Julius Caesar Entire First Folio
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Teacher Resource Pack I, Malvolio
TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning. -
Julius Caesar © 2015 American Shakespeare Center
THE AMERICAN SHAKESPEARE CENTER STUDY GUIDE Julius Caesar © 2015 American Shakespeare Center. All rights reserved. The following materials were compiled by the Education and Research Department of the American Shakespeare Center, 2015. Created by: Cass Morris, Academic Resources Manager; Sarah Enloe, Director of Education and Research; Ralph Cohen, ASC Executive Founding Director and Director of Mission; Jim Warren, ASC Artistic Director; Jay McClure, Associate Artistic Director; ASC Actors and Interns. Unless otherwise noted, all selections from Julius Caesar in this study guide use the stage directions as found in the 1623 Folio. All line counts come from the Norton Shakespeare, edited by Stephen Greenblatt et al, 1997. The American Shakespeare Center is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts. American Shakespeare Center Study Guides are part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest. -2- Dear Fellow Educator, I have a confession: for almost 10 years, I lived a lie. Though I was teaching Shakespeare, taking some joy in pointing out his dirty jokes to my students and showing them how to fight using air broadswords; though I directed Shakespeare productions; though I acted in many of his plays in college and professionally; though I attended a three-week institute on teaching Shakespeare, during all of that time, I knew that I was just going through the motions. Shakespeare, and our educational system’s obsession with him, was still a bit of a mystery to me. -
Study Guide 2016-2017
Study Guide 2016-2017 by William Shakespeare Standards Theatre English Language Arts Social Studies TH.68.C.2.4: Defend personal responses. LAFS.68.RH.1.2: Determine central ideas. SS.912.H.1.5: Examine social issues. TH.68.C.3.1: Discuss design elements. LAFS.910.L.3.4: Determine unknown words. TH.68.H.1.5: Describe personal responses. LAFS.910.L.3.5: Demonstrate figurative language. TH.912.S.1.8: Use research to extract clues. LAFS.1112.SL.1.1: Initiate collaborative discussions. TH.912.S.2.9: Research artistic choices. TH.912.H.1.4: Interpret through historical lenses. Content Advisory: Antony and Cleopatra is a political drama fueled by intimate relationships. There are battle scenes. If it were a movie, Antony and Cleopatra would be rated “PG-13.” !1 Antony and Cleopatra Table of Contents Introduction p. 3 Enjoying Live Theater p. 3 About the Play p. 6 Plot Summary p. 6 Meet the Characters p. 7 Meet the Playwright p. 8 Historical Context p. 11 Elizabethan Theater p. 11 Activities p. 12 Themes and Discussion p. 17 Bibliography p. 17 !2 Antony and Cleopatra An Introduction Educators: Thank you for taking the time out of your very busy schedule to bring the joy of theatre arts to your classroom. We at Orlando Shakes are well aware of the demands on your time and it is our goal to offer you supplemental information to compliment your curriculum with ease and expediency. What’s New? Lots! First, let me take a moment to introduce our new Children’s Series Coordinator, Brandon Yagel. -
LUCAN's CHARACTERIZATION of CAESAR THROUGH SPEECH By
LUCAN’S CHARACTERIZATION OF CAESAR THROUGH SPEECH by ELIZABETH TALBOT NEELY (Under the Direction of Thomas Biggs) ABSTRACT This thesis examines Caesar’s three extended battle exhortations in Lucan’s Bellum Civile (1.299-351, 5.319-364, 7.250-329) and the speeches that accompany them in an effort to discover patterns in the character’s speech. Lucan did not seem to develop a specific Caesarian style of speech, but he does make an effort to show the changing relationship between the General and his soldiers in the three scenes analyzed. The troops, initially under the spell of madness that pervades the poem, rebel. Caesar, through speech, is able to bring them into line. Caesar caters to the soldiers’ interests and egos and crafts his speeches in order to keep his army working together. INDEX WORDS: Lucan, Caesar, Bellum Civile, Pharsalia, Cohortatio, Battle Exhortation, Latin Literature LUCAN’S CHARACTERIZATION OF CAESAR THROUGH SPEECH by ELIZABETH TALBOT NEELY B.A., The College of Wooster, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2016 © 2016 Elizabeth Talbot Neely All Rights Reserved LUCAN’S CHARACTERIZATION OF CAESAR THROUGH SPEECH by ELIZABETH TALBOT NEELY Major Professor: Thomas Biggs Committee: Christine Albright John Nicholson Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 iv TABLE OF CONTENTS Page CHAPTER 1 INTRODUCTION .........................................................................................................1 -
Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf
Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013). -
Julius+Caesar+Play+Critique.Pdf
"Julius Caesar." Shakespearean Criticism. Ed. Michael L. LaBlanc. Vol. 74. Detroit: Gale, 2003. Literature Resources from Gale. Gale. Cape Cod Regional Technical High School. 4 Jan. 2011 <http://go.galegroup.com/ps/start.do?p=LitRG&u=mlin_s_ccreg>. Title: Julius Caesar Source: Shakespearean Criticism. Ed. Michael L. LaBlanc. Vol. 74. Detroit: Gale, 2003. From Literature Resource Center. Document Type: Work overview, Critical essay Introduction Further Readings about the Topic Introduction Julius Caesar contains elements of both Shakespeare's histories and tragedies, and has been classified as a "problem play" by some scholars. Set in Rome in 44 b.c., the play describes a senatorial conspiracy to murder the emperor Caesar and the political turmoil that ensues in the aftermath of the assassination. The emperor's demise, however, is not the primary concern for critics of Julius Caesar; rather, most critics are interested in the events surrounding the act--the organization of the conspiracy against Caesar and the personal and political repercussions of the murder. Shakespeare's tragedies often feature the death of the titular character at the play's end. Many commentators have noted that Julius Caesar's unusual preempting of this significant event--Caesar is killed less than halfway through the play--diminishes the play's power early in the third act. Scholars are interested in the play's unconventional structure and its treatment of political conflict, as well as Shakespeare's depiction of Rome and the struggles the central characters face in balancing personal ambition, civic duty, and familial obligation. Modern critics also study the numerous social and religious affinities that Shakespeare's Rome shares with Elizabethan England. -
Shame and Betrayal in Shakespeare's Antony and Cleopatra
Kawasaki Journal of Medical Welfare Vol. 26, No. 1, 2020 41-48 Original Paper Shame and Betrayal in Shakespeare’s Antony and Cleopatra Michael KREMENIK*1 (Accepted July 17, 2020) Key words: betrayal, suicide, negotiation, shame Abstract The aim of this paper is to look at how William Shakespeare took the historical information available to him in the story of Mark Antony, Triumvir of Rome, and Cleopatra, Queen of Egypt, and turned it into his tragic play Antony and Cleopatra. Four parts of the play are analyzed: The Battle of Actium, negotiations with Caesar Octavian, the Alexandrian War and Cleopatra’s Suicide. Did Antony know beforehand that Cleopatra and her navy would abandon the Battle of Actium and return to Egypt? In the aftermath of Actium both Cleopatra and Antony negotiated separately with Octavian. What is known about Cleopatra’s willingness to give up on Antony and defect to Octavian’s side? Was Antony really so surprised to see Cleopatra’s navy defect to Octavian? Or was he blindsided and right to feel betrayed by Cleopatra? And why did Cleopatra have a messenger inform Antony that she was dead? Was she afraid of Antony after her navy’s defection? Was she looking for sympathy? Trying to curtail his anger? Or was she hoping that Antony would kill himself and thus give her free reign to negotiate with Octavian as Queen of Egypt and not as Antony’s mistress? All of these questions will be looked at from the point of view of Shakespeare’s tragedy and how he manipulated the historical sources to write his own version of this world famous tragic love story. -
Julius Caesar
DISCOVERY GUIDE 2009 Julius Caesar Directed by Robert Currier Costume Design - Claire Townsend Set Design - Mark Robinson Lighting Design - Ellen Brooks Properties Design - Joel Eis Stage Manager - Allison Ward Producer - Lesley Currier Discovery Guide written by Luis Araquistain www.marinshakespeare.org 415/499-4488 Welcome to the Discovery Guide for Julius Caesar Introduction---------------------------------------------------- Marin Shakespeare Company is thrilled to present Shakespeare’s riveting historical drama, Julius Caesar. As one of Shakespeare’s most notable and often quoted plays (“Et tu, Brute?”), this show makes an intriguing introduction to ‘the Bard’ for students who are new to Shakespeare and an action-packed re-introduction for students already familiar with Shakespeare’s plays. The story is both an exciting adventure, as well as a portrait of political greatness in action, with lessons to teach about ancient Rome and the world today. This DISCOVERY GUIDE will provide you with some background on the play, explanations of characters and plot lines and pre- and post-show activities, exercises and discussion questions for further deepen your theatre-going experience! Let us know if this DISCOVERY GUIDE is helpful ([email protected])! Enjoy! Contents---------------------------------------------------------- PAGE 1 Discover: the origins of the play PAGES 2 - 4 Discover: the characters (including actor headshots) PAGES 4 - 7 Discover: the story of the play (or hear a recording at marinshakespeare.org) PAGE 8 Discover: -
Anatomizing Civil War
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Anatomizing Civil War Anatomizing Civil War Studies in Lucan’s Epic Technique • Martin T. Dinter The University of Michigan Press Ann Arbor Copyright © Martin T. Dinter 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2015 2014 2013 2012 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Dinter, Martin T. Anatomizing Civil War : studies in Lucan’s epic technique / Martin Dinter. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11850- 2 (hardback) — ISBN 978- 0- 472- 02871- 9 (e- book) 1. Lucan, 39– 65. Pharsalia. 2. Lucan, 39– 65— Technique. 3. Epic poetry, Latin— History and criticism. 4. Rome— History— Civil War, 49– 45 B.C.— Literature and the war. I. Title. PA6480.D56 2012 873'.01— dc23 2012042614 parentibus optimis Acknowledgments • With great pleasure I thank the following institutions for their kind and gener- ous support in the course of my research: DAAD, Cusanuswerk— bischöfliche Studienförderung e.V., University of Heidelberg-C ambridge Programme, AHRC, St. John’s College Benefactor Scholarships, The Cambridge European Trust, The Jebb Fund, The Kurt Hahn Trust, The Fondation Hardt. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
English Home Study
HOME STUDY-ENGLISH Spend approximately 40 minutes per day working through the activities in this booklet. You should try to spend at least 20 minutes per day reading something of your own choice You do not need to print the booklet out but you might want to use paper to record your responses. You should work through the activities in the order they appear in the booklet. Monday 1. Vocabulary (5 minutes per day) 2. Develop your knowledge – Shakespeare and his family 3. Check your understanding – Test Yourself Tuesday 1. Vocabulary (5 minutes per day) 2. Develop your knowledge – Context – What influenced Shakespeare’s writing. 3. Check your understanding- Brain Dump Wednesday 1. Vocabulary (5 Minutes per day) 2. Extended Response 1: Complete this task to demonstrate your understanding and return to your teacher via email for feedback. Thursday 1. Vocabulary (5 minutes per day) 2. Develop your knowledge – The Globe Theatre 3. Check your understanding – Test Yourself Friday 1. Vocabulary (5 Minutes per day) 2. Extended Response 2: Complete this task to demonstrate your understanding and return to your teacher via email for feedback. Extension Tasks: A few things you may enjoy doing if you have time. HOME STUDY-ENGLISH FOCUS ON VOCABULARY TASK: Use LOOK, COVER, WRITE, CHECK to learn the following definitions. Word Definition bard A poet; in olden times, a performer who told heroic stories to musical accompaniment brawl a noisy quarrel or fight Courtier a person who attends a royal court as a companion or adviser to the king or queen. Globe -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc.