful! Keep in mind that sometimes the performers will request the audience to take part in the action by coming on stage, asking questions, or calling out answers. At these times, it is appropriate to respond in the manner in which you are directed. Above all, listen to the performer (s) on stage and follow directions. JULIUS CAESAR Page 7

8 Respect: The audience shows respect for the performers by being attentive. The performers show respect for their art form and for the audience by doing their best possible work. Professional actors and musicians always show up for work ready to entertain you. As a good audience member, you have a responsibility to bring your best behavior to the theater as well. Doing so shows respect for the actors who have rehearsed long hours to prepare for this day and the audience around you. Appreciation: Applause is the best way for an audience in a theater to share its enthusiasm and to appreciate the performers. In a musical or opera, it is not usually acceptable to applaud in the middle of a song. However, it is appropriate to applaud after each song has finished. If the program is of classical music, applaud at the conclusion of the entire piece, not between movements. At the end of the performance, it is customary to continue clapping until the curtain drops or the lights on stage go dark. During the curtain call, the performers bow to show their appreciation to the audience. If you really enjoyed the performance, you might even thank the artists with a standing ovation! Common Sense: The same rules of behavior that are appropriate in any formal public place apply to the theater. If audience members conduct themselves in orderly, quiet ways, with each person respecting the space of those around him or her, everyone will be able to fully enjoy the performance experience. JULIUS CAESAR Page 8

9 ABOUT THE PRODUCTION Julius Caesar A Modern Day Production This production is strongly influenced by the turbulent political activism in the United States in 1960's and early 1970's. The actors will focus on the vigor of the language and will investigate the idea of activismversus-advocacy-versus-terrorism. Where does one begin and the other end? What constitutes a political act or a personal act? The stage will have very few set pieces, as we explore the idea of protest as environment. Actors will be costumed in modern dress, with a late 1960 s- early 70 s feel. The theatre will serve as a metaphor for Rome and the play will take place as a protest would. The audience will enter the environment of a demonstration, complete with flags and police barriers which conjure images of the civil rights movement, anti-war protests, the women s' rights movement and most recently, the political upheaval in the Arab world and in our own country. Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 9

10 COSTUME RENDERINGS FOR JULIUS CAESAR Early costume rendering of Julius Caesar Early costume rendering of Portia Early costume rendering of Mark Antony Early costume rendering of basic citizens - female Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 10

11 SYNOPSIS Julius Caesar, returning victorious to Rome from foreign wars, is escorted to the Capitol by enthusiastic citizens for a public celebration. On the way, he is warned by a soothsayer to beware the Ides of March (March 15). At the celebration, the citizens, through Mark Antony, offer Caesar the crown. Three times he refuses. However, a group of conspirators, headed by Cassius, is disturbed by the power Caesar has gained and the idea that he might seize total power. To help their cause, they attempt to persuade Brutus, a good friend of Caesar and a man well-known for his honesty, that the welfare of Rome demands Caesar s death. That night, a tormented Brutus debates with himself whether to join the conspiracy. His fear that Rome may lose its freedom wins out over his admiration for Caesar, and at last he agrees to join with Cassius and the other to assassinate Caesar the next day. The next morning is March 15, the Ides of March, and Calphurnia, Caesar s wife, complains that she has had frightful dreams and has heard of evil omens. She urges her husband to avoid danger and stay home from the senate that day. After arguing that he will appear frightened or ignoble by staying home, Caesar finally gives into his wife and consents to staying with her. The conspirators, however, come to his house, acting as friends and supporters, and succeed in inducing him to accompany them, instead, to the capitol. In the capitol, at the foot of the statue of Caesar s old enemy, Pompey, the conspirators surround Caesar on the pretext of discussing business with him and each, in turn, stabs him. Seeing Brutus s thrust, Caesar exclaims et tu, Brute (you too, Brutus) and dies. Mark Antony, Caesar s friend, confronts the conspirators; and they seem to convince him that their actions were right, and they agree that Antony may speak at the funeral, as long as he does not condemn the conspirators. Brutus speaks first at the funeral and says that love of Rome alone made the murder necessary, a sentiment which is hailed with enthusiasm by the populace. Antony follows, praising Caesar, while calling Brutus and the conspirators honorable men. He so cleverly twists the argument, without blaming the conspirators, that the crowd, a moment before cheering Brutus, turns in anger against the conspirators, who are forced to flee from the city. Indeed things become so chaotic that a poet named Cinna, who had nothing to do with Caesar s death, is killed by the mob just because his name is the same as one of the conspirators. In Rome, the ruling triumvirate of Antony, Octavius, and Lepidus form after Caesar s death plot revenge and organize a military force to fight the armies of Brutus and Cassius. The opposing armies gather on the battlefield of Phillipi. Educational materials provided, in part, by Utah Shakespearian Festival. JULIUS CAESAR Page 11

12 Meanwhile, the relationship between Cassius and Brutus has deteriorated into an open quarrel. After the argument is settled, Brutus confides to Cassius that his wife, Portia, has committed suicide. Later that night, unable to sleep, Brutus is stunned to see Caesar s ghost, who warns that he will meet him again at the battlefield of Philippi. That morning the armies meet and the forces of the triumvirate are victorious. Unwilling to endure defeat and dishonor, both Cassius and Brutus kill themselves. Antony vows to give Brutus the funeral of a noble Roman and calls him the noblest Roman of them all, since he was the only conspirator whose motive was not envy of the powerful Caesar. Julius Caesar, ca Couly II Nouailher (French, Limoges, active ) Enamel, painted and partly gilded, on copper. From the Metropolitan Museum of Art Educational materials provided, in part, by Utah Shakespearian Festival. JULIUS CAESAR Page 12

13 CHARARACTER LIST Julius Caesar Defeats Pompey s sons, assassinated by political rebels. Octavius Caesar Triumvir after the death of Caesar. Caesar s great nephew and adopted son. Antony Triumvir after the death of Caesar. Most loyal follower of Caesar. Lepidus Third member of the triumvir after the death of Caesar. Cicero Senator executed by Mark Antony. Publius A Senator. Brutus A conspirator against Caesar, later commits suicide. Cassius - A conspirator against Caesar, later commits suicide. Casca - A conspirator against Caesar, later commits suicide. Decius Brutus - A conspirator against Caesar, later commits suicide. Metellus Cimber - A conspirator against Caesar, later commits suicide. Flavius A tribune opposed to Caesar. Soothsayer Warns Caesar of impending doom. Lucilius Friend to Brutus and Cassius. Titinius - Friend to Brutus and Cassius. Messala - Friend to Brutus and Cassius. Cato - Friend to Brutus and Cassius. Volumnius - Friend to Brutus and Cassius. Strato Servant to Brutus. Pindarus Servant to Cassius, helps Cassius kill himself. Calpurnia Wife to Caesar. Portia Wife to Brutus. Educational materials provided, in part, by Utah Shakespearian Festival. Julius Caesar Nicolas Coustou (French, ) This marbel statue was commissioned in 1696 for the Garden of Versailles. From the Louvre Museum JULIUS CAESAR Page 13

14 ABOUT THE COMPANY The Hudson Valley Shakespeare Festival is dedicated to producing the plays of Shakespeare with an economy of style that focuses our energy and resources on script, actors, and audience. They communicate the stories with energy, clarity and invention and distill, rather than embellish, the language and action. They challenge audiences to take a fresh look at what is essential in Shakespeare's plays. The Hudson Valley Shakespeare Festival began in 1987 with a modest outdoor production of A Midsummer Night's Dream performed under the stars in a meadow at Manitoga, industrial designer Russell Wright's home in Garrison, New York, fifty miles north of Manhattan. The modern dress show was virtually rained out of its four scheduled performances--except for the first two, which were given under wet drizzle. Patient audiences sat under their umbrellas on makeshift seats. After the second night the production moved to the local elementary school gym. Nevertheless, the show so enchanted those who saw it, including the late actress Helen Hayes and the Poughkeepsie Journal arts editor, that a group of fans gathered and became the Festival's organizing committee. The group grew in size and helped see the organization through its next stage of applying for non-profit status and incorporation. The following year the Hudson Valley Shakespeare Festival was officially born. Boscobel, a Hudson River estate in Garrison, became the Festival's home in It offered a magnificent setting, ample parking, grounds personnel and an established reputation as a tourist attraction. Once in its new home and under a big tent, the Festival grew dramatically, from its first audience of 230 to over 32,000 in Twenty-five years later, the Hudson Valley Shakespeare Festival is a critically-acclaimed regional theater, attracting audiences from the tri-state area and beyond. Shakespeare scholars, critics and enthusiastic fans laud its spare, clear and compelling productions. In addition to its summer productions, the Festival sponsors year-round education programs, including Access- Shakespeare, a fully staged touring production; Shakespeare Students on Stage; and Free Will, an artists-in-residence program which teaches over 22,000 students annually from elementary school through college; other programs include the summer Apprentice Program for a select group of college age actors seriously committed to learning the craft of theater, and the Teaching Shakespeare Summer Institute. Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 14

15 THE CAST Portia, Casca and Ensemble Jessica Frey Jessica Frey is a recent graduate of NYU's Tisch Drama Program. While at NYU, she studied primarily at the Atlantic Acting School and received the Excellence in Studio Award. Jessica is thrilled to be returning for her second tour with Hudson Valley Shakespeare Festival after last year's production, A Midsummer Night's Dream. Mark Antony, Lucius and Ensemble Carl Howell returns to the HVSF tour after last year s A Midsummer Night s Dream. Other HVSF credits include Twelfth Night, Cymbeline, Macbeth. With Shelby Company, The Land Whale Murders, New Beulah, and directed Uncle Shelby s Traveling Treasure Trunk. Halo/Titanic (The Old Vic, London) and Twelfth Night (The Pearl). BFA NYU. Carl Howell Cassius, Ensemble Christian Adam Jacobs is a recent graduate of the New School for Drama's MFA Acting program. He could most recently be seen playing The Elf in Looking At Christmas at The Flea Theatre. Other recent NYC credits include Todd in Far Away, Benny in Crazy Eights, and Gene in Author's Voice. His past HVSF credits include The Bomb-itty of Errors, Cymbeline, Twelfth Night, Macbeth, Troilus & Cressida, and Taming Of The Shrew. NSD credits include Richard of Gloucester in Richard III, Darren in The Drowned World, and Claudius in Hamlet. Christian has a degree in New Media from SUNY Purchase, where he wrote, directed, and starred in his original mixed-media musical comedy, Johnny Giovanni: The Musical. Julius Caesar, Ocatavius, Ensemble Craig Mungavin, a Poughkeepsie native and a graduate of Boston University s School of Theatre, Craig trained with Anne Bogart s SITI Company and served as Assistant Director at the Williamstown Theatre Festival and Boston s Huntington Theatre before moving to NYC and appearing with a handful of New York s Off-Off Broadway companies. He was most recently seen with Tony Award winner Andre de Shields in Cato at The Flea Theatre. Craig is also a member of the The Flea Theatre s resident acting company, The Bats. Craig Mungavin Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 15

16 Calpurnia, Ensemble Kelsey Olsen is excited to be part of the cast for Julius Caesar. In New York City, she was worked as an Understudy for The Pearl Theatre Company, Played Olga in The Three Sisters with The Glass Bandits, Antonia in Twelfth Night with Hudson Valley Shakespeare and Harriet in Time of Your Life with Saint Jeans Players. Regionally Kelsey has worked with The Guthrie Theater, Rochester Repertory, Stewartville players and numerous others. Kelsey Olsen She holds a BFA from the University of Minnesota Guthrie Actor Training program and has studied with the London International School for Perform ing Arts and The American Musical and Dramatic Academy. PRODUCTION STAFF Production Manager/Stage Manager: Jared Goldstein Assistant Stage Manager: Craig Mungavin Costume Design: Charlotte Palmer-Lane Set and Props Design: Sue Reese Sound Design: William Neal Assistant Director: Morgan Rosse Education Coordinator: Nora Rosoff Director/Fight Choreographer: Christopher V. Edwards ABOUT CHRISTOPHER V. EDWARDS Chris has been working as a free lance director, actor, teacher, and teaching artist for the past 15 years in New York City, nationally and internationally. As a teaching artist he has worked with inner city schools in the five boroughs with the Creative Arts Team, and Manhattan Theater Club. For the past 10 years, Chris has been working with the Hudson Valley Shakespeare Festival as a Teaching Artist, Education Consultant and currently he is the Associate Artistic Director and Director of Education where he has had the pleasure of bringing the works of William Shakespeare to students all over the New York metropolitan area and the Hudson Valley Region serving over 30,000 students and teachers annually. Chris has taught courses and workshops in drama to teachers and students at Bennington College, The University of Nevada Las Vegas, The University of Minnesota, St. Michaels s College, John Houseman s the Acting Company and Weston Playhouse. As a director Chris has directed at Vermont Stage Co., Lincoln Center s "Meet the Artists" Program, Atlantic Theaters with 24 hour plays, Capitol Repertory Theater, St. Michael s Playhouse, St. Michael s College, The Walker Arts Center, The Weisman Art Museum, and the Hudson Valley Shakespeare Festival. A few of the production Chris has had the pleasure to direct include: Hamlet, Romeo and Juliet, Macbeth, I Have Before Me a Remarkable Document Given To Me By A Young Women From Rwanda and Master Harold and the boys. Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 16

17 As an actor Chris has performed in London s West End, Off-Broadway, at Regional theaters in the U.S and internationally. Some of the theaters Chris has worked at include: The Atlantic Theater Company, The New Victory Theater, The Guthrie Theater, Chicago Shakespeare Theater, Cleveland Playhouse, SOHO Rep., The Flea Theater, American Stage, Penumbra Theater, Vermont Stage Co., Stanford Theater Works and the Hudson Valley Shakespeare Festival. Christopher V. Edwards Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 17

18 CULTURAL CONTEXT THE STORY OF JULIUS CAESAR It was about 100 years after the death of the first Roman dictator Julius Caesar that the great historian Plutarch ( CE) wrote a biography. Of his examination Plutarch said, It is not histories I am writing, but lives; and in the most glorious deeds there is not always an indication of virtue of vice, indeed a small thing like a phrase or a jest often makes a greater revelation of a character than battles where thousands die Plutarch (Life of Alexander/Life of Julius Caesar, Parallel Lives, [translated by E.L. Bowie]). And it was probably this source, translated from Greek to French and French to English in 1579 by Thomas North, which fell into the hands of the upstart crow playwright William Shakespeare. It may have been Shakespeare s own worries about the future of his own country that prompted him to tackle Julius Caesar for his next play in After all, by that year Queen Elizabeth I had been on the throne forty-one years. Though she was growing weak in body, her power, especially after the glorious defeat of the Spanish Armada, had never been greater. She was very popular with her people, who even established a religious cult devoted to her. Yet all of England knew that she had continually refused to name an heir to her throne. Many feared a return to civil war after her death. To Shakespeare such a war may have been reminiscent of the strife caused by Caesar s unexpected assassination. History had proved that though Brutus and the other conspirators believed that Caesar s death would save the republic from tyrannical leadership, it had the reverse affect. It was only two years after the deaths of Caesar, Cassius, Brutus, and Mark Antony, that Octavian, Caesar s grand nephew, was crowned as the first emperor of Rome, Caesar Augustus. It must have seemed likely that Elizabeth s own removal from the throne, the end of her Golden Age, could have similar dictatorial backsliding consequences on a nation that was already beginning to feel the stirrings of a republican revolution that would come forty years later. (Auspiciously future Lord Protectorate Oliver Cromwell was born in 1599.) This time of political transition also marked a shift in Shakespeare s writing. Julius Caesar and Romeo and Juliet are among the first of his great tragedies written from 1599 to Julius Caesar is the most cerebral of these tragedies. The audience is not particularly sympathetic to the murdered Caesar, as he is hardly alive on stage long enough to seem a fully developed character. In his few scenes he appears as a charming, affable, if somewhat big-headed military leader, with a boyish sense of invincibility. With such a brief introduction it is difficult for the audience to take the threat of his overthrow of the republic very seriously. As the author of an 1817 article stated, We do not much admire the representation here given of Julius Caesar, nor do we think it answers to the portrait given of him in his commentaries. He makes Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 18

19 several vapouring and rather pedantic speeches, and does nothing (Hazlitt, Williams, Characters of Shakespeare s Plays [C.H. Reynell: London] 1817). The lack of action and pensive attitude of the first half of the play perfectly set up the furious scenes of revolt and battle displayed in the second half. This opposition makes clear Shakespeare s feelings about the dangerous impact of the deaths of powerful leaders. And yet, Caesar s lack of action and scant appearance in on stage action shift the audience s focus to the dealings of Brutus and Cassius. Brutus cries to the heavens near the end of the play, O Julius Caesar, thou art mighty yet! As the action of the play moves forward, the effects of the characters murderous decision on themselves and also for the Rome they claim to love has a profound effect on the audience. The play has been popular throughout the 400 years since its initial performance; it has been performed by casts of hundreds, as wells by school children around the world. Its universal themes of loyalty, flattery, political necessity, and fate continue to strike chords in the hearts of audiences around the world and has lent itself to production alterations like all female casts, relocating the action into updated political settings, and has also been adapted to the screen with such major film stars as Charlton Heston, John Gielgud, and Marlon Brando. WHY WE STUDY JULIUS CAESAR The Roman virtues of being true to your husband, true to your friends, and true to your country, as well as the basic equality of men, were highly prized in the Elizabethan period, so they must have been much on Shakespeare s mind when he wrote Julius Caesar in Like Romeo and Juliet, this play is a tragedy. Caesar, indeed, isn t an innocent man, and his power has become corrupt. The play still captures human interest, but it is not for the sentimental romance such as that in Romeo and Juliet. It is because the issues that the characters face are so applicable today. Julius Caesar deals with corrupt governments, one s conscience, doing what will be good for everyone rather than thinking about one s self, and the ability to change the populace s minds. It also reaches into the area of grandness and ambition. Caesar is killed about halfway through the play. Most people will agree that Brutus is the true hero in Julius Caesar. The play is about the internal conflict in Brutus over whether or not he should kill a friend for the good of the Roman people. Brutus is someone who remains good from the beginning to the end of the play. In the final scene, Mark Antony even says, This was the noblest Roman of them all, when looking down at Brutus. Julius Caesar is considered one of the world s greatest tragedies, and you will realize that it is very moving, partly because of its comparisons to our world today. Educational materials provided, in part, by the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 19

20 One of the most important themes is the question of what qualities make up a good leader. The play explores this question at length in its detailed examination of Caesar and Brutus as leaders. By comparing and contrasting the leadership qualities held by Caesar and Brutus, as well as many of the other characters, you can become more aware of the careful thought that is necessary to choose a good leader. Another important and relevant issue is peer pressure. No one has more influence on adolescents than their friends. Friendship, and its importance for people is another issue explored in the play. Major Themes Fate vs Free Will Public Self vs Private Self Misinterpretations and Misreadings Inflexibility vs Compromise The Power of Rhetoric CONTEMPORARY RELEVANCE Many of the lines from the play are now famous. For example, It was Greek to me comes from Julius Caesar (1.2.84). Caesar s famous line Et tu, Brute! (3.1.77) is known by almost everyone. Antony s Friends, Romans, countrymen (3.2.73) speech is also well-known. The themes in this play are important too. Suicide Many of Shakespeare s plays deal with the topic of suicide. In Julius Caesar, many characters take their lives (or have others take their lives for them). The following characters deal with the issue of suicide: Portia She commits suicide when she learns the fate of Brutus, her husband. Cassius He had his servant kill him because he mistakenly thought that Brutus s armies were defeated. Titinius He finds Cassius dead, so he commits suicide out of shame. Brutus Brutus takes his life (runs into a servant s sword) when he discovers that he is defeated. Jacques Laudin I ( ) Medallion: Julius Caesar Enamel, painted on copper From the Louvre Museum Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 20

21 Politics and the People Julius Caesar was a politician who was becoming very powerful, but he was not yet a tyrant. He wasn t all good, but he wasn t all bad either. However, the conspirators believed that he deserved to be removed from his position and killed. Inner Struggle Brutus had to deal with a great inner struggle. Should he kill his friend out of duty to the people, or was his friendship with Caesar more important? His conflict was difficult because neither choice was completely right. Everyone has to struggle with conflicts within themselves. They might not be as grand as Brutus struggle, but there will be conflicts that will keep you up during the night. Brutus conscience, as well as urgings from his friends, led him to make his decision. He would do what was better for the people, even if it meant killing a friend. Ides of March: Roman coin showing Brutus, daggers, and the Latin abbreviation for "Ides of March" The Ides of March denarius, struck by Marcus Junius Brutus in 43 or 42 bc; the reverse (right) refers to Julius Caesar s assassination on March 15, 44. Educational materials provided, in part, by the Utah Shakespearian Festival and Britannica. JULIUS CAESAR Page 21

22 FAMOUS LINES William Shakespeare coined a number of phrases that we still use today, including the following from Julius Caesar. Beware the ides of March. Soothsayer, Chew upon this. Brutus, But, for mine own part, it was Greek to me. Casca, How many ages hence / Shall this our lofty scene be acted over / In states unborn and accents yet unknown. Cassius As fire drives out fire, so pity pity. Brutus Caesar, I have never stood on ceremonies. Calphurnia, Cowards die many times before their deaths; the valiant never taste death but once. Caesar, Your wisdom is consum d in confidence. Calphurnia, Et tu, Brute. Caesar, The noblest man that ever lived in the tide of times. Antony, Cry Havoc and let slip the dogs of war. Antony, Friends, Romans, Countrymen, lend me your ears; I come to bury Caesar, not to praise him. Antony Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 22

23 This was the most unkindest cut of all. Antony, You yourself are much condemned to have an itching palm. (Probably not a Shakespeare original.) Brutus, Words before blows: is it so, countrymen? Brutus, This was the noblest Roman of them all. Antony EXCERPTS FROM JULIUS CAESAR WITH TRANSLATIONS And none so poor to do him reverence. -No one is so lowly that they owe Caesar respect. And reason to my love is liable. -Decius claims that it is out of love that he tells Caesar this even though he risks anger. And since the quarrel / Will bear no color for the thing he is. -Brutus recognizes that his argument (quarrel) doesn't work (bears no color) because Caesar has not behaved as Brutus suggests he will. Bid him set on his pow'rs betimes before. -Tell him to advance his troops early in the morning, before mine. Cut off some charge in legacies. -Determine how not to pay off Caesar's bequests. For if thou path, they native semblance on, / not erebus itself were dim enough / to hide thee from prevention. -If you show your true nature in your face, not even the darkness of the underworld will be able to hide you from being recognized and stopped. The genius and the mortal instruments / are then in council; and the state of a man, / like to a little kingdom, suffers then / the nature of an insurrection. -Because of Cassius' suggestions, Brutus' mind (genius) and body (mortal instruments) are in conflict. Thus, he cannot sleep. Educational materials provided, in part, by the Utah Shakespearian Festival and the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 23

24 FIGURATIVE LANGUAGE Shakespeare uses many types of figurative language like metaphor, simile, and personification. Recognizing when his characters are speaking figuratively helps to understand what they are saying. Both Antony and Brutus use a great deal of figurative language as they speak of revenge, justice, and battle. They especially use the images of animals, storms, and water. Examples of Personification O judgment thou art fled to brutish beasts. Antony, Here Antony speaks of the thing, Judgment, as a person, claiming that it has fled, and left humans for animals. Below are two more examples: Fortune is merry, and in this mood will give us anything. Antony, Mischief, thou art afoot. / Take thou what course thou wilt! Antony, Examples of Simile Antony speaks with Octavius about their ally, Lepidus, who he does not respect. He uses a simile comparing Lepidus s usefulness to that of a donkey: Octavius, I have seen more days than you. And though we lay these honors on this man To ease ourselves of divers slanderous loads, He shall but bear them as the ass bears gold, To groan and sweat under the business, Either led or driven, as we point the way. and having brought our treasure where we will, Then take we down his load and turn him off, Like to the empty ass, to shake his ears And graze in commons. Antony, Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 24

25 SHAKESPEARE S LANGUAGE: PROSE VS VERSE Many students and adults, for that matter find Shakespeare difficult to read and hard to understand. They accuse him of not speaking English and refuse to believe that ordinary people spoke the way his characters do. However, if you understand more about his language, it is easier to understand. One idea that may help is to remember that his plays are written in two forms: prose and verse. In Julius Caesar, prose is used very rarely. Prose is the form of speech used by common, or comic, people in Shakespearean drama. There is no rhythm or meter in the line. It is everyday language. Shakespeare s audiences would recognize the speech as their language. When a character in a play speaks in prose, you know that he is a lower class member of society. These are characters such as criminals, servants, and pages. However, sometimes important characters can speak in prose. For example, the majority of The Merry Wives of Windsor is written in prose because it deals with the middle-class. In Julius Caesar the comical Casca s story of Caesar s refusal of the crown is given in prose. Interestingly Brutus speech to the people after Caesar s murder is delivered in prose, but Antony s is verse, the more sophisticated style. An Example of Prose Romans, countrymen, and lovers! Hear me for my cause, and be silent that you may hear. Believe me for mine honor, and have respect to mine honor that you may believe. Censure me in your wisdom, and awake your senses that you may the better judge. If there be any in this assembly, any dear friend of Caesar s, to him I say that Brutus love to Caesar was no less than his. If then that friend demand why Brutus rose against Caesar, this is my answer: not that I loved Caesar less, but that I loved Rome more. Brutus, An Example of Verse Friends, Romans, countrymen, lend me your ears. I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interrèd with their bones. So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious. If it were so, it was a grievous fault, And grievously hath Caesar answered it. Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept. Ambition should be made of sterner stuff. Yet Brutus says he was ambitious, And Brutus is an honorable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse. Was this ambition? Yet Brutus says he was ambitious, Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 25

26 And, sure, he is an honorable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause. What cause withholds you then to mourn for him? O judgment! Thou art fled to brutish beasts, And men have lost their reason. Bear with me. My heart is in the coffin there with Caesar, And I must pause till it come back to me. Antony, Antony s speech is given in blank verse. It contains no rhyme, (though a great amount of repetition; you can hear the sarcasm in his honorable men growing as the speech moves) but each line has an internal rhythm with a regular rhythmic pattern. The pattern most favored by Shakespeare is iambic pentameter. An Example of Iambic Pentameter Iambic pentameter is defined as a ten-syllable line with the stress on the every second syllable. The rhythm of this pattern of speech is often compared to a beating heart. Examine Antony s final line and count the syllables it contains. And I must pause till it come back to me. Replace the words with syllabic count: Replace the word with a da sound to hear the heart beat: da-da da-da da-da da-da da-da Now put the emphasis on the words themselves: and-i must-pause til-it come-back to-me In the riot scene that follows Antony s speech, the angry people speak in prose and attack and kill the poet Cinna, who also speaks prose to them. The lack of rhythm during this scene adds to the feeling of panic and chaos. Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 26

27 EVOLVING ENGLISH The English language is in constant change. Just as today we use words such as cool and hot in ways that were never considered just fifty years ago, so too are the meanings of words from Shakespeare s time unfamiliar to us. Here are some examples of how we might phrase some of Shakespeare s words today (in italics): These growing feathers pluck d from Caesar s wing / will make him fly an ordinary pitch. Flavius ( ) This ought to bring him down a notch or two. But, for my single self, I had as lief not be as live to be / In awe of such a thing as I myself. Cassius ( ) But, for my part, I d rather be dead than have to live worshiping a man no better than I am. Tell me your counsels, I will not disclose em. / I have made strong proof of my constancy. Portia ( ) I would never tell anyone your secrets. I can prove it to you. Fetch the will hither, and we shall determine / How to cut off some charge in legacies. Antony ( ) Bring Caesar s will here, and we will decide how to carry it out. Brutus: Peace, peace! You durst not so have tempted him [Caesar]. Cassius: I durst not! Brutus: No Cassius: What, durst I not tempt him? Brutus: For your life you durst not. ( ) Brutus: Oh shut up! You wouldn t dare speak to Caesar like that. Cassius: I wouldn t dare? Brutus: No. Cassius: What, I wouldn t dare speak to him? Brutus: Not on your life, you wouldn t. Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 27

28 SHAKESPEARE FACTS It is recorded that William Shakespeare died on Stratford-upon-Avon the same date that he was born, April 23, 1616 at the age of 52 (although the date of his birth is questionable). Shakespeare left behind no personal letters or journals, though he left us his 37 plays, 154 sonnets, and many other poems. In Shakespeare s will he left his wife his second best bed. This could have just meant that the best bed was for the guests, but others believe that Shakespeare s marriage was an unhappy one. There are some who believe that while Shakespeare was in London, he had an extramarital affair. In the film, Shakespeare In Love, it is speculated that Shakespeare wrote Romeo & Juliet about himself and the woman with whom he had this alleged affair with. In January 1655, the plague forced many London theaters to close because of the fear that the disease would spread. A group of seven men, including William Shakespeare, Richard Burbage, and John Hemming, decided to start a new theater company the following December called Lord Chamberlain s Men (later known as the King s Men ). They became sharers in the company, which meant that they shared the profits and contributed to daily expenses. Shakespeare wrote most of the plays for the company, averaging two plays per year. During these years, Shakespeare became very successful and the company provided him the financial stability he needed. Shakespeare was known as the Bard, or singing poet. Lord Chamberlain s Men, Shakespeare s company, performed in their theater in London, built in In 1597, it was torn down and the timbers were taken across London. They were used to build another theater, known as the Globe. The Globe Theater was finished in May 1599, with the holding capacity of 2,500 people. Shakespeare also became a sharer in the Globe, along with six other men. It burned down in 1613 and was immediately rebuilt. It was closed by the Puritans in Now, 200 yards from its original site, after almost 400 years, the Globe Theater has been opened to the public again. The rebuilt playhouse was officially inaugurated by Her Majesty the Queen on Thursday, June 12, Its opening season ran from May 29 to September 21, 1997 and every summer it now offers performances of plays by Shakespeare and his contemporaries on the type of stage they were written for, many of them in authentic costumes. The fact that William Shakespeare s parents were illiterate, signing important papers with a mark, could have been a factor for their determination to give their son a proper education. By the age of seven, William was able to read and write (it was The Globe Theater Educational materials provided, in part, by JULIUS CAESAR Page 28

29 ACTIVITIES BEFORE THE PERFORMANCE 1. Before reading the play, have students take the following yes or no survey to determine what they think about democracy and political systems. Have them retake the survey after having studied the play; discuss how their opinions have changed. 1. Murder is never justified. 2. People, not politicians, know what is best for their country. 3. If a political leader becomes to powerful, it is right to get rid of him or her by what ever means necessary. 4. Power corrupts, and absolute power corrupts absolutely. 5. In certain situations it may be justified for a political leader to bend or break the law for the good of the country. 6. People should never compromise their ideals or beliefs. 7. My country right or wrong is not just a slogan; it is every citizen s patriotic duty. 8. No cause, political or otherwise, is worth dying for. 9. Cowards die many times before their deaths; the valiant taste of death but once. 10. The evil that men do lives after them; the good is [often buried] with their bones. 2. Dueling Eulogies : Objective: Explore the idea of rhetorical persuasion in Shakespeare s language. In Julius Caesar there is one of the most famous speeches in all of English Literature, Mark Anthony s Eulogy over Caesar s dead body. This speech is dramatically in direct juxtaposition to Brutus speech to the Romans over Caesar s dead body. -Pick 2 volunteers from the group to read both speeches to the class. Each reader takes turns reading their speech. -The class does a role play, pretending to be Roman citizens. While the readers are reading their speech the audience should listen and show their approval or disapproval to the reader by jeering down with Brutus/Anthony (disapproval) or by cheering Long live Anthony/Brutus (approval). The teacher should keep a general tally of the results. Discuss the images, the use of rhetoric, the use of repetition, the tonal qualities of the speeches and how they influenced you in making your decision to jeer or cheer. 3. Teach students how to interpret the play. Select one of the themes of the play (a current theme important to teenagers or literary theme). As you watch the play, ask students to pay attention to how Shakespeare addresses the theme. Keep track of how the characters and plot relate to it. Discuss this in small groups and with the entire class. 4. As a class, or individually, have students select a major character and create a journal of his/her development, noting scenes that illustrate character traits, how Shakespeare s use Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 29

30 of language develops the character, how the character interacts with other characters, how the character relates to the themes of the play. Or, have each student create a diary of one of the major characters, written from the character s point of view. 5. Make a list of unfamiliar vocabulary. Discuss the meaning and the use of words, and begin a class list, including definitions and sentences. Discuss how Shakespeare s use of language reveals attributes of each character. 6. After they have read the play, have students brainstorm a list of powerful personalities (politicians, celebrities, socialites) in today s world. Compare these people to characters in the play. Try and make a cast list with the characters and their modern day equivalents. This could also be done with fictional characters. 7. Have students think of modern equivalents to Brutus situation. For example, a friend is trying to persuade you to drive without a license. He says it s an emergency, you are a careful driver, but what will you do? Or, your best friend has been elected student body president. Soon, you notice that he or she is taking advantage of the position by treating people differently, or cheating on assignments. How would you deal with this situation? 8. Ask students the following questions. Pose the same questions before and after the performance and see if the responses change. Is Cassius justified in his reasoning for wanting to assassinate Caesar? Describe Julius Caesar s character. What sort of leader does he seem to be? Does Julius Caesar seem to be a tyrant in the play? If so, explain. If not, explain. How did you feel when Brutus decided to go along with Cassius s plan to assassinate Julius Caesar? How would you describe Brutus character? What sort of leader does he seem to be? How would you describe Caesar and Brutus friendship? Cassius and Brutus? Caesar and Antony? Antony and Octavius Caesar? In Julius Caesar are women portrayed as having strong or weak political power? In Julius Caesar are women portrayed as being emotionally stable or unstable? Educational materials provided, in part, by the Utah Shakespearian Festival and the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 30

31 For which character(s) do the following statements seem more true to self: My country s needs out weighs my own needs. Suicide is an honorable way to die Suicide is a cowardly way to die. Suicide is better than being captured. We control our own destiny. Our destiny is beyond our control. Women do not have a place in political life. Women are capable and are able to handle political issues. What is the major difference between Cassius and Brutus, if at all? Is Mark Antony loyal to Caesar or hungry for power after his death or both? Why do you think Caesar s ghost comes back to speak to Brutus before the final battle? What character(s) in the play do you most relate to? Why do you feel this way? Are there any modern instances that remind you of elements in this play? If so, describe. Are there any other historical events that remind you of elements of this play? If so, describe. Educational materials provided, in part, by the Utah Shakespearian Festival and the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 31

32 ACTIVITIES AFTER THE PERFORMANCE 1. Reflection: In discussing a theater performance, it is often more productive to ask the question What did you notice in the production? or What do you remember most strongly about the play? rather than Did you like the play? The first two questions lead to observation or analysis of the performance, encouraging recall of details, while the third question encourages more judgmental responses. Although audience members respond positively and/or negatively to a work of art, critique should come into play later in the discussion process. Discussion of which aspects of a play remain in one s memory often reveals the artistic choices at the heart of a work. Have students describe a memorable moment from the play in various ways verbally, in writing, by drawing, or through movement. 2. Research the life and actual events that we know about Caesar s murder. How much artistic license did Shakespeare take in his play? 3. Hold a mock trial against Caesar. Use evidence from the text to find out if he is really worthy of death. Brutus may serve as the judge, a few Roman citizens as jury. Cassius may serve as chief prosecutor and Antony as representative for defense. You may hear testimony from other senators, Caesar s family, etc. 4. Assign students in small groups to create a mud slinging campaign against the political parties of Brutus and Cassius or Antony and Octavius. They can create radio spots and commercials, design posters, T-shirts, or bumper stickers exposing their opponents flaws. Have students pitch their campaign to the rest of the class. 5. Make a list of the omens, auguries, and superstitions that are brought up in the play. Make a parallel list of the superstitions that we have today. Invite students of different cultural backgrounds to explain the role of superstition in their culture. (For instance in many Asian languages the number four, sounds like the word for death, and therefore some buildings do not have a fourth floor.) What role does superstition play in our culture? When was the last time you crossed your fingers? 6. There is a lack of open communication in the play. Identify moments where clear communication could have made a difference. Supposing the Romans had cell phones, have students write or improve conversations like: Brutus asks Caesar what his true intentions are. Portia calls Brutus to see how the battle is going. Titinius calls Cassius to explain that it was his own army at his tents. Antony calls Brutus to negotiate a truce at the end of the battle. Educational materials provided, in part, by the Utah Shakespearian Festival. JULIUS CAESAR Page 32

33 7. Should Brutus have killed Caesar? The latter half of the play shows the consequence of Brutus s decision. Looking at that, Brutus may have been incorrect in his decision. What do you think? 8. Based on what has been learned from Julius Caesar about good leaders, have students create a profile, including picture, personal background, qualifications, voting record, and basic tenants, of their ideal leader in today s world. (This should not be a real person.) 9. 1 to 10 with lines : Objective: Explore speaking text and help to build an understanding of how emotion and intention help to create meaning (you will need to make a list of possible lines to use). First as entire group: 1. Choose a line from Julius Caesar (either give them one or let them pick one from the play.) Ask the students what part of the play it is from, what character, what happened in the production you saw, discuss possible options for the line.) 2. Talk about what emotion the line implies talk about how you express that emotion what specifically do you feel, what does your body do, what does your voice do, what does your face do, where do you feel it inside your body your stomach, chest, tension in the face, balled up fist etc.? 3. Then guide entire group at same time in saying the line with that emotion and two other emotions (angry, silly, happy etc.) beginning at an intensity of one and dialing it up to ten. Try it several different times. Allow the students the freedom to be loud and boisterous. 4. Then bring up a few students to try the line with different emotions in front of the class. identify the emotion and then do the exercise. 5. You can and should use different lines from the play and different emotions. 10. Tableau Blocking : Objective: Give students a practical way to block a scene without becoming overwhelmed, which will help to build on students personal interpretation. -Have students pick out the 4 most important things that happen in the scene. Have students start the scene with a tableau and end the scene with a tableau. -Have students create the other 4 most important things that happen in the scene as tableaus. -Have students put all 6 tableaus together and then try to make them flow from one to the other with text. The audience should not be able to tell when the tableaus begin and end. -Have the students now add the lines from the entire scene and justify the lines to the movements they have created. Educational materials provided, in part, by the Utah Shakespearian Festival and the Hudson Valley Shakespeare Festival. JULIUS CAESAR Page 33

34 ELEMENTS OF A SHOW actor a person who interprets a role and performs it in a play choreography patterns of movement and stillness classic having lasting significance or worth; enduring climax the crucial moment, turning point, or dramatic high point in the action of a play, book, or film that can bring the previous events together, usually at the end of the story costumes what the performer wears to help enhance qualities of the character that they are portraying curtain drapery that hides the stage from the audience; when the performance is about to start, the curtain parts to the sides or rises up out of sight. Usually, curtain is closed again during intermission, and at the end of the show curtain call the appearance of performers or a performer at the end of the show to receive applause from the audience. They enter in order of importance, with the stars coming last and usually taking more than one bow dialogue conversation in a play, usually between two or more characters director a person who creates an overall concept for a production, supervises all elements of the production and guides the actors in their performances dramatization a work adapted from another medium, such as a novel or a poem, for dramatic presentation interpretation the expression, through performance, of a particular concept of a role, scene, play, or musical composition lighting effects the atmosphere, moods, and time of day created by the use of light monologue - a form of dramatic entertainment or comedic solo by a single speaker music patterned sound changes in pitch, rhythm, loudness, melody and other qualities, capable of setting mood, time, or atmosphere narrator a person who reads or speaks lines that advance a story, apart from the characters lines JULIUS CAESAR Page 34

35 producer a person responsible for mounting and financing a production, selecting the material, choosing the creative artists, staff, and administration, arranging the publicity props a property which a performer handles on stage, ex: a wallet, an umbrella, or a letter scene unit within a play scenery onstage decoration to help show the place and period of the show script the written text of a play. It includes what is said and what is to happen sketch a hasty or un-detailed drawing or painting often made as a preliminary study sound effects sounds characteristic of humans, animals, objects, and forces of nature (e.g. wind, rain) that can be performed live or pre-recorded storyteller one who relates stories or anecdotes translation changing the text from one language to another by selecting words that have the same meaning and retains the spirit and tone of the text JULIUS CAESAR Page 35

36 PLACES IN THE THEATER lobby this is the first place you walk into, where the audience waits before the show box office this is where audience members can buy tickets to shows house the auditorium or area where the audience sits orchestra seats seats nearest the stage balconies upper levels of seating light booth and sound booth located at the top of the balcony or toward the back of the house, the lights and sound for the production are controlled from these booths stage area where the performance takes place, often raised wings area to the right and left of the stage that the audience can t see, sometimes scenery is stored here, and performers come on and off stage from here dressing room place where performers put on makeup, change clothes, and store their costumes for a show JULIUS CAESAR Page 36

37 GLOSSARY ague: fever, illness That same ague which hath made you lean. -Caesar ( ) augurers: fortune tellers The persuasion of his auguerers may hold him from the capitol today. -Cassius ( ) awl: a shoemaker s knife All that I live by is with the awl. -Citizen, (1.1.22) beholden: indebted, obligated. I am beholden to you. -Antony (3.2.63) brook d: tolerated, stood for Brutus... would have brook d / the eternal devil to keep his state in Rome / As easily as a king. -Cassius ( ) chidden: scolded, corrected All the rest look like a chidden train. -Brutus ( ) choler: anger Must I give way and room to your rash choler? -Brutus (4.3.41) coronets: a small crown, for nobles Yet, twas not a crown neither, twas one of these coronets. -Casca ( ) drachmas: Greek coinage I had rather... drop my blood for drachmas -Brutus ( ) exigent: urgent or pressing. Why do you cross me in this exigent? -Antony (5.1.19) ides: the middle day of the month Beware the ides of March. -Soothsayer (1.2.20) JULIUS CAESAR Page 37

38 offal: rotting, inedible meat What trash is Rome, what rubbish, and what offal. -Cassius ( ) mace: a club or staff-like weapon Lays t thou thy leaden mace upon my boy? -Brutus ( ) metal: the stuff one is made of Thy honorable metal may be wrought / From that it is dispos d. -Cassius ( ) mettle: valor, courage, temperament He was quick mettle when he went to school. -Brutus ( ) neats-leather: cattle hide As proper men as ever trod on neats-leather have gone upon my handiwork. -Citizen (1.1.26) palter: trifle or haggle Romans that have spoke the word and will not palter. -Brutus ( ) prodigies: a monstrous, unnatural, and wonderful event When these prodigies do so conjointly meet. -Casca (1.3.28) puissant: powerful, potent. Most high, most mighty, and most puissant Caesar. -Metellus (3.1.38) rout: rabble, mob I profess myself in banqueting to all the rout. -Cassius (1.2.80) smatch: taste, smack Thy life hath had some smatch of honor in it. -Brutus (5.5.50) spaniel: dog-like begging base spaniel fawning -Caesar (3.1.58) JULIUS CAESAR Page 38

39 Tarquin: a cruel king of Roman legend My ancestors did from the streets of Rome the Tarquin drive. -Brutus (2.1.56) thews: muscles, sinews, or strength Romans now have thews and limbs like to their ancestors. -Casssius (1.3.82) tinctures: medicines that discolor Great men shall press for tinctures. -Decius (2.2.89) tributaries: captives What tributaries follow him to Rome? -Marullus (1.1.33) JULIUS CAESAR Page 39

40 RESOURCES STUDENT RESOURCES Shakespeare, William. Henry IV. Simon & Schuster, Shakespeare, William. Henry V. Simon & Schuster, Shakespeare, William. Julius Caesar. Simon & Schuster, Shakespeare, William. Richard II. Simon & Schuster, Olster, Fredi and Rick Hamilton. Discovering Shakespeare, A Workbook for Teachers and Students. Smith and Kraus, Reynolds, Peter. Practical Approaches to Teaching Shakespeare. Oxford University Press, Schmidt, Alexander. Shakespeare Lexicon and Quotation Dictionary. Dover Publications, Shakespeare, William. Richard III. Simon & Schuster, TEACHER RESOURCES Asimov, Issac. Asimov s Guide to Shakespeare. Vol 1. Avenel Books, Davis, Ken. Rehearsing the Audience: Ways to Develop Student Perceptions of Theatre. National Council of Teachers of English, Dow, Marguerite R. The Shakespearean Play as a Theatrical Event in the Classroom. English Quarterly (v 17 n 4), Evans, Bertrand. Teaching Shakespeare in the High School. Macmillan, Goddard, Harold, The Meaning of Shakespeare, Vol. 1. University of Chicago Press, WEBSITES The official site of the Hudson Valley Shakespeare Festival The complete works of William Shakespeare: On-line texts of all Shakespeare s plays and poetry The Globe Theater website DVD/VHS Julius Caesar: Uncrowned Emperor, Madacy Records (1998), VHS Julius Caesar, View Video (1996), VHS Shakespeare Behind Bars, Shout Factory Theater (2006), DVD McQuain, Jeffrey and Stanley Malless. Coined by Shakespeare: Words and Meanings First Penned by the Bard. Merriam Webster, The Hobart Shakespeareans, New Video Group (2006), DVD JULIUS CAESAR Page 40

41 Emergency Cancellations Tilles Center Performance Cancellation Due to Inclement Weather If schools throughout the area are closed due to inclement weather, Tilles Center performances will be cancelled. If, on the day prior to a performance, it appears that inclement weather may cause a performance to be cancelled, all schools will be called by our staff to alert them to this possibility. Schools should be advised to call the morning of the performance to determine if a performance has been cancelled. A message will be posted on this number by 6:30 AM indicating if the performance has been cancelled. If a performance is cancelled, Tilles Center will attempt to reschedule performances on a date convenient to the majority of schools booked for the performance. JULIUS CAESAR Page 41

42 Tilles Center for the Performing Arts, on the C.W. Post campus of Long Island University in Brookville, New York, is Long Island s premier concert hall. Under the leadership of Executive Director Elliott Sroka, Tilles Center presents over seventy events each season in music, dance and theater, featuring world renowned artists. The Center is also the theatrical home for many of Long Island s leading arts organizations, including the Long Island Philharmonic. Among the artists and organizations that have been presented by Tilles Center are the New York Philharmonic conducted by Kurt Masur, violinist Itzhak Perlman, Alvin Ailey American Dance Theater, New York City Opera National Company, Andrea Marcovicci, the Paper Bag Players, Wynton Marsalis, the MET Orchestra with James Levine and Patti LuPone. Tilles Center has a 2,242 seat main hall and a 490 seat, more intimate Hillwood Recital Hall. The smaller theater features chamber music, cabaret, solos recitals, and theater productions for children and adults. School Partnership Program An intensive part of Tilles Center s Arts Education program is the School Partnership Program, modeled on the highly acclaimed aesthetic education program that has evolved over a 30 year period at Lincoln Center. The Partnership is a comprehensive approach to teaching and learning about the arts, applicable to all grade levels and academic disciplines. The Partnership inspires students and teachers to approach the arts with an open mind and to gain insights into the creative process. Attendance at professional performances at Tilles Center and viewing art works at museums is combined with experiential inschool workshops. Led by teaching artists and teachers, students explore their own artistic capabilities while strengthening essential skills abstract thinking, teamwork, critical judgment, problem solving. Guided to a deeper level of understanding, students learn what to look for, and listen to, in a performance or work of art. All new teachers who participate in the School Partnership Program attend an introductory course in Aesthetic Education, presented at Tilles Center for one week in the summer. The School Partnership program will work with various K-12 public and private schools in Nassau and Suffolk counties on Long Island. For information about the School Partnership Program and other performances visit our website: or call (516) JULIUS CAESAR Page 42

43 Partner Schools: Archer Street School, Freeport Atkinson School, Freeport Bayview Avenue School, Freeport Columbus Avenue School, Freeport Freeport High School, Freeport Leo S. Giblyn, Freeport New Visions, Freeport Deasy Elementary School, Glen Cove Gribbin School, Glen Cove Landing School, Glen Cove Portledge School, Locust Valley Tilles Center s Arts Education Advisory Panel was created in 2007 and is comprised of a diverse group of educators who have shown exceptional interest and commitment to Tilles Center s School Partnership Program. Each member serves a two-year appointment on the panel and advises the Arts Education Department on the content of the program, study guides and resource materials, performance programming and curricular connections Advisory Panel Aneesah Abdus-Shakur, New Visions, Freeport Patricia J. Belfi, Atkinson School, Freeport Florence Bell, Freeport High School, Freeport Doris J. Benter, Portledge School, Locust Valley Marc Checola, Gribbin Elementary School, Glen Cove Joanne Criblez, Gribbin Elementary School, Glen Cove Lucille Curley, Leo S. Giblyn School, Freeport Yvette Goldstein, Bayview Avenue School, Freeport Mary Jane Gould, Leo S. Giblyn School, Freeport Jean Henning, Nassau County Museum of Art, Roslyn Irena Kamola, Gribbin Elementary School, Glen Cove Valerie Piali, New Visions, Freeport Nomi Rosen, Glen Cove CSD, Glen Cove Francine Santoro, Gribbin Elementary School, Glen Cove Lisa M. Scicchitano, Archer Street School, Freeport John Segretti, Gribbin Elementary School, Glen Cove Susan Warren, Columbus Avenue School, Freeport JULIUS CAESAR Page 43

44 ARTS EDUCATION STAFF Dr. Elliott Sroka, Executive Director, Tilles Center Stephanie Turner, Director of Arts Education, Tilles Center Deborah Robbins, Assistant Director of Arts Education Emily Lembo, Arts Education Associate For information call (516) or visit our website at Tilles Center for the Performing Arts C.W. Post Campus Long Island University Brookville, New York Emily Lembo Study Guides: content, design and editing JULIUS CAESAR Page 44

45 Tilles Center s Arts Education Program is supported, in part, by its annual Swing for Kids Golf and Tennis Tournament. We are grateful to the following supporters of the 2010 event for enabling us to continue to provide the best in Arts Education to Long Island s schoolchildren: Advantage Title Agency, Inc. Albanese Organization, Inc. Americana Manhasset Gerda Andersen Axelrod & Cherveny Architect The Bahnik Foundation The Beechwood Organization Birchwood Park Homes Jadwiga and Donald Brown Thomas Calabrese Certilman Balin Adler & Hyman, LLP Chicago Title Insurance Company Ingaborg Costa Country Plaza Assoicates of Carle Place, LP Cullen and Dykman LLP Danic Concrete Corp. Daniel Gale Sotheby's International Realty Delkap Management, Inc. DiFazio Power & Electric, LLC Marianne Doherty The Fay J. Lindner Foundation The Garden City Hotel Harvest Real Estate Services Steve Hess Island Estates James A. Kadamus Gisele Kehl The Klar Organization Koeppel Martone & Leistman, L.L.P. Brendan Lavin Lazer, Aptheker, Rosella & Yedid, P.C. Larry Liman Ilyssa Lipton M & T Bank Margaret Martinez Malito Meltzer, Lippe, Goldstein & Breitstone, LLP Mojo Stumer Associates Architects, p.c. National Waste Services New York Community Bancorp, Inc. New York Community Bank Foundation North Hills Office Services, Inc. Pall Corporation Ruskin Moscou Faltischek P.C. S & H Building Material Corp. Sacco Wealth Management Group Sholom & Zuckerbrot Realty LLC Sterling & Sterling, Inc. Sterling Floor Designs, Ltd. Superior Air Conditioning & Heating Systems, Inc. The Tilles Family Foundation Timber Ridge Homes Donald and Joan Tobin Triangle Building Products Corp Tummarello & Associates, Inc. VHB Engineering, Surveying and Landscape Architecture, P.C. Philip Wachtler The Weeks-Lerman Group, LLC Wells Fargo Advisors William Morris Endeavor Entertainment JULIUS CAESAR Page 45

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