Julius Caesar Summary in English Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Julius Caesar Summary in English Pdf Julius caesar summary in english pdf Continue This article may require cleaning up in accordance with Wikipedia quality standards. The specific problem is: tone/general standards Please help improve this article if you can. (September 2020) (Learn how and when to remove this template message) play William Shakespeare's Ghost caesar mocking Brutus about his imminent defeat. (Edward Scriven's Copper Engraving by Richard Westall: London, 1802.) The tragedy of Julius Caesar (the first name of Folio: The Tragedy of Julius Caesar) is a historical play and tragedy of William Shakespeare, first performed in 1599. It is one of several plays written by Shakespeare based on real events from Roman history, such as Coriolanus and Antony and Cleopatra. Set in Rome in 44 BC, the play depicts Brutus's moral dilemma as he joins a conspiracy led by Cassius to assassinate Julius Caesar to prevent him from becoming the dictator of Rome. After Caesar's death, Rome entered the civil war, and the republic, to preservation, was lost forever. Despite the fact that the play is called Julius Caesar, Brutus speaks more than four times more lines than the title character; and the play's central psychological drama focuses on Brutus's struggle between conflicting demands of honor, patriotism and friendship. Characters Julius Caesar Triumvirs after the death of Caesar Octavia Caesar Mark Antony Lepid conspirators against Caesar Marcus Brutus (Brutus Casca Decimus Brut Sinna Methellus Chimber Trebonius Kaiyu Ligarius Tribune Flavi Marullus Roman Senate Senators Cicero Pub Lyus Popilius Lena Citizens Calpurnia - wife of Caesar Portia - wife Brutus Soothsayer - a man should be able to foresee the future of Artemidor - sophist of Knido Cinna - poet Cobbler Carpenter Poet (believed to be based on Marcus Favonios) - Lucius - accompanying Brutus, faithful to Brutus, and Cassius Volumnius Titinius Young Kato as the brother of Portia Messala as the warrus envoy Cleus Claudius Dardanius Strato LuciliUs Flavius (non-speaking role) Labeo (non-speaking role) Pindarus - Cassius' Bondian Another servant of Caesar Anthony Anthony servant Octavia The Other Soldiers Senators, plebeians, and attendants of the Synopsis Julius Caesarespeare in Styria 2014 , Directed by Nicholas Allen and Roberta Brown the play begins with two grandstands discovering the simplest of Rome celebrating the triumphant return of Julius Caesar from the victory over the sons of his military rival Pompey. Tribune, insulting the crowd for their change of loyalty from Pompey to Caesar, try to put an end to the celebrations and break the simplicity that return insults. During the Luperkal festival, Caesar holds a Victory Parade, and the soothsayer warns him, Beware of the March Eid, which he ignores. Meanwhile, Cassius tries to convince Brutus to join his plot to kill Caesar. While Brutus, friendly to hesitant to kill him, he agrees that Caesar can abuse his power. They then hear from Caschi that Mark Antony offered Caesar the crown of Rome three times, and that each time Caesar abandoned her with growing reluctance, in the hope that the crowd watching the exchange would beg him to accept the crown, but the crowd applauded Caesar for denying the crown, upsetting Caesar, because of his desire to accept the crown. On the eve of the March Eis, the conspirators meet and reveal that they have forged letters of support from the Roman people to tempt Brutus to join. Brutus reads the letters and, after much moral debate, decides to join the conspiracy, thinking that Caesar must be killed to prevent him from doing anything against the people of Rome if he is ever to be crowned. After ignoring the soothsayer, as well as his wife Calpurnia's own forebodings, Caesar goes to the Senate. The conspirators approach him with a fake petition asking on behalf of the exiled brother of Methellus Chimber. As Caesar predictably rejects the petition, Casca and others suddenly strike him; Brutus is the last. At this point Caesar pronounces the famous line Et tu, Brute? (And you, Brutus?, i.e. You too, Brutus?, concluding with Then fall, Caesar! The conspirators clearly say that they committed this murder for the good of Rome, not for their own purposes, and do not try to escape from the scene of the crime. Brutus delivers the speech defending his actions, and for now, the crowd is on his side. However, Mark Antony makes subtle and eloquent speeches over Caesar's corpse, starting with the much-quoted Friends, Romans, countrymen, lend me ears! Thus, he deftly turns public opinion against the murderers, manipulating the emotions of ordinary people, as opposed to the rational tone of Brutus's speech, but there is a method in his rhetorical speech and gestures: he reminds them of the good that Caesar did for Rome, his sympathy for the poor and his rejection of the crown in Luperkale, thus questioning Brutus's claim of Caesar's ambitions; he shows Caesar's bloodied, lifeless body to the crowd to shed tears and receive sympathy for the fallen hero; and he reads Caesar's will, in which every Roman citizen receives 75 drachmas. Antony, even when he declares his intentions against him, wakes up the crowd to drive the conspirators out of Rome. Amid the violence, an innocent poet, Sinna, is confused with the conspirator Lucius Sinna and taken by a mob that kills him for crimes such as his bad poems. Brutus follows Cassius's attack for allegedly fouling a noble act of regicide by receiving bribes. (Didn't the great Julius bleed for justice? / Which villain touch'd his body that did the knife, / And not for justice? his absence in Rome; they are preparing for a civil war against Mark Antony and Caesar's adopted son, Octavia, who formed a triumvirate in Rome with Lepid. That night, Caesar's ghost appears on Brutus with a warning of defeat. (He informs Brutus: You must see me in Filippi. Anthony (George Kuluris) kneels over the body of Brutus (Orson Velez) at the end of the production of the Theatre of Mercury Caesar (1937-1938) During the Battle of Cassius and Brutus, Knowing that they would probably both die, smile at each other's last smiles and hold hands. as Titinia, who is not actually captured, sees Cassius's corpse, he commits suicide. However, Brutus wins this stage of the battle, but his victory is not final. With a heavy heart Brutus fights again the next day. He loses and commits suicide by running on his own sword, which he kept a loyal soldier. The play ends with a tribute to Brutus by Antony, who proclaims that Brutus remained the noblest Roman of all because he was the only conspirator who acted, in his opinion, for the benefit of Rome. There is then a slight hint of friction between Mark Antony and Octavia, who characterizes another of Shakespeare's Roman plays, Antony and Cleopatra. The main source of the play is Thomas North's translation of Plutarch's Life. The deviations from Shakespeare's Plutarch make Caesar's triumph taking place on lupercalia Day (February 15) instead of six months earlier. For dramatic effect, it makes the Capitol the site of Caesar's death, not Curia Pompeii (Curia of Pompeii). Caesar's murder, funeral, Antony's gun, reading of the will and the arrival of Octavius take place on the same day in the play. However, historically the murder took place on March 15 (Ides of March), will be published on March 18, the funeral took place on March 20, and Octavia arrived only in May. Shakespeare forces the Tricumvirs to meet in Rome, not near Bononia, to avoid additional locale. It combines two Philippi battles, although there was a 20-day interval between them. Shakespeare Caesar said Et tu, Brute? (And you, Brutus?) before he dies. Plutarch and Suetonius report that he said nothing to Plutarch, adding that he pulled his toga over his head when he saw Brutus among the conspirators, though Vanity makes a recording of other messages that Caesar said in Greek καὶ σὺ, τέκνον; (Kai Su, technon?, and you, child?) The Latin words Et tu, Brute?, however, were not developed by Shakespeare for this play, as they were attributed to Caesar in earlier Elizabethan works and became common by 1599. Shakespeare strayed from these historical facts to shorten the time and squeeze the facts so that The play could have been made easier. The tragic force condenses into several scenes for an increased effect. The date and text of Julius Caesar's first page, printed in the second folio of 1632, was originally published in the First Folio of 1623, but in September 1599 Thomas Platter the Younger mentioned the play. The play is not mentioned in the list of Shakespeare plays published by Francis Meres in 1598. Based on these two points, as well as on a number of modern allusions, as well as the belief that the play is similar to Hamlet in the lexicon, and Henry V and how you like it in the meter, scientists have proposed 1599 as a likely date. The text Julia Caesar in the First Folio is the only authoritative text of the play. The folio text is of quality and consistency; scientists believe it was set in a type from a theatrical fast book. The play contains many anachronistic elements of the Elizabethan era. Characters mention items such as doublet (large, heavy jackets) that did not exist in ancient Rome. Caesar is mentioned wearing an Elizabethan doublet instead of a Roman toga. At one point the clock is heard strike and Brutus marks it with the Graf clock. Analysis and critique of The Historical Von Maria Wyke wrote that the play reflects the general anxiety of Elizabethan England about the continuity of leadership.
Recommended publications
  • Christina Scherrer
    Christina Scherrer Geboren in Pfarrkirchen im Mühlkreis in Oberösterreich. Schauspielstudium an der Universität für Musik und darstellende Kunst Graz (Mag. Art. 2009). Die vielseitige Schauspielerin ist auch als Sängerin in mehreren Formationen aktiv. Seit 2015 Zusammenarbeit mit Andrej Prozorov & Gründung des Ensembles SCHERRER&PROZOROV. Vertreten durch: Screen Actors Künstlermanagement OG, Geusaugasse 46/1, 1030 Wien, Österreich +43 664 2265650 / [email protected] www.screenactors.at FN49406s PREISE & STIPENDIEN 2016 Stipendium des BKA für die Masterclass „The method of Theodoros Terzopulos“ in Athen 2016 2ter Platz beim deutschen Chanson,- und Liedermacherpreis TROUBADOUR 2013 OÖ Nachwuchskünstlerinnenpreis YOUNGSTAR 2011 Start-Stipendium des BmuKK TALENTE INSTRUMENT Violine, Ukulele, Klavier (GK) DIALEKT Oberösterreichisch, Mühlviertlerisch SPRACHE Deutsch, Englisch (fliessend), Spanisch (GK) KAMPF Schwertkampf bei ROBERTA BROWN SPORT Bühnenakrobatik, Windsurfen, Tischfußball TANZ Tango Argentino, Modern, Standard, Jazz GESANG Klassisch und Jazz bei LILJANA VRBANCIC SPEZIALITÄT Interpretation Kabarettlied, Chanson THEATERPRODUKTIONEN // Auswahl // 2017 WA „Schatten“ / E.Jelinek / Gastspieltournee R: Sabine Mitterecker AUS HEITEREM HIMMEL / B. Strehlau / Kosmostheater Wien R: Bärbel Strehlau ZUSAMMEN IST MAN WENIGER ALLEIN / A. Bechstein / Schlosstheater Traun R: Daniel Pascal 2016 SCHATTEN / Elfriede Jelinek / Premiere: 13. Oktober im F23 Wien R: Sabine Mitterecker MASTERCLASS „The Method of Theodoros Terzopulos“ mit T. Terzopulos
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Shakespeare Seminar
    Shakespeare Seminar Deutsche Shakespeare-Gesellschaft Ausgabe 10 (2012) Believing in Shakespeare: Faith and Doubt on the Elizabethan Stage www.shakespeare-gesellschaft.de/publikationen/seminar/ausgabe2012 Shakespeare Seminar 10 (2012) EDITORS The Shakespeare Seminar is published under the auspices of the Deutsche Shakespeare-Gesellschaft, Weimar, and edited by: Christina Wald, Universität Augsburg, Fachbereich Anglistik und Amerikanistik, Universitätsstr. 10, D-86159 Augsburg ([email protected]) Felix Sprang, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) PUBLICATIONS FREQUENCY Shakespeare Seminar is a free annual online journal. It documents papers presented at the Shakespeare Seminar panel of the spring conferences of the Deutsche Shakespeare-Gesellschaft. It is intended as a publication platform especially for the younger generation of scholars. You can find the current Call for Papers on our website. INTERNATIONAL STANDARD SERIAL NUMBER ISSN1612-8362 © Copyright 2012 Deutsche Shakespeare-Gesellschaft e.V. CONTENTS Introduction Christina Wald and Felix Sprang .................................................................................... 2 King John as Performed Palimpsest Lukas Lammers ............................................................................................................... 3 “Why do I yield to that suggestion”: Crisis of Autonomy and Autonomy as Crisis in Macbeth Jan Mosch ....................................................................................................................
    [Show full text]
  • Freddie Stewart Actor
    Freddie Stewart Actor Agents Olivia Homan Associate Agent [email protected] Gabriella Capisani Actors [email protected] Roles Film Production Character Director Company ALLIED RAF Officer Robert Zemeckis Paramount Pictures BLIND MAN'S DREAM Joe David Abramsky Mojo Pictures MACBETH Malcom Daniel Coll MGB Media Television Production Character Director Company THE ALIENIST Reporter Nick Oldham TNT KISS ME FIRST Kyle/Force Netlifx/Channel 4 HOLBY CITY River Kidd Various BBC NEW WORLDS Robert Charles Martin New Worlds / Channel 4 Stage Production Character Director Company HENRY V King Henry V John Risebero, Ben Antic Disposition Horslen United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company OTHELLO Cassio Bill Buckhurst Shakespeare's Globe PHAEDRA'S LOVE Various Roles Iqbahl Khan RADA SIX PICTURES OF LEE Cocteau/Dave Scherman Edward Kemp RADA MILLER EVERYMAN Ensemble/Musician Martin Oelbermann RADA KING LEAR Edmund Edward Kemp RADA THE GRACE OF MARY Giles/Hardlong Trilby James RADA TRAVERSE THE TEMPEST Trinculo Zoe Waites RADA MIDSUMMER NIGHT'S Bottom Nick Allen Shakespeare in Styria DREAM MACBETH Malcom Daniel Winder Shakespeare in Styria HAMLET Bernardo/Ostrick Daniel Winder Shakespeare in Styria Additional information Accents & Dialects: American-New York, American-Southern States, American-Standard, (* = native) Cockney, East European, Edinburgh, Glasgow, London*, RP*, South African Music & Dance: Choral Singing*, Guitar*, Modern Dance, Piano, Singer-Songwriter, Tenor* (* = highly skilled) Performance: Actor-Musician, Musical Theatre, Physical Theatre, Theatre In Education Sports: Football, Horse-riding, Martial Arts*, Rugby, Stage Combat* (* = highly skilled) Vehicle Licences: Car Driving Licence Other Skills: Devising, Drama Workshop Leader, Improvisation, Photography United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].
    [Show full text]
  • Die Komödie Der Irrungen
    PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION DIE KOMÖDIE DER IRRUNGEN von WILLIAM SHAKESPEARE Shakespeare im Park - Open Air Es spielen: Jürgen HEIGL (Antipholus v. Syrakus & Ephesus) Daniel JEROMA (Dromio v. Syrakus & Ephesus) Dragana WESHMASHINA (Adriana/Lucie) Claudia KOHLMANN (Luciana/Angelo) Christoph J. HIRSCHLER (Solinus/Dr. Zwack) Michael ZWIAUER (Egeon/Kurtisane) Regie & Bühne: Eric LOMAS Kostümbild: Maria KREBS Produktionsleitung: Paul ELSBACHER Eine Produktion von „Shakespeare im Park“ PREMIERE Steiermark: Fr. 22. Juli 2016 Foto von: Hannah Neuhuber, (Beginn: 18.30 Uhr) Abdruck bei Namensnennung honorarfrei Weitere Vorstellung: 23. Juli 2016 (18.30 Uhr) PRESSEFOTODOWNLOAD: BENEDIKTINER STIFT http://www.gamuekl.org (unter "Theater" anklicken) ST. LAMBRECHT A-8813 St. Lambrecht; Hauptstraße 1 Wir ersuchen um Die Vorstellung findet bei jeder Witterung statt. Berichterstattung und stehen in allen weiteren _________________________________________________________________ Fragen, für die Vereinbarung von Interview-Terminen und PREMIERE Wien: Mi. 27. Juli 2016 Reservierung von Pressekarten (Beginn: 19.00 Uhr) gerne unter Tel. 0699-1-913 14 11 Weitere Vorstellungen (19.00 Uhr): oder E-Mail: 28., 29., 30. Juli 2016 [email protected] 2., 3., 4., 5., 6. August 2016 zu Ihrer Verfügung. in den Gärten von Mit freundlichen Grüßen SCHLOSS PÖTZLEINSDORF Gabriele Müller-Klomfar A-1180 Wien; Geymüllergasse 1 Pressebetreuung Bei Schlechtwetter findet die Vorstellung im Festsaal des Schlosses statt Pressebetreuung: GAMUEKL – Gabriele Müller-Klomfar A-1047 Wien; Postfach 17 Mobil: 0699-1-913 14 11; E-Mail: [email protected]; www.gamuekl.org PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION Die Komödie der Irrungen von William Shakespeare IM STIFT ST. LAMBRECHT: Bei Schlechtwetter findet die Vorstellung in der ehemaligen Tischlerei des Stiftes statt. IN WIEN: Bei Schlechtwetter findet die Vorstellung im Festsaal des Schlosses statt.
    [Show full text]
  • Shakespeare by Sophie Chiari
    Shakespeare by Sophie Chiari Performances of William Shakespeare's plays on the European continent date back to his lifetime. Since his death in 1616, the playwright has never stopped dominating European literature. His Complete Works have gone through an incredible number of editions from the 18th century onwards. During the second half of the 18th century, he was translated into French and German. Yet in Southern Europe it was not until the 19th century that spectators became genuinely acquainted with his plays. In the 20th century, artists started to engage with the cultural traditions of Shakespeare in a variety of ways. By the 1980s, the playwright had not only become enrolled in the ranks of postcolonial critique, but he was also part and parcel of a European theatrical avant-garde. In today's Europe, newly created festivals as well as Shakespearean adaptations on screen continue to provide challenging interpretations of his plays. TABLE OF CONTENTS 1. Shakespeare's Immediate Afterlife 2. Shakespeare Lost in 18th-Century Translations 3. Romanticism and Bardolatry in 19th-Century Europe 4. 20th- and 21st-Century Shakespeare: From Politics to Multiculturalism 5. Appendix 1. Translations of Single Works by William Shakespeare 2. Sources and Complete Works Editions 3. Literature 4. Notes Indices Citation Shakespeare's Immediate Afterlife The English author William Shakespeare (1564–1616) (➔ Media Link #ab) wrote poetry (sonnets and narrative poems) as well as 38 plays – 39 if one includes Double Falsehood, that is, Lewis Theobald's (1688–1744) (➔ Media Link #ac) 1727 reconstruction of a lost play, which was based on Miguel de Cervantes Saavedra's (1547–1616) (➔ Media Link #ad) Don Quixote and originally entitled Cardenio.
    [Show full text]
  • Viel Lärm Um Nichts
    PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION VIEL LÄRM UM NICHTS von WILLIAM SHAKESPEARE Shakespeare im Park - Open Air Es spielen: Barbara FRESSNER (Beatrice/Holzapfel) Simon BRADER (Benedikt/Borachio) Christina LAAS (Don Juan/Ursula/Bote) David-Jonas FREI (Don Pedro) Martin SCHRANZ (Leonato) Valerie BAST(Hero/Schlehwein) Miguel CASAS REYES (Claudio) Momo MARESCH (Wache/Äbtissin) Regie & Bühne: Eric LOMAS Regieassistenz: Roberta BROWN Produktion & Kostümbild: Paul ELSBACHER Eine Produktion von Shakespeare in Styria & Shakespeare im Park Foto von: Paul Elsbacher Abdruck bei Namensnennung honorarfrei PREMIERE Steiermark: Fr. 20. Juli 2018 PRESSEFOTODOWNLOAD: (Beginn: 19 Uhr) http://www.gamuekl.org (unter "Theater" anklicken) Weitere Vorstellung (Beginn: 19 Uhr): 21. Juli 2018 Wir ersuchen um im barocken Stifftsgarten vom Berichterstattung BENDEKTINER STIFT ST. LAMBRECHT und stehen in allen weiteren A-8813 St. Lambrecht; Hauptstraße 1 Fragen, für die Vereinbarung von Die Vo Bei Schlechwetter findet die Vorstellung im Pavillon des Stiftgartens statt. Interview-Terminen und Reservierung von Pressekarten gerne unter Tel. 0699-1-913 14 11 PREMIERE Wien: Di. 24. Juli 2018 oder E-Mail: (Beginn: 19 Uhr) [email protected] zu Ihrer Verfügung. Weitere Vorstellungen (Beginn: 19 Uhr): 25., 26., 27., 28., 31. Juli 2018 1., 2., 3., 4., 7., 8., 9., 10., 11., 16., 17. August 2018 Mit freundlichen Grüßen Gabriele Müller-Klomfar in den Gärten von Pressebetreuung SCHLOSS PÖTZLEINSDORF A-1180 Wien; Geymüllergasse 1 Bei Schlechwetter findet die Vorstellung im Festsaal des Schlosses statt. Pressebetreuung: GAMUEKL – Gabriele Müller-Klomfar !!! Achtung, neue Adresse!!!: A-1047 Wien; Postfach 17 Mobil: 0699-1-913 14 11; E-Mail: [email protected] PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION+++PRESSEINFORMATION Viel Lärm um Nichts von William Shakespeare Bei Schlechtwetter finden die Vorstellungen in St.
    [Show full text]
  • Shakespeare in Styria
    ISSN 1649-8526 Volume 2013 · Issue 2 http://scenario.ucc.ie Shakespeare in Styria Sean Aita Abstract This paper offers a professional theatre practitioner’s reflections on dir- ecting learners between ages of 16 and 21, and whose first language is not English, in a production of Shakespeare’s Twelfth Night in Murau, Austria, in July 2011. Drawing on links between the theatrical rehearsal and production process and John Biggs’ 3P learning model the author argues in support of performative approaches to L2 study. Suggesting that Shakespeare’s dramaturgy provides uniquely rich and varied ped- agogical resources for the L2 learner, the paper presents a case for the use of theatrical performance by students as an element of ESL study. 1 Introduction The production and performance of Shakespeare’s plays within multicultural and multilingual contexts is by no means a new concept, and the resultant hybridity of forms have been widely discussed in a range of forums. Productions which either meld performance techniques from different cultures or use a mixture of languages to add new resonances to familiar narratives have become familiar1 to audiences around the world. However, few intercultural projects risk the challenge of expecting participants whose first language is not English, to learn and perform the text in its original form. Yetthis is precisely the problem that English theatre director Nicholas Allen and Austrian designer Rudolph Wojta set themselves by founding European Shakespeare Days – Shakespeare in Styria (SIS) in 2002. Their intention was to “. bring together young actors, acting students and school leavers who intend to make theatre their career for two weeks during July each year in Murau, a tiny but beautiful medieval town tucked away in the heart of the Styrian Alps of Austria” (SIS website, see European Shakespeare Days), and then to have them rehearse and perform in a full-length play by William Shakespeare.
    [Show full text]