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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. The problem, I’ve since discovered, was that in trying to find the theme and the character arc, which I thought was buried in the meter and the footnotes, I was ignoring some simple facts, or, rather, I was unaware of them. Until, that is, my first week as a Master’s student studying Shakespeare and Performance, when I finally discovered that I loved the plays. I loved what Shakespeare was doing with all of that stuff. I knew why he wrote them that way. Professor Ralph Alan Cohen opened my eyes to all that iambic pentameter could tell an actor, to what those crazy word arrangements could be clues to in a performance, to the staging information contained in the thees and thous; he addressed all of the terrors I had (not so) bravely faced and fought with over the years. In this guide, we want to take you on that journey, too. We want to bring you and your students from obligatory appreciation to complete enamorment with the situations, characters, and joy Shakespeare created across 38 plays. In the Education Department at the American Shakespeare Center, we have the joy of working side-by-side with some of the best Shakespearean actors on stage today; we are home to a masters program which welcomes the brightest scholars in the field to conferences and as lecturers; and we dwell and play in the world’s only re-creation of Shakespeare’s indoor theatre, the Blackfriars Playhouse. These advantages teach us, daily, the myriad of ways we can make discoveries about characters and staging through a close consideration of clues Shakespeare provides actors in the text and in the playhouse. In this guide, we have taken the exercises that our actors, directors, and dramaturgs use to get a play on its feet, and formatted them for use in your classroom. These activities open a door for inquiry that we designed to guide you and your students on the path to “reading the stage” that I was lucky enough to experience as a graduate student. We are delighted that you have added the American Shakespeare Center’s Study Guide on Julius Caesar to your classroom toolbox. We hope that the lessons and activities that you find in this book will propel you and your students towards a consideration of Shakespeare’s stagecraft as a means to embracing his wordcraft. We expect that you and your students will find new insights by breaking down the long columns of text into playable chunks, chunks that illuminate moments and provide opportunity for the shaping of characters. Shakespeare left many choices to his company of actors for the realization of their characters on stage, so when we see or read his plays, we can find multiple “right” answers for a single moment. We believe that an investigation focused on those choices will both engage your students and create in them a hunger to investigate further. We look forward to seeing you at our Teacher Seminars, our Students Matinees, and all of the other enrichment opportunities ASC offers. Sincerely, Sarah Enloe Director of Education American Shakespeare Center -3- TABLE OF CONTENTS 8 Inside This Guide 13 Shakespeare Timeline 15 Shakespeare's Staging Conditions 16 Stuff That Happens 17 Who's Who 18 Character Connections 19 Discovery Space Questions Basics 20 Getting Students on Their Feet 23 Line Assignments 25 First 100 Lines 28 Choices 34 The Elizabethan Classroom 37 Classroom Diagram 43 Paraphrasing 45 Word Cloud 49 Verse and Prose 52 Handout #1 – Scansion Guidelines and Flowchart 63 R.O.A.D.S. to Rhetoric 74 Handout #2 – R.O.A.D.S. Guidelines 83 Asides and Audience Contact 87 Teacher's Guide – Asides Diagram 88 Handout #3 – Audience Contact Classroom Exploration of Julius Caesar 91 Dramaturg’s Corner – In States Unborn: Using History to Inform Performance 94 Handout #4A – Julius Caesar Family Trees 95 Handout #4B – Dramaturgical Information 98 Handout #5 – 2.2 of Julius Caesar 100 Teacher’s Guide -4- 104 Staging Challenges: Cue Scripts 106 Handouts #6A-M – Cue Scripts for Killing Caesar 114 Teacher’s Guide 127 Perspectives: Honor and Virtue 131 Handouts #7A-D – Scenes for Exploration 136 Staging Challenges: Most Bloody Sight 142 Handout #8A – Bloody Scenes in Julius Caesar 144 Handout #8B – Blood Recipe Flowchart 145 Handout #8C – Stage Blood Recipes 146 Handout #9 – From 3.1 of Julius Caesar 148 Teacher’s Guide 151 Rhetoric and Figures of Speech: The Language of Persuasion 155 Handout #10 – Brutus’s Exoneration 157 Teacher’s Guide – Brutus’s Exoneration with R.O.A.D.S. 159 Teacher’s Guide – Brutus’s Exoneration for Staging 161 Handout #11 – Antony’s Funeral Oration 163 Teacher’s Guide – Antony’s Funeral Oration with R.O.A.D.S. 165 Teachers’ Guide – Antony’s Funeral Oration for Staging 167 Staging Challenges: Controlling the Chaos – Crowds and Audiences 172 Handouts #12A-E – Cue Scripts from 3.2 177 Teacher’s Guide – Antony and the Plebeians 180 Handout #13 – “Tear him for his bad verses” 182 Textual Variants: Piece It Out 184 Perspectives: Historical Sources and Adaptations 188 Handout #14 – Shakespeare’s Sources 191 Handout #15 – Heroes and Villains 192 Handout #16 – From 1.2 of Julius Caesar 194 Teacher’s Guide – Heroes and Villains 197 Dr. Ralph’s ShakesFear Activity: Brutus and the Sick Man 200 Handout #17 – From 2.1 of Julius Caesar 201 Production Choices 201 Casting and Doubling 202 Handout #18: Doubling Chart 204 Cutting the Script 206 Handout #19 – Cutting Guidelines -5- 208 Handout #20 – Line Count Chart 209 Further Exploration: Putting up a Play 201 Handout #21 – Costume Quick Guide 212 Film in the Classroom 215 Core Curriculum Standards 216 Bibliography 218 ASC Education Events, Programs, and Opportunities -6- Secondary Table of Contents For those teachers who prefer to work through a play strictly chronologically, we provide this secondary table of contents. Proceed as usual through the Basics, then: Classroom Exploration of Julius Caesar Act One 146 Handout #9 – From 3.1 of Julius Caesar 167 Staging Challenges: Controlling the Chaos 148 Teacher’s Guide 184 Perspectives: Sources and Adaptations 151 Rhetoric: The Language of Persuasion 191 Handout #15 – Heroes and Villains 155 Handout #10 – Brutus’s Exoneration 192 Handout #16 – From 1.2 of Julius Caesar 157 Teacher’s Guide – Brutus & R.O.A.D.S. 194 Teacher’s Guide – Heroes and Villains 159 Teacher’s Guide – Staging 161 Handout #11 – Antony’s Funeral Oration Act Two 163 Teacher’s Guide – Antony & R.O.A.D.S. 182 Textual Variants: Piece It Out (2.1) 165 Teachers’ Guide –Staging 197 Dr. Ralph’s ShakesFear Activity (2.1) 167 Staging Challenges: Controlling the Chaos 200 Handout #17 – From 2.1 of Julius Caesar 172 Handouts #12A-E – Cue Scripts from 3.2 136 Staging Challenges: Most Bloody Sight 177 Teacher’s Guide – Antony and Plebeians 142 Handout #8A – 2.1, 2.2 180 Handout #13 – “Tear him” (3.3) 144 Handout #8B – Blood Recipe Flowchart 145 Handout #8C – Stage Blood Recipes Act Four 91 Dramaturg’s Corner – In States Unborn 127 Perspectives: Honor and Virtue 94 Handout #4A – Julius Caesar Family Trees 131 Handouts #7A (4.2) 95 Handout #4B – Dramaturgical Information 98 Handout #5 – 2.2 of Julius Caesar Act Five 100 Teacher’s Guide 127 Perspectives: Honor and Virtue 131 Handouts #7B-D – (5.1, 5.3, 5.5) Act Three 136 Staging Challenges: Most Bloody Sight 104 Staging Challenges: Cue Scripts 142 Handout #8A – 5.5 106 Handouts #6A-M – Cue Scripts 3.1 144 Handout #8B – Blood Recipe Flowchart 114 Teacher’s Guide 145 Handout #8C – Stage Blood Recipes 136 Staging Challenges: Most Bloody Sight 142 Handout #8A – 3.1 Cumulative 144 Handout #8B – Blood Recipe Flowchart 184 Perspectives: Sources and Adaptations 145 Handout #8C – Stage Blood Recipes 188 Handout #14 – Shakespeare’s Sources -7- INSIDE THIS GUIDE For teachers and students of Shakespeare’s plays, the American Shakespeare Center’s Blackfriars Playhouse provides a number of instructional insights. Our Study Guides draw on the experiences of actors, directors, and designers, as well as top minds in the field of Shakespeare and students in our Master’s Programs, to give teachers concrete methods for studying the plays.
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