The 2015 Linny Fowler WillPower Tour

STUDY GUIDE

Pennsylvania Shakespeare Festival’s production is part of Shakespeare in American Communities, a

national program of the National Endowment for the Arts in partnership with Arts Midwest.

The National Endowment for the Arts in

partnership with Arts Midwest presents

Shakespeare in American Communities. The

Pennsylvania Shakespeare Festival is one of

40 professional theater companies selected

to participate in Shakespeare in American

Communities, bringing the finest productions

of Shakespeare to middle- and high-school

students across the United States. This is the

13th year of this national program, the largest

tour of Shakespeare in the United States.

The Linny Fowler WillPower Tour is

made possible through a generous gift

from:

Beall and Marlene “Linny” Fowler

And these generous supporters:

Anonymous

Jaqueline Brown

in honor of Mr. William B. D’Alton Sr.

Lee and Dolly Butz

Capital Blue Cross

The Century Fund

Tom and Gayle Cichocki

Crayola

DeSales University

Donald DuPont

Embassy Bank

Gadomski Foundation

K12 Systems

John Kennedy

in memory of Paul Marsters

Anne and Bruce Lawrence

Mr. and Mrs. Dean and Wendy Macinskas

Roseann Paciotti

in honor of John and Aurelia Stella

The Pennsylvania Council on the Arts

Michael and Christine Perrucci

Brenda Shahpari-Azar

in memory of Asghar Shahpari-Azar

Shakespeare in American Communities

Sara Ann Thomas

Wells Fargo Bank, N.A.

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Our performance of Julius Caesar is designed to

energize and inspire your students- instilling a

greater understanding and appreciation of

theater, Shakespeare, and language, both

spoken and written. The post-show discussion

allows students to directly connect with the

actor-teachers. For schools that have

contracted for the full day program, workshops

provide students with activities which illuminate

the vitality of Shakespeare’s words and

characters in a highly engaging experience.

This study guide gives you information and

activities specific to this production of Julius

Caesar which is designed to give young people a

fresh view on a classic work. There is also

information and resources on Shakespeare’s life

language, and theater. We will bring all our skill,

passion, and artistry to the task. We hope you

and your students enjoy, and will be filled with,

WillPower!

PREPARING STUDENTS

What Can We Do to Prepare? 5

Synopsis of the Play 6

Characters in Julius Caesar 7

WillPower Actors 8

WILLIAM SHAKESPEARE

Who Was This Guy? 10

Shakespeare’s England 11

Shakespeare’s Theater 13

Shakespeare Timeline 14

Shakespeare’s Language 15

Shakespeare’s Inspiration 16

Shakespeare Inspires 17

The Play in Performance 18

Historical Accuracy & Anachronisms 19

Julius Caesar: A Historical Timeline 20

Roman Government 21

Quotes: On Shakespeare 22

CLASSROOM EXERCISES

Before Reading Julius Caesar 23

While Reading Julius Caesar 24

After Reading Julius Caesar 25

After Seeing Julius Caesar 26

More Activities Before Reading 27

More Activities While Reading 29

The Day of the Play 31

Essay & Discussion Questions 32

REFLECTION WORKSHEET 33

CHARACTER QUIZ 34

OPPORTUNITIES AT PSF 35

SHAKESPEARE COMPETITION 36

ACADEMIC STANDARDS 37

SOURCES & RESOURCES 38

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What can we do in class to prepare?

Read the synopsis.

We know time is tight in the classroom and your students may not have the opportunity to read the

whole play. That’s okay, but do give them a sense of the story. The experience of seeing the play will

not be spoiled by knowing the end; it will only be enhanced. Shakespeare’s plays are driven by language

and character. If we know the plot ahead of time, there is no worrying about following the events and

we are able to enjoy Shakespeare’s language and the journey of the play. Our synopsis is on page 6.

Get to know the characters.

Shakespeare liked to create large casts of characters. The people in his plays are as detailed and diverse

as the people in our world. As their names can be unusual, it is helpful to review who is who and what

they do before the play begins. Just like in Shakespeare’s day, our WillPower actors play multiple roles.

Take a look at page 8 to find out how we perform Julius Caesar with only nine actors!

Introduce the language.

Try thinking about Shakespeare’s language as 400 years younger than the English we speak today. It is

more vibrant, imaginative, and full of passion and power. This is the element that creates the wild ride

of a Shakespearean play.

At first, our modern ear can be overwhelmed by the richness and complexity of the text. If you listen

closely and give yourself a few minutes to adjust, the language will begin to reveal its exceptional

beauty. Try the classroom activity on page 27 and 28 as a warm-up.

Play your part.

Remind your students that the performance happens in real time and they have a very important role

to play. The actors will often be looking at and speaking directly to the audience as an acting partner

and looking for a response. We invite students to participate as an engaged and supportive audience.

When the audience is attentive and responsive, they share in the creation of magical theater moments.

Live theatre is not the same experience as going to the movies or watching TV at home. In the same

way, noises and distracting behavior will have a negative impact on the actors’ concentration and

performance, and affect the experience of the other spectators. Audience members should not talk to

each other, unwrap candy or other food, search through a purse or backpack; they should also shut off

wristwatch alarms and cellphones. Texting distracts those around you from the live event and you

might miss the kiss, a bawdy joke, or an inspiring moment. Don’t check out! Remember that actors

can see and hear the audience.

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Act 1 “Beware the ides of March.”

Julius Caesar returns to Rome after fighting a long civil war with his fellow consul-turned-enemy,

Pompey. The whole city is there to celebrate Caesar’s victory…or so it seems. From the crowd

emerges a soothsayer, who warns Caesar to “beware the ides of March”, referring to March 15th in the

Roman calendar, and meaning that Caesar’s time of reckoning will come on that day. Caesar decides to

ignore the warning. Cassius, a Roman senator, begins to plot against Caesar, fearing Caesar will hold

too much power over the people. Cassius attempts to convince Brutus, another senator and Caesar’s close friend, that Caesar will become a tyrant. Cassius, when alone, reveals to the audience that he

believes Brutus is easily manipulated, and instructs a politician named Casca to help him write forged

letters to Brutus, further urging him to turn against the emperor.

Act 2 “Cowards die many times before their death; The valiant never taste of death but once.”

After much convincing, Brutus agrees that Caesar must be killed in order to save Rome from tyranny.

The conspirators, led by Cassius, convene at Brutus’ house in the dark of night to confirm alliances and

establish a plan for assassination. Portia, Brutus’ wife, is wary of her husband keeping secrets from her.

Meanwhile, Caesar’s wife Calpurnia has been having horrible nightmares that predict her husband’s death.

On March 15th, she begs Caesar not to go to the Senate, but he refuses to listen to her pleas.

Act 3 “Et tu, Brute?”

With everyone convened at the Senate, the conspirators put their plan into action. Caesar’s ally Mark

Antony is lured away and in his absence the conspirators surround Caesar and brutally stab him to

death. After Caesar is killed, Mark Antony privately vows revenge for the death of his friend. The city

holds a grand funeral for Caesar, and both Brutus and Antony come to speak to the Roman people.

Brutus speaks first, and attempts to convince the crowd that Caesar deserved to die. Antony’s speech

quickly turns the crowd against the conspirators, and an angry mob chases them out of the city, leaving

Antony free to inherit Caesar’s power.

Act 4 “There is a tide in the affairs of men, which, taken at the flood, leads on to fortune…”

Antony sends troops against Brutus and Cassius, who are now outside the cities with their armies.

Tensions erupt between Brutus and Cassius in the military camp, and they get into a heated argument.

It is only when Cassius offers his life as proof of his loyalty the two are able to forgive each other.

Meanwhile, Brutus’ wife Portia has killed herself. Caesar’s ghost appears to Brutus, and informs him

that they will meet again at Philippi -- the field where they will face Antony’s army in battle.

Act 5 “This was the noblest Roman of them all.”

The two sides finally meet on the battlefield. After receiving a false military report that predicts a

terrible fate for his troops, Cassius orders his servant to kill him. Brutus remains fighting, but is

ultimately overcome by Antony’s army in a second battle. Defeated, Brutus asks one of his soldiers to

hold his sword as he runs into the blade, ending his life. In the chaos, Antony finds Brutus’ body and,

proclaiming him in the end to be a noble man, prepares to give him an honorable burial.

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The characters in our play

All names in UPPER CASE refer to the names that the characters are addressed as in the play

Julius CAESAR- a military hero, named dictator of Rome

CONSPIRATORS AGAINST CAESAR

Marcus BRUTUS- praetor of Rome, reluctantly joins plot against Caesar

Caius CASSIUS- instigator of the plot against Caesar

DECIUS Brutus- persuades Caesar to visit the Senate, despite warnings against it

CASCA- first to stab Caesar

METELLUS Cimber

TREBONIUS

TRIUMVIRS OF ROME (after Caesar’s death)

OCTAVIUS Caesar- claims to be Caesar’s heir, causing tensions with Antony

Mark ANTONY- Caesar’s most loyal follower, but nonetheless power hungry and manipulative

LEPIDUS- has the least power out of the three triumvirs

HOUSEHOLDS

CALPHURNIA- wife of Caesar

PORTIA- wife of Brutus

LUCIUS- personal servant to Brutus

TRIBUNES OF THE PEOPLE

MARULLUS

FLAVIUS

OTHERS

A SOOTHSAYER-warns Caesar to “beware the Ides of March”

ARTEMIORUS-attempts to warn Caesar of the plot against him

Members of the Army

both oppose Caesar’s rule

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Peter Danelski (Maurellus/Octavius/Metellus Cimber) Peter is very grateful

to be a part of this year’s WillPower Tour. He is a graduate of DeSales

University. He studied for his master’s at Trinity College Dublin. During his time in

Ireland, he remained active within Trinity’s Dublin Players as well as the Lir National

Academy. He has also spent several seasons with PSF. His past festival credits

including The Two Gentleman of Verona, Henry VIII, The Two Noble Kinsmen, among

others. Love to Rosebud.

Arlen Hancock (Cassius) is stoked to make his Pennsylvania Shakespeare Festival

debut and to share this play with you today! Arlen is a Philadelphia based actor with

a BFA in acting from The University of the Arts. Prior to college he spent four years

training at the Norfolk Governor's School for the Arts. Recent credits include The

Tempest (Commonwealth Classics), Midsummer (Philly Shakes Co.) and Hamlet (Rev

Theater). For more info visit www.arlenhancockactor.com. As always, for his sister

Rachel.

Alexander Korman (Marc Antony) most recently performed in Henry VIII (Sir

Thomas Lovell) at The Shakespeare Theatre of New Jersey. Past credits include The

Tempest (Ferdinand) at Olney Theatre Center; Macbeth, The Comedy of Errors and a

new adaptation of Homer's Odyssey with the National Players, a country-wide

classical touring company. He has performed off-Broadway in Extant Arts'

production of Richard III (Richmond) and As You Like It (Oliver) at Inwood

Shakespeare Festival. He is a graduate of Colgate University.

Dorbens R. Lemma (Brutus) was born in Haiti and raised in Florida. Dorbens is

a graduate of the American Musical and Dramatic Academy. Theatre credits include:

Black Wall Street, Shadows the Musical, Sweating Bullets, Julius Caesar, Adam and Eve

and Josephine. He has co-created workshops and showcases and plans to revisit the

movement of creative collaboration and encouraging more artists to create their

own work as he aspires to continue doing. He is also incredibly excited to be a part

of this production of Julius Caesar with the Pennsylvania Shakespeare Festival!

James Miller (Casca) is a Colorado born actor, currently in a nomadic state

around New York City. This will be his first time working with the Pennsylvania

Shakespeare Festival, and his recent work includes Bottom in The Bloomsburg

Theater Ensemble's school tour of A Midsummer Night's Dream, and multiple roles in

New York City in plays with names too astonishingly long to fit into a small bio. He

is very excited to be on the road spreading the word of the bard once again.

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Annabelle Rollison (Decius/Cinna/Citizen) is thrilled to be making her

professional debut with Pennsylvania Shakespeare Festival’s WillPower Tour! She

was born and raised in California, and earned her BFA in Acting from UC Santa

Barbara in 2010. She is also a proud member of NYU Graduate Acting, class of 2013,

and an alum of the British American Drama Academy’s 2009 summer intensive. She would like to ask that you please not tear her to pieces, as she is only a poet.

Simone Stadler (Portia/Flavius/Lucius/Citizen) is a New York-based actor,

originally from Portland, OR. She is very excited to be making her PSF debut with

Julius Caesar. Past credits include A Midsummer Night's Dream (Brooklyn

One), Laughter After Midnight (Theater for the New City), Romeo and Juliet (Brooklyn

One), Twelfth Night: A Radio Play (Anthology Podcast), The Last Days of Judas Iscariot (Beloit Independent Theater Experience), A Streetcar Named Desire (Beloit

College) and The Tempest, where she got to exercise her skills in aerial acrobatics.

Alex Thompson (Julius Caesar) is a recent graduate of Syracuse University.

Recent credits include The Heart’s Impatience (Stephan Zweig), Parade (Newt Lee),

Speed-the-Plow (Bobby Gould), Cole (Ensemble), and Merrily We Roll Along (Jerome).

Alex’s additional credits include As You Like It, Richmond in Richard III, and Exton in

Richard II performed at the Shakespeare Theater of New Jersey.

Aurea Tomeski (Calphurnia/Soothsayer/Lepidus) performed most recently in

STNJ’s LIVE! tour of Midsummer as Titania/Hippolyta. NY credits include: world

premiere of Dead Special Crabs at The Barrow Group (Wide Eyed Productions),

Women and Wallace (Box Colony Theatre), Tapefaces (Ars Nova), Crimes of the Heart

(Kraine Theatre). Regional: Macbeth, Romeo and Juliet (California Shakespeare Company), Oliver Twist (A Noise Within), Entropy General (Alive Theatre), History of

the Devil (Garage Theatre). Aurea is a graduate of The New School for Drama MFA

program and proud member of Wide Eyed productions. www.aureatomeski.com

Karyn Bohli (Production Stage Manager) recently graduated from DeSales

University with her Bachelor’s Degree in Theatrical Design and Production. Previous

production stage management credits include Little Women, The Music Man, The Trial

of Ebenezer Scrooge (DeSales University), Cinderella, Beauty and the Beast (PSF). Other

Credits: Assistant stage manager for PSF’s Sweeney Todd, The Importance of Being Earnest, Measure for Measure, Lend Me A Tenor, Macbeth, and Around the World in 80

Days. Love and thanks to her family and friends.

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Our knowledge of William Shakespeare’s life is pieced

together from limited primary sources for information:

his own works, various legal and church documents, and

references to him, his plays, and his genius in third-party

letters. Here’s what we do know:

William Shakespeare was born in Stratford-upon-Avon

on or about April 23, 1564. Records from Holy Trinity

Church tell us he was baptized there on April 26, 1564.

His father was John Shakespeare, a glove-maker, and his

mother was Mary Arden, a land-owning heiress. William

was the third of eight children, three of whom died in

childhood. His father was fairly successful and was an

alderman and a high-bailiff (mayor) of Stratford.

It is assumed that he went to the free grammar school in Stratford, which was considered an excellent

school. It seems certain that Shakespeare never went on to University.

The next documented event is Shakespeare’s marriage to Anne Hathaway on November 28, 1582.

They had three children: a daughter, Susanna, and twins, Hamnet and Judith. Hamnet died at age 11.

We lose track of Shakespeare for the next seven years. There are rumors that he was fond of

poaching and had to flee Stratford after an incident with one of the gentry there. He began to make a

name for himself in London by 1592, possibly earlier, as both an actor and a playwright. Unfortunately,

the plague forced the closing of the theaters in 1592. By 1594 the plague had abated, and Shakespeare

was acting, writing, and performing the duties of a managing partner for the Lord Chamberlain’s Men.

This was a popular company, enjoyed by the commoners as well as royalty. It was around this time that

Shakespeare and company made plans for the Globe Theater. The Globe was to be across the river

from London, and was built around 1599. In total, Shakespeare wrote 37 plays that have survived (or

38, depending on the point of view of the particular

scholar) and numerous sonnets and poems.

April 23, 1616 is the day that marks Shakespeare’s death

(the same as his birthday!) though we are uncertain of that

date’s precision. We do know he was buried in Stratford,

with services at the Holy Trinity Church on April 25, 1616.

In his infamous will, he left his properties to his daughter

Susanna, and to his wife his “second best bed.”

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Elizabeth I was one of the most popular and

longest-reigning monarchs in English history

(1558-1603). Images of her curly red hair and

her reputation for possessing a shrewd political

mind are well-known through books, movies,

and works of art. Elizabethan England was a time

of great literary and artistic flowering, as well as

royal turmoil and global conquest.

Elizabeth I presided over a country rocked by

nearly a century of religious upheaval. The

country had endured radical ideological shifts,

accompanied by public persecutions, as each

new monarch took the throne. Elizabeth was the

daughter of Anne Boleyn and the infamous

Henry VIII of England. She became Queen of

England at age 25 after her half-brother and half-

sister had each briefly reigned and died. Her

sister Mary’s reign had been particularly brutal

and violent.

Nonetheless, the age of Shakespeare was a great

time in English history. The reign of Elizabeth

saw England emerge as the leading naval and

commercial power of the Western world with

the defeat of the Spanish Armada in 1588, and

she firmly established the Church of England

(begun by her father, Henry VIII, after a dispute

with the Pope.)

At this time, London was the heart of England,

reflecting all the vibrant qualities of the

Elizabethan age. Its dramatists and poets were

among leading literary artists of the day.

London’s population grew 400%, swelling to

nearly two hundred thousand people in the city

proper and outlying region by the time a young

man named Shakespeare came to town.

During the Elizabethan period, table manners

were very different than they are now. Even

noble people would throw bones on the floor

when they were finished, and forks were a rarity

at any table. Bread and meat were the two most

important staples on the English diet. They also

enjoyed a lot of wine and cheese but ate very

few fruits and vegetables.

This poorly balanced diet was one cause of the

many illnesses that swept through Elizabethan

England. Sicknesses resulted from malnutrition

and improper cooking habits. Also, smallpox and

syphilis were common afflictions passed from

person to person. But the major cause of death

during Elizabethan England was the plague

known as the Black Death, which flooded all of

Europe. It was carried by rats living in the

streets. People used herbal remedies for many

ailments, but unfortunately, only the very rich

were able to afford doctors or apothecaries.

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The fashions of both men and women were

extravagant and complicated. Men and women

alike were very hair-conscious; they spent a lot

of time and money getting their hair dyed red or

blonde (the most fashionable colors.) Men would

trim and style their beards, and women wore

their hair in combs, nets, or jeweled pins. At the

time, a high forehead was considered very

attractive, so women would pluck the hair from

their front hairlines. Both sexes wore wigs,

especially when they lost their own hair or if it

turned gray.

In terms of clothing, women wore very long

dresses that dragged on the ground, and their

bodices were very tightly-laced and came to a

point at the waist. The sleeves were puffy around

the shoulders and tight around the lower arms.

Very large ruffles around the neck were popular

with both men and women, and were

considered a status symbol for the upper classes.

Men wore shorter breeches or pants with

brightly colored stockings underneath to show

off their calves. Large, ornate jewels were worn

by both sexes, and were often so heavy that it

made dancing difficult.

In addition to attending public theatres, the

Elizabethan people engaged in sports: soccer,

swimming, fishing, bowling, wrestling, and tennis.

The people of a town would also gather together

on holidays for huge parties and festivals,

particularly on All Hallow’s Eve (Halloween) and

the Twelfth Night of Christmas.

One rather morbid pastime of Elizabethan

England was watching the public punishments of

criminals. In many towns, the stocks were

permanent fixtures where felons would be

locked into place for mockery and torment by

the townspeople. Public executions were also

well attended. Bear-baiting and cock fighting

were other popular and gruesome sports.

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In Renaissance England, theater was an important part of

everyday life. Public theaters were built in and around the city of

London and were open to all. The most expensive seats were in

the balconies but the cheapest admission charge was for the

“groundlings,” the people who stood on the ground in front of

the stage.

In 1599 the Globe opened. It was an open-air polygonal

amphitheater with many levels and could seat up to 3,000

people. The stage area was a large platform that jutted out from

the building and allowed for the audience to surround it on

three sides. There was no curtain in front of the stage. A

curtained area at the back of the stage could be opened to

reveal another room, or some kind of surprise. Above this area was a balcony. This would be a place

for kings to address the masses or perhaps for Juliet to talk to Romeo. Below the stage was a trap

door that was used for special effects (Shakespeare was very fond of ghosts!) Behind the stage was the

“tiring house,” a place where actors changed costumes and could rest between scenes.

This open-air theater was dependent on natural lighting and good weather. Costumes and props

(guillotines, ladders, crowns, etc.) may have been extravagant in some cases. The set did not change

from show to show. When the play was to shift location, spoken lines set the scene (“How dark is this

night!”) They did use music and sound effects such as cannons and drums. Many plays also had songs.

Men played all of the roles- In Shakespeare’s day, females were not allowed on the stage (until

after 1660). Now, women often step into roles originally intended for men. Shakespeare trusted the

audience’s imagination, and so do we.

Actors played many parts- At the Globe, an actor might have played seven parts in a single play!

Our actors also double up. It is fun for them and the audience to see them play multiple roles.

One fixed set- Like Shakespeare’s company, WillPower uses a few pieces of scenery, such as

benches and thrones, to imply a new location, but mostly we trust the descriptive language to

change the scene.

No lighting design- As with the set, the lighting did not change with each scene (unless the sun

went behind a cloud!)

No intermission- Shakespeare often didn’t have an intermission, and neither do we.

Shakespeare used music- Unfortunately, we can’t bring live musicians on tour like the ones who

performed at the Globe. But we do use recorded music to create moods and help tell the story.

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1564 William Shakespeare and Galileo are born.

1565 Pencils are first manufactured in England.

1567 Two comedies are performed at a Spanish mission in Tequesta, Florida

1576 The first playhouse in England is run by James Burbage.

1588 Spanish Armada is battered by the English

1590 Henry VI, Part 1 becomes William Shakespeare's first play to open onstage.

1595 Shakespeare writes Romeo and Juliet.

1596 Shakespeare's A Midsummer Night's Dream is completed.

1599 The Globe Theatre is built. Shakespeare writes and Much Ado About Nothing.

1600 Shakespeare writes Hamlet.

1603 James VI of Scotland rises to the English throne after the death of Elizabeth I, uniting England and Scotland

under one crown and takes the new name, James I.

1605 Miguel de Cervantes publishes Don Quixote.

1605-6 Shakespeare writes Othello, King Lear, and Macbeth.

1607 Jamestown, Virginia is founded.

1609 Johannes Kepler establishes that the planets move in an elliptical path around the sun; Galileo builds his

first telescope.

1611 The King James Bible is published.

1614 English settler John Rolfe marries Pocahontas, the daughter of a Native American chief.

1616 William Shakespeare and Miguel de Cervantes both die.

1623 Publication of the First Folio.

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The English language and vocabulary were expanding rapidly in Renaissance and Elizabethan England.

Several factors contributed to this:

Scientific progress

Rediscovery and publication of classical texts

Prized social skills to offer stirring praise or stinging insults

Interest in foreign languages

Publication of The King James Bible (1611) – approximately 8,000 different words.

An average person might make use of 17,000 words in a lifetime.

Shakespeare used more than 34,000.

It has been said that Shakespeare invented, or was the first to commit to print, 1,700 words in writing

his plays, sonnets, and long poems.

Here are some words and phrases that first appeared in print

in Shakespeare’s plays:

Alligator Castigate Manager full circle Critical Gnarled Puke Equivocal Jaded dead as a door-nail Gloomy Mimic Impede Auspicious

too much of a good thing Leapfrog Dauntless Obscene Rumination

Torture Frugal Eyeball Petition elbow-room Rancorous Unmitigated

all that glisters is not gold Eyesore good riddance Reinforcement Luggage

Pedant Majestic Worthless sorry sight Hoodwinked Lonely Zany

Outbreak heart of gold Divest Mountaineer Laughing stock

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As the title suggests, the story of Julius Caesar is pulled

directly from the pages of Roman history. Though it is

categorized as a tragedy instead of a history play in

Shakespeare’s canon, Julius Caesar is a reasonably accurate

account of events that happened in Rome around 44 B.C.

The people that Shakespeare wrote about were real, and the

story he tells is an important part of ancient history.

Shakespeare’s main source for Julius Caesar was a

Roman bibliographic collection by Plutarch called Lives of the

Noble Greeks and Romans. Plutarch was an ancient historian

who chronicled the lives of important figures in history, and

his biographies would have been extremely accurate

descriptions of the lives of Julius Caesar, Marcus Brutus, and

Mark Antony. There were other potential sources for the

work, such as a biography about Caesar written by John

Higgins called A Mirror for Magistrates, a philosophical poem

called Nosce Teipsum (Know Thyself) by John Davies, and

multiple works by the biographer Cicero.

Shakespeare’s source for Caesar’s famous line, “Et tu, Brute?” (or, “And you, Brutus?”) is

uncertain. The line is not referenced in ancient Latin sources by Plutarch or Cicero, and Shakespeare

did not create the line himself. It is speculated that the line had become popular in other theatrical

accounts of Julius Caesar written in the 1500s, and that Shakespeare may have simply taken this line

from these previous plays. However, Shakespeare’s version of Julius Caesar remains the most popular,

well known, and remembered adaptation of Caesar’s life known to date.

Julius Caesar, a play full of political drama, moral ambiguity, and the hunger for power, was

written as a response to the world Shakespeare was living in. When Shakespeare wrote about the

historical events of Julius Caesar’s lifetime, he was echoing the worry that many people in Elizabethan

England felt towards the end of Queen Elizabeth’s reign. Queen Elizabeth, the stalwart virgin queen,

had yet to produce or name an heir to the throne, which could leave England in political turmoil if she

passed away suddenly. The people of England feared that a civil war, much like the one that occurred

after Caesar’s assassination, would plague England when Elizabeth died. This mood of fear and

uncertainty is present in the play’s text, and the people attending its first performances would have

related to the themes and issues facing the characters in the play due to Caesar’s death. In this way,

the play was both an accurate historical drama and a pivotal political piece.

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Artists have always been interested in reinventing Shakespeare. They are as inspired by him as

he was by the artists who came before him. Since the original production of Julius Caesar back in the

1500s, the story has been interpreted and re-imagined in numerous ways.

For film makers, the story of the assassination of Caesar has always been intriguing, and since

the 1950s quite a few notable film adaptations were made, including the 1953 movie that starred

Marlon Brando (Vito Corleone in The Godfather) as Mark Antony. Julius Caesar has even appeared in

music, with German composer Robert Schumann writing a concert overture entitled Julius Caesar in

1851. Other composers have adapted it as well, such as the Italian Giovanni Bononcini and the

Czechoslovakian Josef Bohuslav Foerster.

The first known instances of parody productions of Julius Caesar began in the 1950s. In 1958 a

Canadian comedy duo Wayne and Shuster performed a sketch called, “Rinse the Blood off My Toga,”

and it was shown on the popular variety hour TV program, The Ed Sullivan Show. More recently, a

comedy team from Australia produced Dead Caesar, a comedy musical, in 2006. More serious

adaptations include the 1960 film An Honorable Murder, and the 1973 television movie Hiel Caesar

produced by the BBC, which was meant to make the play accessible for young children. This version

was later adapted into a play.

The popular young adult series The Hunger Games is particularly influenced both by Roman

history and Shakespeare. The references to the world in which Julius Caesar lived appear over and

over again within the pages of all three novels, beginning with the name of the county, Panem. This

name comes from the Roman “panem et circenses” which means bread and circuses, referencing a

tradition where the Roman leaders would distract the citizens from ongoing turmoil by giving them

food and lavish spectacles, much like the Capitol does in the Hunger Games. The names of the

characters in the book also appear in Julius Caesar, for example, Katniss’ stylist’s name is Cinna, just like

the poet who is killed in Julius Caesar, and a member of Katniss’ prep team, Flavius, is named after a

tribune who opposes Caesar in the play. Even the names Caesar and Brutus are found within the

books, first with the Capitol reporter Caesar Flickerman, who acts arrogant and godlike, and Brutus, a

District 2 victor in the Games. This does not even begin to cover the other references from Roman

history, such as a character named Romulus Thread, who is named for the founder of the city of

Rome, or Plutarch Heavensbee, named for a famous Roman author.

There are many lines from the prose in Julius Caesar that have inspired artistic endeavors in

modern generations. Mark Antony’s line “The evil that men do lives after them; The good is oft

interred with their bones,” is referenced both in an Iron Maiden song and a Buffy the Vampire Slayer

novel. In the book Fahrenheit 451 by Ray Bradbury, Brutus’ line, “There is no terror, Cassius, in your

threats, for I am armed so strong in honesty that they pass me as an idle wind, which I respect not!” is

uttered as some of a character’s last words. The wildly successful young adult novel and film The Fault

in Our Stars is derives its name from Cassius’ line, "the fault, dear Brutus, lies not in our stars, but in

ourselves." This line was also quoted in the movie Intolerable Cruelty by the character Miles Massey,

played by George Clooney (Danny Ocean in Ocean’s Eleven, and Matt Kowalski in Gravity).

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18

Julius Caesar is most likely one of the first plays to have been performed at the Globe, with the

first written record of its performance in 1599. After Shakespeare’s original productions of the play, it

was performed again in the 17th and 18th centuries, but unlike other Shakespearian plays, it was rarely

adapted outside of its original form.

In the year 1864, John Wilkes Booth, a well-known actor

who would end up assassinating President Abraham Lincoln, played

Mark Antony in a benefit performance of Julius Caesar alongside his

brothers Edwin and Junius, who played Brutus and Cassius.

Ironically, it is said that when he shot President Lincoln, he shouted

“Sic semper tyrannis,” or, “death to tyrants”, which is what Brutus

says to Caesar as when he stabs him. A large scale production of

Julius Caesar was staged in 1916 in the Beachwood Canyon in

Hollywood, California. The large natural bowl of the canyon was

used to stage huge, elaborate battle sequences. In a similar manner,

in 1926 a production was launched at the Hollywood Bowl mainly

to give jobs to unemployed actors. The production was massive

and featured a stage the size of a city block and a cast of more than

three thousand people. Orson Welles produced Julius Caesar in

1937 and revised and embellished the script. The characters were

dressed in uniforms similar to those of Nazi Germany and Fascist

Italy, drawing very clear parallels between the reign of Caesar and those of Hitler and Mussolini. He

also cut the script down quite a bit, added lines from other plays, and reduced Act 2 to a single scene.

The production was widely popular and toured the country in 1938.

Julius Caesar has appeared in modern performances as well, often updating the setting to appeal

to a contemporary audience. In 1984, the Riverside Shakespeare Company put on a production called,

CAESAR! which placed the action of the play in modern Washington, with the characters dressed in

present-day garb. In 2005, Denzel Washington (Coach Herman Boone in Remember the Titians) starred

as Brutus in the first Broadway production of Julius Caesar in 50 years, and although the play received

awful reviews, it still did well due to Washington’s fame. The play has also been performed with non-

traditional casting, such as the all-African American performance directed by Gregory Doran in 2012,

and the all-female piece directed by Phyllida Lloyd, also produced in 2012. The play’s themes of moral

conscience and the balance of power are still extremely relevant in this modern age, making

contemporary performances of Julius Caesar uniquely pertinent to today’s audiences.

John, Edwin, and Junius Brutus Booth

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19

Julius Caesar is based on historical characters and events.

All of the main characters in the play are real people, and the

events chronicled throughout the play actually took place.

However, simply because the play is historically based does not

mean that Shakespeare did not take some creative liberties in

staging the drama of the famed Caesar.

To begin with, Shakespeare took the historical events that

took place over months and years and condensed them down

into just a few days or hours. For example, in the play, Caesar’s

assassination and funeral take place in the same afternoon,

while in reality, that all took place over the course of a couple

of days. Additionally, Brutus’ and Cassius’ flight from Rome,

which happens immediately after Antony’s speech in

Shakespeare’s script, did not happen until months after

Caesar’s funeral took place. Towards the end of the play,

Shakespeare has the two battles at Philippi happen in a single

afternoon, one right after the other. According to historical

documents, there were 20 days in between each of these

battles. Shakespeare used his creative license to help the

historical events flow more smoothly and fit into just a few

hours at the theatre.

In addition to condensing the dates of historical events,

Shakespeare also included a number of anachronistic elements

in the play. The word anachronistic means something that is

not in its correct historical or chronological time, that is, characters in the play will make references to

objects that would not have been found in Ancient Rome. For example, a few characters mention

wearing hats, and Caesar is once described wearing an Elizabethan doublet. A clock is also referenced

at one point, an invention that would not be made until the early 14th century. All of these items would

not be historically accurate for people living in ancient Rome; however, it provided a way for

Shakespeare to link his historical characters and events to people of the Elizabethan time period. It is

safe to say that despite some historical deviations Shakespeare used to make the story his own,

Shakespeare’s text is nonetheless the most notable and remembered of all the dramatic accounts of

Julius Caesar from the Elizabethan time period.

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20

60 B.C Caesar is elected consul. Caesar, Pompey and Crassus form the “First Triumvirate”

59 B.C Caesar marries Calphurnia. Pompey marries Caesar’s daughter Julia. Caesar names

Pompey his heir.

58 B.C Caesar leaves Rome for conquest in Gaul.

57 B.C Street fighting in Rome as politics turn violent.

55 B.C Pompey and Crassus are consuls. Caesar invades Germany and Britain. Caesar publishes

his account of the war in Gaul.

54 B.C Julia dies in child birth. Violence and unrest begin in Rome.

53 B.C Crassus is killed. Consular elections are postponed due to civil unrest.

52 B.C Martial law declared. Pompey appointed dictator.

50 B.C Senate orders Caesar and Pompey to resign command over their armies. Pompey raises

troops to combat Caesar.

49 B.C Caesar invades Italy: Pompey abandons Rome. Caesar defeats Pompey. The Senate

names Caesar dictator and he returns to Rome.

48 B.C Pompey flees to Egypt and is murdered. Cleopatra is Queen of Egypt.

47 B.C Caesar pardons Brutus and Cassius for siding with Pompey. Caesar fights Pompeians in

the East, Africa, and Spain.

46 B.C Caesar’s dictatorship is extended for ten years. Pompey’s sons renew the war and are

defeated.

45 B.C Caesar triumphs in the civil war. Caesar is granted the permanent, hereditary title of

Imperator (Emperor). Caesar names Octavius his heir. General amnesty declared for

Pompey’s partisans.

44 B.C Caesar is appointed dictator for life. Caesar is assassinated. Senate grants amnesty for

the conspirators. Antony’s speech at Caesar’s funeral causes riots. Brutus and Cassius

flee Rome.

43 B.C Octavius and Antony compete for power in Rome. Octavius, Antony, and Lepidus form

an uneasy alliance. They march on Rome and take power.

42 B.C Caesar declared a Roman god by the Senate. Antony and Octavius pursue Brutus and

Cassius. The armies meet at Philippi. Cassius commits suicide. Second battle at Philippi:

Brutus commits suicide.

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In order to help understand the world of Julius Caesar, it is important to know the historical

background of the Roman people. The people Shakespeare wrote about really existed and lived in

Rome in 44 BC, and their lives were all affected by the political turmoil that was taking place at that

time.

Before Julius Caesar took control of Rome in 48 BC, the Roman government was a republic.

A republic meant that power was held by the people of Rome and their elected representatives, which

included elected or nominated presidents (called consuls) who governed the city of Rome. Two

consuls were elected and allowed to serve for only one year. After that, they would be replaced by

new consuls. The Senate existed as a governmental body to discuss the issues of the time and give

advice to the Roman consuls. The Senate, while it was supposed to be in favor of the people, generally

made decisions that favored the upper classes of society, advancing their personal desires and motives.

Nevertheless, Rome grew to be a great world power under this model of a republic.

The immense power and wealth of Rome inspired ambitions of power for many. Soon, those

who did hold positions of power began to feel that Rome would best be served under an Emperor, or

a single ruler, who held veto power over the Senate. One of these men was Julius Caesar. Caesar had

formerly made a political alliance, called a Triumvirate, with two other leaders: Crassus and Pompey.

This alliance was made in order to establish power against the Senate, but was also made to further the

personal ambitions of the individual men. Caesar himself was a strong military leader who had gained

large amounts of power and land for the Roman Republic, and his military prowess positioned him

above the others in the Triumvirate politically. In 49 BC, after Caesar’s victory in the Gallic Wars, the

Roman senate ordered him to step down. He refused, and invaded Rome under arms, beginning a civil

war that ended with Caesar’s victory, placing him in a very strong political and social position. During

this time, both Crassus and Pompey were killed in battle or political intrigue, therefore leaving Caesar

complete control of the Roman government. He began a series of lengthy reforms and centralized the

government of the Republic. Ultimately, the people named Caesar supreme dictator of Rome, in

admiration of his military victories and successful reforms.

Despite Caesar’s popularity, some still disapproved of the idea of a single dictator leading

Rome. They felt that one person holding all of the power could only lead to corruption. As a result, he

was assassinated on March 15, 44 BC, and a new series of civil wars broke out across the Roman

republic. After the death of Caesar, the republic was never restored to its former glory. Octavius,

Caesar’s adopted heir, was the victor of these civil wars, and under his dictatorship the era of the

Roman Empire began, with one single leader staying consistently at the helm, changing the face of the

Roman government forever.

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“A young man from a small provincial town – a man

without wealth, without powerful family

connections and without a university education – moved to

London in the late 1580’s and in remarkably short time,

became the greatest playwright not of his age but of all time.

His works appeal to the learned and the unlettered, to urban

sophisticates and provincial first-time theatergoers. He makes

his audience laugh and cry; he turns politics into poetry; he

recklessly mingles vulgar clowning and philosophical

subtlety.”

-Stephen Greenblatt, Contemporary Scholar

“Just plunge right in (to Shakespeare). See a play, read it aloud, rent

a video, listen to a tape. It’s up to you. When

you look at Shakespeare close up, he’s not as

intimidating as when he’s seen from afar.”

Norrie Epstein, The Friendly Shakespeare

- Ben Jonson, Elizabethan Playwright

“But Shakespeare's magic could not copied be;

Within that circle none durst walk but he.”

- John Dryden

“It was Olivier’s

Henry V that made

me realize that

Shakespeare is

about real

people and that

his language wasn’t

simply beautiful

poetry.”

-Robert Brustein

“My advice to anyone seeing Shakespeare:

Don’t worry so much! Just make sure your ears are clean and your eyes are sharp.

Listen and look and watch.

Look at the distance people stand from each other;

Look at the relationships being developed.

Stay with it. Don’t negate the move that

Shakespeare will make toward your gut, toward your soul –

Because he will touch you there,

If you allow yourself to be touched.”

-David Suchet, actor

“What point of morals, of manners, of economy,

of philosophy, of religion, of taste, of the conduct

of life, has he not settled? What mystery has he

not signified his knowledge of? What office, or

function, or district of man's work, has he not

remembered? What king has he not taught state,

as Talma taught Napoleon? What maiden has not

found him finer than her delicacy? What lover

has he not outloved? What sage has he

not outseen? What gentleman has he not

instructed in the rudeness of his behavior?”

-Ralph Waldo Emerson

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23

The dramaturg is an important person in the rehearsal process that helps everyone else understand

the story. They might help the playwright revise dialogue to make the plot clearer. If the play was

written many years ago, the dramaturg will research historical events that influenced the playwright.

The director might ask them about the unfamiliar culture of the people of the play, and actors will

come to the dramaturg when they don’t understand a word or custom. Dramaturgs are great at

research and know a lot about the structure of a good play.

Dramaturgy can help you read a play in class, too. Individually or in small groups, research the following

topics. Present your findings to the class. As you read, discuss how each item might have influenced the

playwright, the values and lifestyle of the people in the play, or how a theater company might present

Julius Caesar.

1. Take another look at our historical timeline and history of the Roman government on pages 20 and

21. Then, do some research of your own into the long and tumultuous history of the Roman Empire.

References to Roman history are found throughout modern literature, film, and art, like in the Hunger

Games or in The Fault in Our Stars. Why do you think this is? What is it about Roman history that

makes it so applicable to our modern world? Compare some elements of Ancient Rome and the

modern United States. Do you think they share more similarities or differences? Why might a play like

Julius Caesar say to audiences of modern generations?

2. What was it like to see a play during Shakespeare’s lifetime? Research the Globe Theater. What

structural features of the building would the actors have utilized during the first production of Julius

Caesar? What were the scenery and costumes like? Where did the audience sit and what kind of

people attended the theater?

3. Research famous productions of Julius Caesar. What do they have in common? What is different?

What type of actors are cast as Brutus? Antony? What time periods are the productions set in? What

does that tell you about the kind of story you are about to read? Watch the 1953 Marlon Brando film

adaptation of Julius Caesar. Do you like the choices that were made in directing the film? How would

you adapt the play differently, and why?

4. Take a look at the structure of our modern governmental systems as compared to Ancient Rome

(as seen on page 21). What are some similarities and differences? Are we experiencing the same kind

of problem as the citizens of Ancient Rome? Think about Julius Caesar as a political play. What

statements does it make about government, leadership, and power? How might you produce a

production of Julius Caesar that comments on our modern government, and why?

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24

Before a play goes into rehearsal, the director must pick the right actor to play each character. How

does the director decide what kind of actor to cast in each role? They look for clues in the script

about each character’s looks and personality in what the character does, what they say about

themselves, and what other characters or what the author says about them.

As you read Julius Caesar, take notes about the characters using the chart below. When you have filled

in the first four columns, think of a famous actor who fits the description and cast them! Discuss your

casting decisions with your class.

Character

What the character

says about themself

What others say

about the character

What the

character does

Potential

Actors

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A crucial part of putting on a play is attracting an audience to enjoy it!

The marketing department’s job is to create posters, brochures,

website content, and other media to tell potential theater-goers about

the play and to entice them to attend a performance.

A great poster design begins with a close look at the mood, symbols,

and themes of a play. For example, the mood of Macbeth is fatalistic,

so PSF’s poster for our 2014 production features the ruins of a

building and relies on dark colors. Compare our posters for Pride and

Prejudice and King John. What do the colors tell you about the mood of

each play? A theme of Measure for Measure is doing what is right even

when you are the only person doing it- so the figure in our poster is

walking alone.

Define mood, symbol, and theme. Think about Julius Caesar and the

most important things an audience member should know about the

play. Design a poster using the mood, symbols, and themes of the play.

Macbeth, 2014

King John, 2012 Pride and Prejudice, 2011 Measure for Measure, 2013

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A critic judges the merits of an artistic endeavor. They give their opinion of what they saw and felt

when they watched a play, saw a movie, or heard a song. Everyone has an opinion, and by writing a

review, you have the opportunity to express yours!

As you write your review of Julius Caesar, use the outline below as a guide.

1. Introduction. Start by telling the reader what play you saw, who the playwright was, and when and

where you saw it. Tell them what kind of show it was (drama, comedy, melodrama, farce, etc.) and give

them a brief synopsis of the play.

II. Tell your reader what you thought of the play.

Things to consider:

1. The Direction. The director is the person who, in the end, is responsible for what

you see on stage. They pick and work with the actors, stage the movement, and

collaborate on design and costumes for the show. Do you think they did a good job?

Were their choices successful in creating an enjoyable performance? What did you think

of the pacing of the production- was it too fast or slow?

2. The Acting. Discuss the acting. Did the actors make you believe in what they were

doing on stage? Did they make you laugh or cry? Which performances did you

particularly enjoy?

3. The Design. How did the design contribute to the production? What did you think

of the costumes, set, and sound effects? Did they make the play more enjoyable or were

they distracting?

III. Conclusion. Summarize your opinions. How did the play make you feel? How did your reactions

compare with the people around you (i.e. did they laugh at a joke you didn’t like?) What did you

particularly like about the production? Did it change your thoughts on theater or life? Did you learn

anything new? You might conclude by considering if your appreciation of theater was developed by

what you saw.

Remember to be specific as you write your review! Include as many details as you can. Your audience

wasn’t at the performance with you, so it is your job to tell them what you saw and what they missed.

P.S. As a critic, it is okay to write down things that you didn’t like, too. It’s your opinion!

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27

Activities to do before you read the play

1. A Creative Julius Caesar Collage Start a bulletin board for Julius Caesar. This will be the place where your class can add pictures,

quotes, and poetry that remind them of the characters, plot, events, and key objects of the play.

Have them start off by putting pictures or words that represent anything they may know or think

they know about Julius Caesar before they read it. As they progress through the play, have the class add items to the bulletin board until it is covered with Julius Caesar information! As they

read, have them look for images of some of the play’s major symbols (daggers, blood, statues,

etc.) As they go deeper into the play, have them sit down in a circle and discuss their additions

to the bulletin board. -Adapted from a classroom activity found in the Chicago Shakespeare Theater’s 2002 Julius Caesar Teacher’s Handbook

2. Perform a Two-Line Play Understanding Shakespeare’s language can be a difficult task, especially when reading his plays

for the first time. In order to help your students to get a handle on Shakespeare’s dialogue,

have them work with a partner to create two-line plays. In order to do this, hand each student

an index card with a line from Act 1 of the play. Have them split up into pairs, and have them

create a short skit using just their two collective lines. Students should choose a set of actions

to make sense of these lines. Creativity and experimentation is encouraged! After they create

their skits, have each group perform for the class. Discuss the activity with the students. How

did they feel delivering the lines? What did they think of Shakespeare's language? What do they

think the play is about?

Line Suggestions:

1. Hence! Home, you idle creatures, get you home! (1.1.1)

2. A mender of bad soles. (1.1.14-15)

3. Truly, sir, to wear out their shoes… (1.1.32)

4. You blocks, you stones, you worse than senseless things! (1.1.39-40)

5. We make holiday to see Caesar and to rejoice in his triumph. (1.1.33-35)

6. Beware the ides of March. (1.2.21)

7. Bid every noise be still. Peace, yet again! (1.2.17)

8. Will you go see the order of the course? (1.2.30)

9. Poor Brutus, with himself at war,/Forgets the shows of love to other men. (52-53)

10. The eye sees not itself but by reflection… (1.2.58-59) -Adapted from a lesson found on the Folger Shakespeare Library’s website

3. Get on Your Feet! Shakespeare writes in iambic pentameter. Although those are big words they make reading

Shakespeare easy and fun. First you have to feel the rhythm! Have your students take Flavius’

first five lines at the opening of Julius Caesar and read them silently. Tell them to count the

number of syllables in each line-there may be a few lines that do not follow the strict 10 syllable

rule, so don’t worry! Have the class form a circle and walk as they read the lines out loud. Let

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28

the rhythm of the lines set the pace for their circle. Remind them to not think too hard about

this, just speak the lines and walk! Allow the rhythm of the writing to affect the speed of their

steps. Guess what? They’re walking in iambic pentameter! When they get to the end of the line

have them repeat, repeat, repeat. -Adapted from a classroom activity found in the Chicago Shakespeare Theater’s 2002 Julius Caesar Teacher’s Handbook

4. Try Some Role-Playing! Many of the characters in Julius Caesar have to make difficult decisions; especially in regards to

the people they are close to. Often in our own lives, we are placed in similar situations. In

order to help your students put the events of Julius Caesar into context, have them role-play or

respond to the following situations, either in pairs, or as a class:

1. A friend is trying to persuade you to do something that is both dangerous and illegal—

to drive without a license. Your friend says he has to take care of an emergency, and

this person knows you can drive, even though you are not allowed to do so legally.

What will you do? What will you tell your friend?

2. A good friend of yours has been elected president of the student council. Soon, you notice that he or she is abusing the position by claiming privileges and using it to further

his or her social life. How would you deal with this situation?

3. Think of an instance in which you talked yourself into believing something that you

wanted to do was really the right thing to do, even when it wasn’t. Was it easy to

rationalize or make up excuses for the decision? What ended up being the

consequence? -Adapted from a lesson plan found on Classzone.com

5. Unleash Your Inner Shakespeare Shakespeare was a talented expressive writer. Have your students do this exercise all on their

own. First they should find a location that has a lot of activity, like a school hallway, the

cafeteria, or outside somewhere. Once they have chosen their secret destination, they should

sit and write for 10-15 minutes. Tell them to write about whatever they see, hear, smell, or

feel. Have them try to make their writing as descriptive as possible. To test their writing skills,

ask if they can use a metaphor in their writing. To see how well they described their location,

leave out its name and have the entire class guess where it was. -Adapted from a classroom activity found in the Chicago Shakespeare Theater’s 2002 Julius Caesar Teacher’s Handbook

6. Brainstorm! A student’s own personal experience and interests can be very useful in helping them connect

with a difficult text such as Julius Caesar. To help them create connections before reading the play, have them brainstorm a list of power-hungry characters from popular fiction, films,

television, and comic books. Have them consider the following questions:

1. What are some characteristics of these people?

2. Do you admire or fear them?

3. Were these characters successful in their quest for power? Why or why not?

4. Are these people portrayed as good people or bad people?

5. How do the characters surrounding these people feel about them? -Adapted from a lesson plan found on Classzone.com

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Activities to do as you read the play

1. How to Move a Crowd

Mark Antony’s speech in Act 3, Scene 2 is an extremely pivotal moment in the play. You can

help your students to understand the oratory techniques Antony uses by having them assess

the text of the speech. Have your students read the speech and attempt to write it in their own

words. Then have them respond to the following questions:

1. How did Mark Antony feel about Caesar?

2. What words does he use to express his feelings?

3. How do you think he would have delivered this speech? Consider his tone of voice,

mood and attitude. Does he yell, whisper or cry?

4. Does the tone/mood change during the speech?

Then, using student volunteers, have the class read the speech out loud, and attempt to convey

a convincing tone, based on their analysis of the text. Once they listen to the speech, have them

respond to the following closing questions:

1. How did Antony's speech influence the crowd?

2. What did you notice about the words you decided to stress?

3. If you had been in the crowd when Mark Antony gave his speech, would you have

been convinced?

-Adapted from a lesson plan found on the Folger Shakespeare Library’s website

2. 60-Second Times

Help your students to place Shakespeare’s plot in a modern context by having them make a

class wide “60-Second Times” Newspaper. Have your students relay the death of Caesar at the

Senate as if they were writing a newspaper article. What important plot points would they

include? What characters? Are there any quotations they could use? Have them draw or find

pictures online to add to their article. Have the class’ newspaper “published” and distributed

around the school just like a real newspaper!

-Adapted from an activity found on BBC.com

3. Smear Campaign

Politics play an important role in the lives of citizens both in ancient Rome and today. To help

your students place the character’s political motivations into a modern context, you can have

your class create smear campaigns. Tell students that they have been hired to do public

relations for either Brutus and Cassius, or Antony and Octavius. Their job is to conduct a

"negative" ad campaign criticizing their opponents. Break the class up into small groups, and

have them work together to make radio spots that advertise their point of view and exaggerate

their opponents' flaws. Students can write out scripts that will be presented in front of the

class. After each is presented, have the class vote: which group of people would you have sided

with, and why?

-Adapted from a lesson plan found on Classzone.com

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4. Press Conference

Sometimes, when looking at all the events that take place throughout the play, it can be difficult

to keep track of everything. To help your students better understand character action and

motivation in Julius Caesar, have them stage a press conference right in your classroom. Have

student volunteers play the parts of Brutus, Antony, and Cassius. The press conference should

take place shortly after Caesar’s death, and the class should prepare questions to ask his

assassinators. Have the class think about what they really want to know about the characters.

Some good starting questions might be, “Why did you kill Caesar?” “Do you wish to hold all

the power for yourself?” and “What will you do now that Caesar is dead?” If you so desire, you

can have the students make fake microphones to interview the conspirators. Have the students

be creative as possible!

-Adapted from a lesson plan found on Classzone.com

5. Antony vs. Brutus Both Antony and Brutus make extremely compelling speeches at Caesar’s funeral. In order to

help your students understand the importance of these speeches, you can create a crowd of

spectators right in your classroom. Have a student volunteer come up and read Brutus’ speech

(in Act 3, Scene 2) with pronounced feeling, in an attempt to convince the class of what he is

saying. The class’ job is to listen carefully to the speech and respond verbally either negatively

or positively depending on if they agree with the speaker or not. Remind the class to think for

themselves, but also take note of how mob mentality and peer pressure can play a role in their

responses. After the speech ends, ask the class about their reactions. Do they support him?

Why? What specific things did he say that were memorable? Convincing? Repeat the same

procedure with Antony’s speech. Ask the class if Antony creates a more sobering mood than

Brutus does. What does Antony say that is memorable or convincing? At the end, have the

class consider both speeches. Which was more effective, and why? Who would you have

listened to and why?

-Adapted from a lesson plan found on the Folger Shakespeare Library’s website

6. Promptbooks

When reading the text of a play, we all individually see what the play looks like in our own

minds. This activity gives your students a chance to stage the final scene of Julius Caesar as they

think it should be done. After watching WillPower’s production of Julius Caesar, have your

students consider the following: sound and lighting design, set and costume design, and the

acting style. What did they like? What didn’t they like? What would they do differently? Allow

your students to create their own promptbooks. Hand out a script of the last scene, and have

them describe the movements, set, lighting, costuming, and actors they would use in their

scene. Have them be as creative as possible; adding any pictures or drawings they feel help

illustrate their ideas. Make sure that they explain why they made the choices they did, and

remind them that all choices should be supported by the text and knowledge of the characters.

Have the students share their promptbooks with the class, and discuss all the different ways

one scene can be staged. -Adapted from a lesson plan found on the Folger Shakespeare Library’s website

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31

Julius Caesar contains some of the most famous lines in theater. Below is a list of some important lines

from Julius Caesar that help to set the tone, reveal inner thoughts, and move the story forward. Assign

a line to each student. Give the class time to read the line in context, think about who is delivering the

line and why, and decide what it means. Then have students explore the lines on their feet, making

vocal and physical choices to convey meaning. Reconvene the class into a standing circle, and allow

each student to step forward on their turn and perform their line for the group.

“Beware the Ides of March”.-Soothsayer, I, ii

“The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings.”- Cassius I,

ii

“But, for my own part, it was Greek to me.”-Casca I, ii

“The abuse of greatness is when it disjoins remorse from power.”-Brutus II, i

“Cowards die many times before their deaths, the valiant never taste death but once.”-Caesar

II, ii

“But I am constant as the northern star, of whose true-fix’d and resting quality there is no

fellow in the firmament.”-Caesar III, i

“Et tu, Brute?”-Caesar III, i

“O mighty Caesar! Dost thou lie so low? All thy conquests, glories, triumphs, spoils, shrunk to

this little measure?”-Antony III, i

“Cry ‘Havoc!’ and let slip the dogs of war.”-Antony III, i

“Not that I loved Caesar less, but that I loved Rome more.”-Brutus, III, ii

“Friends, Romans, countrymen, lend me your ears, I come to bury Caesar, not to praise him.”-

Antony III, ii

“O judgment! Thou art fled to brutish beasts, and men have lost their reason.”-Antony, III, ii

“For I have neither wit, nor words, nor worth, action, nor utterance, nor the power of speech,

to stir men’s blood: I only speak right on.”-Antony, III, ii

“Put a tongue in every wound of Caesar, that should move the stones of Rome to rise and

mutiny.”-Antony, III, ii

“I’d rather be a dog, and bay at the moon, than such a Roman.”-Brutus, IV, iii

“There is no terror, Cassius, in your threats; for I am arm’d so strong in honesty that they pass

by me as the idle wind, which I respect not.”-Brutus, IV, iii

“Oh Julius Caesar, thou art mighty yet! Thy spirit walks abroad and turns our swords in our

own proper entrails.”-Brutus, V, iii

“This was the noblest Roman of them all.”-Antony, V, v

“His life was gentle, and the elements so mix’d in him that Nature might stand up and say to all

the world, ‘This was a man!’”. Antony, V, v

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What makes a good leader? Describe some characteristics of a good leader. Choose a leader from history, the

modern era, or a book you’ve read. Discuss whether or not they held these qualities. What made them a good or

bad leader?

If you were to revise this play, what revisions would you make? What events would you add or take out? How

would you change the characters? Write a summary of your revised plot, emphasizing the changes.

In the play, Caesar himself dies very early on. Why, then, do you think Shakespeare titled the play Julius Caesar?

Who is the protagonist of the play? Why?

In one sentence, say what you think the main message of the play is.

Were Brutus’ reasons for killing Caesar justified? Is murder for the good of one’s country ever justified? Why or

why not?

Do you think Caesar was a bad leader for the city of Rome? Was his dictatorship just? What would you have done

if you were in Brutus and Cassius’ positions?

How does Mark Antony use language to convince the crowds? What rhetorical devices does he use? Are they

effective? Why does he come across as more convincing than Brutus does?

What is more important to you: friendship or personal principles? Why? Is there anything you would betray a

friend for?

What role do superstitious practices play in Julius Caesar? Why would the Roman culture be so fixated on the

supernatural? Are there any good luck rituals that you have in your own life?

To what extent can we as human beings control the future? Do we have any say in our fate? Do we create our

own destinies, or are they predetermined?

What role do the plebeians (the common people) play in Julius Caesar? What kind of power do they hold, if any at

all?

What is the significance of Mark Antony’s final words about Brutus: “This was the noblest Roman of them all”? Do

you agree with this statement? Why or why not? Do you think Antony is being sincere, or is he saying this for his

own personal gain?

What parallels can you draw between the political turmoil in Julius Caesar and today’s political scene? Do you think

things have changed for better or for worse? How does power influence people?

What is the significance of Caesar's dying words, "Et tu, Brute”? What do they say about Brutus? What do they say

about Caesar?

What role do women play in Julius Caesar? Are Portia and Calpurnia portrayed negatively or positively?

Do you think the established friendships in the play are legitimate, or done simply for political alliances? Use

textual examples to justify your answer.

What role does manipulation play in Julius Caesar? Who uses it? Is it effective? Are the people who are manipulated

still to blame for their choices and actions?

Explain the significance of Caesar’s line, “Cowards die many times before their deaths; the valiant taste of death

but once.” Who does this apply to in the play? Who can be called “valiant”? Who can be called a “coward”? Why?

What role does justice play in Julius Caesar? Who in the play do you think gets what they deserve? Who do you

think has unfair consequences placed on them? Why?

Who do you think is the antagonist in this play? Why?

Who out of all the characters in the play do you feel is the most morally upright? Why?

What role does death play in Julius Caesar? Is it used as punishment for immoral actions? Is it an escape? How does

death affect each character?

Explain the meaning of the storm in Act 1 Scene 3. How does Shakespeare use this as a symbol for future events in

the play?

Why do you think Caesar denied the crown the people wished to give him? Do you think he was sincere, or was it

for political reasons?

Think about the characters who are leaders in this play: Brutus, Caesar, Cassius, Antony, and Octavius. Who do

you think is the best leader? Why?

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Name:_________________________________

1.) What surprised you most in seeing our production of Julius Caesar? How did it compare to your

expectations?

2.) Which character in the play do you find most interesting? Why?

3.) Julius Caesar includes a great deal of plotting and planning. Who in Julius Caesar sets the plans in

motion? To what ends? Does anyone try to interrupt those plans?

4.) What you think the main message of the play is? Why do you think this? Provide some textual or

WillPower production examples to justify your answer. Do you agree with the play’s message? Why or

why not?

Julius Caesar

34

Name: __________________________

Write the name of the characters below next to their description.

A. Julius Caesar B. Brutus C. Cassius D. The Soothsayer

E. Octavius F. Casca G. Lucius H. Portia

I. Mark Antony J. Calphurnia

__________ 1.) Wife of Brutus, she is worried about her husband’s well-being and his secretive

nature. She commits suicide at the end of the play.

__________ 2.) The apparent heir to Caesar’s throne, he is Mark Antony’s rival.

__________ 3.) One of the conspirators against Caesar. He is the main instigator and convinces

Brutus to go through with the assassination.

__________ 4.) Newly named the dictator of Rome, he is assassinated early on in the play. He speaks

the line, “Et tu, Brute?”

__________ 5.) He warns Caesar to “beware the Ides of March.”

__________ 6.) Brutus’ servant and trusted companion, he refuses to help Brutus commit suicide on

the battlefield.

__________ 7.) Caesar’s trusted friend and praetor of Rome. He joins the plot against Caesar for the

benefit of the people.

__________ 8.) One of the conspirators against Caesar. He is the first one to stab him in the

assassination.

__________ 9.) Wife of Caesar. She begs her husband to not attend the Senate on the day of his

assassination.

__________ 10.) Convinces the Roman people to turn on Brutus and take him to war in order to

gain power. He speaks the line, “I come to bury Caesar, not to praise him.”

Julius Caesar

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The Pennsylvania Shakespeare Festival is a professional

theater company and the Official Shakespeare Festival of the

Commonwealth of Pennsylvania now celebrating its 25th season

on the campus of DeSales University. Every summer, the finest

actors, directors, designers, and artisans from Broadway, off-

Broadway, regional theater, television and film converge at the

Pennsylvania Shakespeare Festival. The area’s leading professional theater company, PSF brings five full-

scale productions, the WillPower tour, and Shakespeare for Kids to the stage each year.

Our Mission is to enrich, inspire, engage and entertain the widest possible audience through first-rate

professional productions of classical and contemporary plays, with a core commitment to the works of

Shakespeare and other master dramatists, and through an array of educational and mentorship programs.

We are on social media! Please tell your students they can like Willpower

at facebook.com/PAShakespeare of follow us @PaShakespeare on

Instagram and Twitter to learn more about upcoming events and stay

connected even after your WillPower day has ended.

Student Rush Tickets As a WillPower participating school, your students are eligible to attend PSF’s professional summer

productions at the dramatically reduced price of $5.00 on a rush basis (with their student I.D.) Single

ticket prices for the general public are normally $25 - $50+. As a teacher, if you are interested in bringing

a group to the Festival, you can take advantage of our great group discounts by calling Catherine Logan

at 610-282-1100, ext 1737.

Summer Learning at DeSales University

The Summer Theater Institute (STI) at DeSales University, in association with The Pennsylvania

Shakespeare Festival, offers professional theater training to high school and college students, and

members of the community, as well as the best in drama education for grade school students.

The Summer Video Institute (SVI) at DeSales offers students an introduction to the theories and

techniques of digital moviemaking. Working with state of-the-art technology, students will design, shoot,

and edit films of their own creation.

The Summer Dance Intensive (SDI) at DeSales offers professional dance training to students ages 14 and

up. The two-week program focuses on technical training in ballet, modern, and jazz dance.

For more information on the Division of Performing Arts: www.desales.edu

http://www.pashakespeare.org/competition

Julius Caesar

37

Shakespeare and the Common Core

Standard Area – CC.1.3: Reading Literature: Students read and respond to works of literature – with

emphasis on comprehension, making connections among ideas and between texts with focus on textual

evidence.

Grade 6: CC.1.3.6.A, CC.1.3.6.B, CC.1.3.6.G, CC. 1.3.6.H, CC.1.3.6.K

Grade 7: CC.1.3.7.A, CC.1.3.7.B, CC.1.3.7.G, CC.1.3.7.K

Grade 8: CC.1.3.8.A, CC.1.3.8.B, CC.1.3.8.G, CC.1.3.8.K

Grades 9-10: CC 1.3.9-10.A, CC.1.3.9-10.B, CC.1.3.9-10G, C.C.1.3.9-10H, C.C.1.3.9-10K

Grades 11-12: CC.1.3.11-12A, CC.1.3.11-12.B, CC.1.3.11-12C, CC.1.3.11-12G, CC.1.3.11-12.K

Standard Area – CC.1.4: Writing: Students write for different purposes and audiences. Students write

clear and focused text to convey a well-defined perspective and appropriate content.

Grades 6-8: CC.1.4.6-8.A, CC.1.4.6-7.C, CC.1.4.6-7.D, CC.1.4.8.D

Grades 9-10: CC.1.4.9-10.A, CC.1.4.9-10.B, CC.1.4.9-10.C, CC.1.4.9-10S

Grades 11-12: CC.1.4.11-12.A, CC.1.4.11-12.B, CC.1.4.11-12.C, CC.1.4.11-12.S

Bolded standards are directly related to the viewing of a play and comparing it with the

original text.

1.) H. Portia

2.) E. Octavius

3.) C. Cassius

4.) A. Julius Caesar

5.) D. The Soothsayer

6.) G. Lucius

7.) B. Brutus

8.) F. Casca

9.) J. Calphurnia

10.) I. Mark Anthony

Julius Caesar

38

And for teaching Shakespeare

BOOKS

Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998.

Boyce, Charles, and David Allen White. Shakespeare A to Z: The Essential Reference to His Plays, His

Poems, His Life and Times, and More. New York: Facts on File, 1990.

Dunton-Downer, Leslie, and Alan Riding. Essential Shakespeare Handbook. New York: DK Pub., 2004.

Epstein, Norrie. The Friendly Shakespeare. New York: Viking, 1993.

Fantasia, Louis. Instant Shakespeare. Chicago: Ivan R. Dee, 2002.

Meserve, Walter J. and Mollie Anne. A Chronological Outline of World Theatre. Feedback Theatre

Books, 1992.

McQuain, Jeffery and Malless, Stanley. Coined by Shakespeare: Words and Meanings First Penned by the

Bard. Springfield, MA: Merriam Webster, 1998.

Moston, Doug. The First Folio of Shakespeare, 1623. New York: Applause, 1995.

Scott, Mark W., ed. Shakespeare for Students. Detroit: Gale Research Inc., 1992.

PERIODICALS

Gopnik, Adam. “Will Power: Why Shakespeare remains the necessary poet.” The New Yorker 13

Sept. 2004: 90-95. Greenblatt, Stephen. “Shakespeare’s Leap: How did the son of a provincial glovemaker become the

greatest playwright of all time? By plunging into the streets.” The New York Times Magazine 12

Sept. 2004: 52-55.

WEBSITES

Shakespeare Festivals and Theaters

www.americanshakespearecenter.com

www.asf.net

www.bard.net

www.gashakespeare.org

www.pashakespeare.org

www.orshakes.org

www.osfashland.org

www.rsc.org.uk

www.shakespeare.org

www.shakespeareandcompany.org

www.shakespearedc.org

www.stratfordfestival.ca

Shakespeare Literature

www.webenglishteacher.com

www.folger.edu/education

www-tech.mit.edu/Shakespeare/

www.shakespeareinamericancommunities.org

www.artsedge.kennedy-center.org/

www.rsc.org.uk

www.absoluteshakespeare.com

www.internetshakespeare.uvic.ca

Study Guide Contributors

Jill Arington, Carolyn Lucas, Thomson Jaffe, Erin Hurley