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Royal Shakespeare CompanyJulius Caesar Dress Rehearsal

Teacher Resource Guide

06l07 Youth Education

About UMSOne of the oldest performing arts presenters in the coun-try, UMS serves diverse audiences through multi-disciplinary performing arts programs in three distinct but interrelated areas: presentation, creation, and education.

With a program steeped in music, dance, theater, and education, UMS hosts approximately 80 performances and 150 free educational activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national as well as many international partners.

While proudly affiliated with the University of Michigan and housed on the Ann Arbor campus, UMS is a separate not-for-profit organization that supports itself from ticket sales, grants, contributions, and endowment income.

UMS Education and Audience Development DepartmentUMS’s Education and Audience Development Department seeks to deepen the relationship between audiences and art, as well as to increase the impact that the perform-ing arts can have on schools and community. The pro-gram seeks to create and present the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.

The department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing workshops, in-school visits, master classes, lectures, youth and family programming, teacher professional development workshops, and “meet the artist” opportunities, cultivating new audiences while engaging existing ones.

For advance notice of Youth Education events, join the UMS Teachers email list by emailing [email protected] or visit www.ums.org/education.

Cover Photo: Brutus stabs Julius Casesar in the RSC pro-duction of Julius Caesar. Photo by Pual Ros.

This Teacher Resource Guide is a product of the University Musical Society’s Youth Education Program. Researched and written by Bree Juarez. Edited by Ben Johnson and Bree Juarez. All photos are courtesy of the artist unless otherwise noted.

UMS greatefuly acknowleges the following corporation, foundations, and government agenies for their generous support of the UMS Youth Education Program:

Michigan Council for Arts and Cultural Affairs

University of Michigan

Arts at MichiganArts Midwest Performing Arts FundKathy Benton and Robert BrownBank of Ann ArborChamber Music AmericaPat and Dave ClydeDoris Duke Charitable FoundationDTE Energy FoundationDykema Gossett, PLLCThe Esperance Family FoundaionDr. Toni Hoover, in memory of Dr. Issac Thomas IIIJazzNet EndowmentJames A. & Faith Knight FoundationMasco Corporation FoundationTHE MOSAIC FOUDATION (of R. & P. Heydon)National Dance Project of the New England Foundation for the ArtsNEA Jazz Masters on TourPfizer Global Research and Development,

Ann Arbor LaboratoriesRandall and Mary PittmanProQuest CompanyPrudence and Amnon Rosenthal K-12 Education Endowment FundTarget CorporationTCF BankUMS Advisory CommitteeUniversity of Michigan Credit UnionU-M Office of the Senior Vice Provost

for Academic AffairsU-M Office of the Vice President for ResearchWallace Endowment FundWhitney Fund at the Community Foundation for Southeastern Michigan

Education and Community Engagement Programs supported by

Official Airline of the 2006 RSC residency

Additional supportprovided by

The Power Foundation.

06/07UMS Youth Education

Royal Shakespeare CompanyJulius Caesar Dress Rehearsal

Friday, October 27, 2:30pmPower Center, Ann Arbor

TEACHER RESOURCE GUIDE

Supported by the Prudence and Amnon Rosenthal K-12 Education Endowment Fund.

Funded in part by the Detroit Auto Dealers Association Charitable Foundation Fund of the Community Foundation for Southeastern Michigan.

Funded in part by the Whitney Fund at the Community Foundation for Southeastern Michigan.

Education and Community Engagement Programs supported by

Official Airline of the 2006 RSC residency

Additional supportprovided by

The Power Foundation.

4 | www.ums.org/education

Table of ContentsAbout the Performance* 6 Coming to the Show* 7 The Performance at a Glance

Royal Shakespeare Company* 10 About the RSC 13 Behind the Scenes at the RSC

Julius Caesar 17 Cast of Characters 22 Scene Synopsis* 31 Themes in Julius Caesar

Shakespeare* 35 Biography of William Shakespeare 37 Shakespeare Family Tree

Lesson Plans 39 Curriculum Connections 40 Meeting Michigan Standards* 42 Assessing Prior Knowledge 43 Lesson 1: It’s Shakespeare! 45 Handout1: The Survey Says... 46 Handout 2: What Do You Know??? 47 Handout 3: Shakespeare in School 48 Lesson 2: Getting Into Character 49 Handout 4: A Monologue 50 Create Your Own UMS 51 Theater Vocabulary 59 Theater Vocabulary Word-O

Resources* 61 UMS Permission Slip 62 Internet Resources 63 Recommended Reading 64 Community Resources 66 How to Contact UMS

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About the Performance

Brutus (John Light) and Cassius (Finbar Lynch) in Julius Caesar


We want you to enjoy your time in the theater, so here are some tips to make your Youth Performance experience successful and fun! Please review this page prior to attending the performance.

What should I do during the show?Everyone is expected to be a good audience member. This keeps the show fun for everyone. Good audience members... • Are good listeners • Keep their hands and feet to themselves • Do not talk or whisper during the performance • Laugh only at the parts that are funny • Do not eat gum, candy, food or drink in the theater • Stay in their seats during the performance • Do not disturb the people sitting nearby or other schools in attendance

Who will meet us when we arrive? After you exit the bus, UMS Education staff and greeters will be outside to meet you. They might have special directions for you, so be listening and follow their directions. They will take you to the theater door where ushers will meet your group. The greeters know that your group is coming, so there’s no need for you to have tickets.

Who will show us where to sit? The ushers will walk your group to its seats. Please take the first seat available. (When everybody’s seated, your teacher will decide if you can rearrange yourselves.) If you need to make a trip to the restroom before the show starts, ask your teacher.

How will I know that the show is starting? You will know the show is starting because the lights in the auditorium will get dim, and a member of the UMS Education staff will come out on stage to introduce the performance.

What if I get lost? Please ask an usher or a UMS staff member for help. You will recognize these adults because they have name tag stickers or a name tag hanging around their neck.

How do I show that I liked what I saw and heard? The audience shows appreciation during a performance by clapping. In a musical perfor-mance, the musicians and dancers are often greeted with applause when they first appear. It is traditional to applaud at the end of each musical selection and sometimes after impressive solos. At the end of the show, the performers will bow and be rewarded with your applause. If you really enjoyed the show, give the performers a standing ovation by standing up and clapping during the bows. For this particular show, it will be most appropriate to applaud at the beginning and the ending.

What do I do after the show ends? Please stay in your seats after the performance ends, even if there are just a few of you in your group. Someone from UMS will come onstage and announce the names of all the schools. When you hear your school’s name called, follow your teachers out of the auditorium, out of the theater and back to your buses.

How can I let the performers know what I thought? We want to know what you thought of your experience at a UMS Youth Performance. After the performance, we hope that you will be able to discuss what you saw with your class. Tell us about your experiences in a letter or drawing. Please send your opinions, letters or artwork to: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

Coming to the Show (For Students)


The Performance at a GlanceWhat is the Royal Shakespeare Company?The RSC is one of the world’s best-known theater companies. Every year the Company plays to over 500, 000 theatre-goers at performances staged across the world. The RSC plays throughout the year at its home in Stratford-upon-Avon, the town where Shakespeare was born and died. The Company also performs regularly in London and at an annual RSC residency in Newcastle-upon-Tyne. In addition, the Company tours throughout the UK and internationally, including residencies with universities and performing centers in the US.

The Company’s mission is to keep in touch with Shakespeare as a contemporary, but also to keep modern audiences, artists and writers in touch with Shakespeare. The Company’s repertoire also includes other Renaissance dramatists, and the work of international and contemporary writers.

The aim is to give as many people as possible, from all walks of life, a richer and fuller understanding of theater. Through events, education, and outreach programs the RSC continually strives to engage people with the experience of live perfor-mance.

The RSC today is still at its heart an ensemble company. Everyone in the Company, from directors, actors, and writers to production, administrative, technical, and workshop staff, all collaborate in the RSC’s distinctive and unmistakable approach to theater.

A brief plot of Julius CaesarThe action begins with the celebration of the Roman fertility festival of Lupercal, during which Mark Antony offers a crown to Julius Caesar. Although Caesar rejects the crown, fear that too much power has already been concentrated in one man leads several prominent members of Republican Rome to plot Caesar’s assassina-tion. Cassius persuades the respected Brutus to join the conspiracy. Disregarding the prophetic dream of his wife Calpurnia, Caesar goes to the Capitol on the Ides of March (March 15) and is killed by the conspirators.

In their speeches to the people of Rome, Brutus and Antony present contrasting views of the conspirators’ motives. The people turn against the conspirators, who are forced to flee Rome.

Antony joins forces with Caesar’s nephew Octavius and leads an army against the forces of Brutus and Cassius. The battle goes against the conspirators. Cassius commits suicide. Brutus, sensing defeat and haunted by Caesar’s ghost, also kills himself.

Who was William Shakespeare?William Shakespeare is considered one of the world’s finest playwrights of all time. Writing in England during the late 1500s during Queen Elizabeth I’s reign, he quickly established himself as a poet, actor, and playwright. He mastered the comic and tragic dramatic forms and introduced over 2,000 new vocabulary words into the English language. Shakespeare is read by nearly every American student and is perhaps best known for Romeo and Juliet, MacBeth, Hamlet, and A Midsummer Night’s Dream.

“Julius Caesar

is fundamentally

about power -

how it works and

what it does to

individuals. No

one in the play is

exempt from the

intoxication of

power....”

-David Farr, director of the RSC’s 2004 production of Julius Caesar


Who was the real Julius Caesar?

Gaius Julius Caesar was born on July 13, 100 BC to a patrician family who claimed descendance from a long line of kings and Roman gods. Caesar began his career in the Roman courts, where he became a successful advocate and a highly respected orator. In 62 BC, he was elected to Rome’s second ranking political office, the praetorship. This was the beginning of a Caesar’s great career where he

would eventually be elected to the consulship, Rome’s highest political office.

During his consulship, Caesar was especially interested in expanding Rome’s empire. He focused on the expansion of northern Italy and the lands along the Adriatic coast and Gaul (the region of Western Europe comprising present-day northern Italy, France, Belgium, western Switzerland and the parts of the Netherlands and Germany on the west bank of the Rhine river.) His campaigns in Gaul during his governorship brought enormous wealth to Rome. In addtion, a reported one million people were killed and another million enslaved in pursuit of Caesar’s aims in Gaul.

After a 10 year governorship in Gaul, Caesar planned to return to Rome to stand for his second consulship. The imperium (official authority) he held as Governor of a Roman

provence would need to be relinquished before he could enter Rome and present himself as a candidate for the consulship. The same group of senators who opposed Caesar throughout his career were threatening him again.

Caesar faced two alternatives: he could lay down his imperium and face arrest, conviction and banishment from Rome, or he could drop his demand to be allowed stand for election in absentia, forfeiting his candidacy for consul. On the 10th day of January, 49 BC, facing alternatives he deemed untenable, Caesar made the fateful decision to march on Rome. He and his troops crossed the Rubicon River, and in doing so declared civil war After many long and bloody battles, Caesar was victories.

However, his enemies continued to plot his downfall. On the Ides of March (15th), 44 BC., a group of Senators calling themselves the “liberators” assassinated Caesar in the Senate House. They justified the assassination by saying they were saving the republic from a tyrant and would-be king.

Caesar chose his grand nephew Gaius Octavius as his heir. Octavius ultimately avenged his uncle’s death and rose to the pinnacle of Roman power, becoming Augustus Caesar, Rome’s first emperor.

The Performance at a Glance

“Shakespeare’s

work is

the fullest

expression of the

dilemmas that

we as humans

face...he’s

incapable of not

seeing two sides

of a situation so

there’s always

drama and

there’s always

conflict.”

-Michael Boyd, RSC Artistic Director

A bust of Julius Caesar

Royal Shakespeare

Company

Chris Jarman and John Hopkins rehearse a scene for the upcoming productions in Ann Arbor (Photo by Ellie Kurttz)


About the RSCA Brief History of the RSC

The Early YearsIn 1875, Charles Edward Flower, a Stratford brewer, launched an international campaign to build a theatre in the town of Shakespeare’s birth. His donation of the now famous two-acre site began a family tradition of generosity to the theatre which continues today.

The Shakespeare Memorial Theatre was a Victorian Gothic building. It opened in 1879 with a performance of Much Ado About Nothing. From 1907 star visitors began to appear in Stratford such as Ellen Terry and H. Beerbohm Tree and under the direction of F.R. Benson, a month-long summer season was added in 1910. Europe and the USA helped to broaden the company’s outlook.

The Royal CharterAlmost 50 years of excellence were recognised in 1925 by the granting of a Royal Charter, but only a year later the theatre was destroyed by fire.

The festival director, William Bridges-Adams, continued productions in a local cinema, and a worldwide campaign was launched to build a new theatre. In 1932 the new Shakespeare Memorial Theatre, designed by Elisabeth Scott, was opened by The Prince of Wales on 23rd April, Shakespeare’s birthday.

1932 - 1961Over the next thirty years the Company continued to build its reputation, work-ing with established Shakespearean actors, as well as nurturing new talent. From 1945 the company’s work began to win critical acclaim.

Michael Redgrave, Ralph Richardson, John Gielgud, Peggy Ashcroft, Vivien Leigh and Laurence Olivier acted alongside new faces such as Richard Burton. It was in the late 1950s that invitations to perform in Russia, Europe and the USA helped to broaden the company’s outlook.

The 1960sIn 1960, Peter Hall formed the modern Royal Shakespeare Company and in 1961, the Memorial Theatre was renamed the Royal Shakespeare Theatre. The repertoire widened to take in modern work and classics other than Shakespeare.

The sixties brought a new generation of actors and directors to the company - David Warner, Judi Dench, Ian Richardson, Janet Suzman, Clifford Williams, John Barton, Trevor Nunn and Terry Hands - and landmark productions like Peter Hall’s Wars of the Roses.

Over the next thirty years the company continued to expand under a succession of visionary and creative Artistic Directors: Peter Hall (1960 - 1968), Trevor Nunn (1968 -1978), Trevor Nunn jointly with Terry Hands (1978 -1987), Terry Hands (1987 - 1991) and Adrian Noble (1991 - 2003). Michael Boyd is the current RSC artistic director.

The Swan TheatreThe 1986 season in Stratford saw the opening of another theatre. Built inside part of the shell of the Memorial Theatre that survived the 1926 fire, the Swan is a

Title


unique, modern theatre space based on the design of the play-houses of Elizabethan England.

The Swan Theatre continues to be a favourite space for many actors and audiences owing to its intimate staging and the close proximity of the audience to the action.

The RSC todayIn July 2002 Michael Boyd was announced as the new Artistic Director for the RSC replacing Adrian Noble from March 2003 and signalling a new chapter in the Company’s history.

Michael became an Associ-ate Director of the Company in

1996 and has directed numer-ous productions for the RSC. In

2000/2001 he won an Olivier Award for Best Director for the productions Henry VI, parts I, II, III and Richard III. The productions formed part of the RSC’s This England - The Histories cycle.

Despite the growth from Festival theatre to international status, the values of the RSC today have changed very little since 1905: the RSC is still formed around an ensemble of actors and a core of associate actors who continue to give a distinc-tive and unmissable approach to theatre. The RSC also continues to be a superb training ground for the artistic and technical talents of British and international theatre.

Who is part of the Royal Shakespeare Company?The RSC is an ensemble company. Everyone in the company, from directors, actors and writers to production, administrative, technical and workshop staff all col-laborate in the RSC’s distinctive and unmistakable approach to theatre. The RSC employs over 700 people who either work directly on producing and running the productions or within roles that directly support the work that takes place on stage.

Her Majesty The Queen is Patron of the Royal Shakespeare Company. His Royal Highness The Prince of Wales is the RSC’s President and chairs the Company’s Annual General Meeting.

Where is the RSC located?As well as performing in a number of UK towns and cities each year on tour, Stratford-upon-Avon, London and Newcastle are key centres for the Royal Shakespeare Company.

A sketch of the Swan Theatre


TitleStratford-upon-AvonStratford-upon-Avon, the town where William Shakespeare was born and died, attracts audiences and artists from around the world and is the home of the RSC.

The RSC has three theatres in Stratford-upon-Avon, the 1412-seater Royal Shakespeare Theatre, the 432-seater Swan The-atre and The Courtyard Theatre.

LondonLondon is a vital part of the RSC’s national presence. In May 2002, the RSC left the Barbican Theatre and now performs in the UK capital throughout the year in a range of different theatres (including the Barbican Theatre but the RSC is no longer the resident theatre company at the venue) .

NewcastleSince 1977, Newcastle has provided a third home for the RSC.

Each year the company proudly transfers productions to the city’s theatres for a season of work, along with extensive educational and community projects.

Where does the RSC tour?Although based in Stratford-upon-Avon, the RSC regularly performs in London, Newcastle-upon-Tyne and other UK venues, as well as touring overseas, and residencies at universities and performing centres in the United States.

UK touringMuch of the RSC’s UK touring commitment is met by the RSC’s unique mobile auditorium, which brings classical theatre to communities with little access to professional companies. The tour travels to school halls, leisure centres and other community venues throughout the UK, accompanied by an extensive education and outreach program.

The first ‘mobile’ tour began in 1978 with productions of Twelfth Night and Chekhov’s The Three Sisters, starring Ian McKellen. Since then the Company has toured over 30 different productions in the “mobile theatre”. The tour has visited over 120 different British towns and cities in the past 25 years.

Overseas touringAs well as residencies in Michigan and Washington, the Company has increasingly been invited to perform overseas. Over the past few years, audiences in China, Japan, and Kuala Lumpur have enjoyed RSC touring performances.

The 2006 Festival of Shakespeare’s Classics marks the RSC’s third visit to Ann Arbor. The company’s first residency was in 2001 and featured the tetrology of Henry VI, parts I, ii, iii and Richard III. The second residency was in 2003 and featured Salman Rushdie’s Midnight’s Children, along withShakespeare’s Coriolanus and Merry Wives of Windsor. 2006 will feature Antony and Cleopatra, Julius Caesar, and The Tempest.

A map of England


Before the curtain goes up on the first night, months of preparation will have already taken place behind the scenes.

The Royal Shakespeare Company has ”in-house” the huge range of specialist skills required to bring a play to life. Each department works together over a period of months making sure the production is ready for the opening night.

Choosing the playThe Artistic Director chooses the productions the company performs. More than one production may open at any one time and as soon as one production opens the next is already well underway with future work being carefully discussed and planned with the Planning Department.

Casting The casting team works closely with the director to ensure that the right actors get the right part. Auditions are held and a shortlist is drawn up. This can be com-plicated as, at the RSC, actors are often cast in more than one production (cross casting), directed by different directors so it is important that they are able to realise more than one director’s vision.

Planning the productionThe Director and Designer work on the style and period in which the production is set. Once the decisions have been made, the model box is produced and presented to the Production Manager and the various workshop and wardrobe departments.

The model box is a three dimensional miniature version of the set with all scenery and props scaled down on a scale of 1:25. The model acts as a tool to help everybody create the vision of the director and designer on stage. It is a main point of reference when building the set and the props.

The setThe Construction Manager and drawing office provide detailed drawings of how the set should be built. Each set may be required to play in many different venues and must be capable of being taken off stage quickly to change over to a different produc-tion the following day.

Every item of scenery has detailed construction drawings produced on Computer Aided Design (CAD). The plans are then handed to the scenic workshop and Paintshop and props team.

PropsA prop may be a hand prop, furniture or small items, which may be man-handled. These can range from huge casts for tall statues to a bunch of flowers or a letter. Attention to detail is crucial and reference books are constantly in use to ensure accuracy to a particular period.

An example of a set model from The Tempest

Behind the Scenes at the RSC


TitleThe CostumesIn collaboration with the Costume Department the Costume Supervisor and Designer decide on the best way to create the costumes. This may include the shoes, hats, armour, underwear, jewellery, buying the fabrics, booking the costume makers and setting up the costume fittings.

To create a particular period feel or a design with a particular colour scheme, neu-tral fabrics often arrive direct from the factory to be treated by the Dyeing Depart-ment. Fifty percent of costumes are broken down in some way to look worn or to show general wear and tear. Common tools of the trade for the department include a cheese grater, sandpaper, Stanley knives, a blow-torch, emulsion-based paints and fabric paints.

At the beginning of rehearsals all the actor’s measurements are taken. The Men’s and Ladies’ Costume Departments work closely with the designer to discover the best way to interpret a costume. The Armoury and Boot Department make, recycle or adapt boots and shoes for a production. The Hats and Millinery team create a particular look using felts and straw, wire, buckram, plastics and veils.

Wigs and make-upHairdressing, wigs and make-up complete the final look. An actor often uses their own hair in a production, which creates difficulties, as the look required will differ in each production they appear in during the season. The Wigs’ team may have to cut, curl, dye, or add extensions or hairpieces to the same actor.

Unless specialist make-up is required most actors apply their own make-up. The team creates blood effects for daggers, blood bags or smearing using glu-cose, sugar and fruit colouring. Black treacle (a dark concetrate of sugarcane juice) is used to darken the blood. The team may even be required to make pros-thetic parts of the body such as the nose in Cyrano de Bergerac.

RehearsalsWhile the set, props and costumes are being made, the actors are busy working away in the rehearsal room. The RSC spends six weeks rehearsing a produc-tion with the Director, Voice Coach, Fight Directors, Musical Directors and Stage Management team.

Aspects of the set are often built in the rehearsal room so actors can get a feel for the set before they reach the stage, which is only four days before the first public performance. Stage managementRehearsals are constantly monitored as decisions in the rehearsal room directly affect the production process. The stage management team records these develop-ments and the rehearsal notes are passed on to the relevant workshop. The Stage

Actors from Julius Caesar in rehearsal


Manager keeps a detailed script, marking entrances, exits, scene changes, and actor’s positions.

Stage DepartmentThe Stage Department deals with the nuts and bolts of the scenery and takes the set from the workshops on the Sunday prior to the first technical rehearsals. There is then two days to build the stage before the crucial technical rehearsal period. The stage-hands move scenery during the production and have to solve any prob-lems with the set if they arise while a play is being performed.

Lighting and soundThe specialists in the Lighting and Sound Departments work closely with the direc-tor and designer to build up an atmosphere with the lighting and sound for a pro-duction.

Fit-up, technical rehearsals and dress rehearsalsThis is when the work from all the various teams comes together on stage for the first time - Rigging, focussing, sound balance, set construction all preparing the theatre for the production.

The actors arrive on the stage four days before the first public performance and the detailed technical rehearsals begin. The first dress rehearsal often takes place on the afternoon of the first public performance. This is the very first time the actors, crew and technical team have run through the show with everything in place. Adrenaline runs high in anticipation of the first performance in front of an audience...

Support workThere are a number of non-production departments for example, Marketing, Edu-cation, Press & Public Affairs and Development, who are closely involved in the pro-duction process and directly support the work that takes place on stage.

Julius Ceasar

Ariyon Bakare as Mark Antony in Julius Caesar (Photo by Paul Ros)

Title


Cast of CharactersThe CharactersThe characters in Julius Caesar are richly portrayed. Please read the following descriptions to understand each character more thouroughly.

Julius CaesarThe victorious leader of Rome, it is the fear that he may become King and revoke the privileges of men like Cassius that leads to his death at the hands of Cassius, Brutus and their fellow conspirators.

The threat that Caesar was moving away from the ideals of the Roman republic towards an Empire ruled directly by himself is the chief reason so many senators, aristocrats and even Caesar’s friend Brutus, conspired to kill him.

Introduced early in the play as a great (and arguably arrogant) leader who fears nothing, Caesar is warned by Artemidorus, The Soothsayer and wife (Calphurnia) alike not to go to the Senate on the “ides of March” the very day he is assassi-nated.

Caesar later returns in the play as a ghost which haunts Brutus in Act V. Easily flat-tered by Decius Brutus (not to be confused with Brutus), Caesar appears to us as a man almost guided not so much by his own will but what he believes are the expectations his people have of Caesar. This is why he is reluctant to show fear, Caesar, as he frequently refers to himself in the third person, fears nothing and can show no sign of weakness or indeed mortality...

Note: The “ides of March” is the fifteenth of March (See Act II, Scene I, Line 58).

Octavius CaesarThe adopted son of Caesar, Octavius by history, ultimately became ruler of the Roman Empire following his defeat of Mark Antony in Egypt. In this play, Octa-vius with Mark Antony and Lepidus (The Second Triumvirate), destroy the forces of Brutus and Cassius on the Plains of Philippi, which results in the death of both these conspirators (Act V).

Mark AntonyOne of the Triumvirs (leaders) who rule Rome following Caesar’s assassination. Mark Antony (Marcus Antonius) is famous in this play for his speech, which turns the Romans against Brutus following his group’s assassination of Caesar. Famous for the immortal lines “Friends, Romans, countrymen, lend me your ears;” (Act III, Scene II, Line 79), Mark Antony with fellow Triumvirs, Octavius and Lepidus later defeat Brutus and Cassius on the Plains of Philippi in Act V.

M. Aemilius LepiduThe last of the Triumvirs, this old man holds little real power and is used in Mark Antony’s own words as a loyal, trusted man “Meet [fit] to be sent on errands:” (Act IV, Scene I, Line 13).


Cicero A well-known orator (public speaker) and Senator, Cicero is killed by the Triumvirs (Mark Antony, Octavius and Lepidus) following Caesar’s assassination.

PubliusA Senator who travels with Caesar to the Senate House the day Caesar is killed, he witnesses Caesar’s assassination. Though deeply “confounded” or confused and shaken by the assassination of Caesar (Act III, Scene I, Line 86), he is used by Brutus to tell the citizens of Rome that Caesar aside, no one else will be hurt (Act III, Scene I, Lines 89-91).

Popilius LenaThe Senator who terrifies Cassius by telling Cassius that he hopes his “enterprise [assassination attempt] today may thrive” or be successful just as Caesar goes into the Senate house on the “ides of March” (Act III, Scene I, Line 13).

Marcus BrutusThe most complex character in this play, Brutus is one of the men who assassinate Caesar in the Senate. Brutus is complex, because he does not kill Caesar for greed, envy nor to preserve his social position like so many of the other conspirators against Caesar. This Brutus makes very clear in his speech in Act III, Scene II (Lines 12-76), when he explains his actions as being for the good of Rome.

Unlike the other conspirators, Brutus is in fact a dear friend of Caesar’s but kills his beloved friend not for who he is, but what he could become as a King. It is for this reason that when Brutus dies by suicide in Act V, Mark Antony describes his bitter enemy by saying “This [Brutus] was the noblest Roman of them all;” (Act V, Scene V, Line 68). Mark Antony recognizes with these words that Brutus acted from a sense of civic duty, not malice, nor greed nor envy.

In academic circles, Brutus is still a source of much heated debate; does assas-sinating a leader for the good of the people constitute bravery worthy of a tragic hero or can the end never justify the means? The controversy on whether Brutus is tragic hero or villain still rages...

Ironically, though it can be argued that Brutus assassinated his friend to prevent one man ruling the Roman Empire, history was later to make this a reality. Octa-vius, one of the Triumvirs who defeated Brutus and Cassius, was later to become a Roman Emperor ruling the entire Roman Empire alone following his victory over Cleopatra and Mark Antony.

CassiusOne of the original conspirators against Caesar. Like the other conspirators he fears what life under King Caesar’s rule could mean for him and the privileges he has.

Unlike the other conspirators however, Cassius plays a leading role in Caesar’s assassination. It is he who gathers those against Caesar around him and it is Cas-sius who carefully manipulates Brutus to their cause by appealing to Brutus’ sense


of civic duty which believes that Caesar as a King would be bad for the people of Rome and by Cassius’ clever use of forged letters.

The great thinker of the conspiracy, his advice is continually overruled by Brutus with tragic results for the conspirators.

First, his advice to kill Mark Antony as well as Caesar is ignored leading to Mark Antony becoming their greatest enemy.

Later at Caesar’s funeral, Cassius’ advice that Mark Antony should not speak at the funeral is also ignored leading to Antony turning the masses against the previously popular conspirators.

Finally in Act V, Brutus ignores Cassius’ advise to stay on high ground, leading to a battle in the plains of Philippi, a battle favored by Mark Antony and Octavius, their enemies. Like Brutus, he dies by suicide in Act V, when fearing Brutus dead, he commits suicide.

CascaOne of the conspirators against Caesar, he starts the actual assassination of Caesar by stabbing first from behind.

TreboniusThe only conspirator who does not actually stab Caesar, he is the man respon-sible for saving Mark Antony’s life following Caesar’s assassination. He leads Mark Antony away from the Senate house following the assassination, and he backs up Brutus’ suggestion that Mark Antony’s life be spared.

LigariusThe reluctantly assassin, Caius Ligarius at first hesitates in killing Caesar, but later enthusiastically follows the others in killing Caesar after Brutus restores his convic-tion.

Decius BrutusA man who lures Caesar to his death by his deep understanding of Caesar’s true vanity...

Not to be confused with Marcus Brutus, who is referred to in Julius Caesar simply as as Brutus. It is Decius Brutus who convinces Caesar to turn up to the Senate on the “ides of March” after Caesar announces that he is unwilling to attend the day’s Senate because of his wife Calphurnia’s dream foretelling doom. Decius Brutus turns Calphurnia’s dream into a reason to attend the Senate by cleverly rein-terpreting its negative imagery to instead symbolize Caesar’s triumph.

Metellus CimberA conspirator against Caesar, it is his petition or request to Caesar for his brother’s banishment to be overturned, that allows the conspirators to move close to Caesar, before they assassinate him with multiple stab wounds...


CinnaA conspirator against Caesar, who plays a key role in enlisting Brutus to their cause. It is Cinna who suggests to Cassius that Brutus join their conspiracy. Also assists Cassius’ manipulation of Brutus by placing Cassius’ letters responsible for manipulating Brutus where Brutus is sure to find and read them... Indirectly respon-sible for Cinna, the poet’s death; since it is he the mob originally wished to kill...

Flavius and MarullusTwo Tribunes introduced to us at the beginning of the play. Their conversation reveals the deep mistrust and fear many in Rome have about Caesar’s growing popularity, which eventually leads to Caesar’s assassination. These two men criti-cize Rome’s citizens for praising Caesar almost without reason and are later put to death or “put to silence” for “pulling scarfs off Caesar’s images,” (Act I, Scene II, Line 291) during the Feast of Lupercal in Act I, Scene I (Note: Flavius the Tribune is not the same person as Flavius, a soldier whom appears in Act IV).

ArtemidorusThe man who nearly saves Caesar, he presents Caesar with a letter warning warn-ing Caesar that he will be killed (Act II, Scene III). Caesar however does not read the letter and so proceeds to his doom...

Cinna, the PoetA humble poet, this man dies because he has the wrong name at the wrong time. After Mark Antony incites (angers) the people of Rome against Caesar’s assas-sins, Cinna who shares the same name as one of the assassins, is killed despite his explaining his identity as a poet. The mob, eager for blood, kill him regardless and use the excuse that they never liked his poems much anyway (Act III, Scene III, Lines 1-43).

Lucilius, Titinius, Messala, Young Cato and VolumniusFriends to Brutus and Cassius.

Varro, Clitus, Claudius, Strato, Lucius and DardaniusServants to Brutus.

PindarusA servant to Cassius, he is also the messenger bearing the wrong news... In Act V, Pindarus misreports to Cassius that Titinius, a scout sent to Brutus’ forces was captured by the Triumvir’s forces when he was actually welcomed by Brutus’ army. On Pindarus’ information, Cassius assumes that Brutus has been defeated and so thinking all is lost, decides to kill himself, using Pindarus to hold a sword out which he runs onto, the very sword, Cassius used against Caesar...

CalphurniaThe wife of Caesar, she begs her husband not to go to the Senate on “the ides of March” (March 15) when she cries out “’Help, ho! They murder Caesar!’” three times in her sleep, the day before Caesar’s death. This and strange occurrences such as a lioness whelping in the streets of Rome,”Fierce fiery warriors” fighting in


the clouds (Act II, Scene II, Lines 12-24) and graves yawning and yielding up their dead, convince Calphurnia that her husband Julius Caesar, must stay home on the “ides of March” (the fifteenth of March). Unfortunately just as Calphurnia con-vinces Caesar to stay home and avoid the death that awaits him, Decius Brutus (not to be confused with Brutus), arrives at Caesar’s home convincing him that these images mean that Rome will be revived by Caesar’s presence at the Senate the following day. Caesar ignores his wife’s pleas and meets his bloody destiny at the hands of Brutus and company the very next day.

PortiaThe wife of Marcus Brutus, she tries to learn from Brutus the assassination con-spiracy he is hiding from her. She is later assumed to have committed suicide at the end of the play when her death is reported as being under strange circum-stances...

Senators, Citizens, Guards, Attendants and others...

Caius and Julius Caesar (Photo by Paul Ros)


DateJulius Caesar was probably written in 1599, the same year Shakespeare wrote Henry V and As You Like It and drafted Hamlet. The first record of it being per-formed comes from the diary of Thomas Platter, who states that he saw the play on September 21, 1599, meaning that it may have been the play that opened the Globe Theatre.

SourcesAs with Antony and Cleopatra, Shakespeare drew heavily on Sir Thomas North’s 1579 translation of Plutarch’s Lives of Noble Grecians and Romanes for the plot of Julius Caesar, and at times even follows North’s phrasing. There are however important differences between the source and the play. Shakespeare compresses time and telescopes events for dramatic purposes, and although he relied on Plu-tarch for descriptions of his characters, Shakespeare’s treatment of them is more subtle and human. The speeches of Brutus and Antony at Caesar’s funeral are entirely Shakespeare’s invention.

ACT ONE

Act I, Scene iOn a street in ancient Rome, Flavius and Marullus, two Roman tribunes—judges meant to protect the rights of the people—accost a group of workmen and ask them to name their trades and to explain their absence from work. The first work-man answers straight forwardly, but the second workman answers with a spirited string of puns that he is a cobbler and that he and his fellow workmen have gath-ered to see Caesar and to rejoice in his triumph over Pompey. Marullus accuses the workmen of forgetting that they are desecrating the great Pompey, whose triumphs they once cheered so enthusiastically. He upbraids them for wanting to honor the man who is celebrating a victory in battle over Pompey’s sons, and he commands them to return to their homes to ask forgiveness of the gods for their offensive ingratitude. Flavius orders them to assemble all the commoners they can and take them to the banks of the Tiber and fill it with their tears of remorse for the dishonor they have shown Pompey.

Flavius then tells Marullus to assist him in removing the ceremonial decorations that have been placed on public statues in honor of Caesar’s triumph. Marullus questions the propriety of doing so on the day during which the feast of Lupercal is being celebrated, but Flavius says that they must remove the ornaments to pre-vent Caesar from becoming a godlike tyrant.

Act I, Scene iiCaesar, having entered Rome in triumph, calls to his wife, Calphurnia, and orders her to stand where Mark Antony, about to run in the traditional footrace of the Lupercal, can touch her as he passes. Caesar shares the belief that if a childless woman is touched by one of the holy runners, she will lose her sterility.

A soothsayer calls from the crowd warning Caesar to “beware the ides of March,” but Caesar pays no attention and departs with his attendants, leaving Brutus and Cassius behind.

Scene Synopsis

Title


Cassius begins to probe Brutus about his feelings toward Caesar and the prospect of Caesar’s becoming a dictator in Rome. Brutus has clearly been disturbed about this issue for some time. Cassius reminds Brutus that Caesar is merely a mortal like them, with ordinary human weaknesses, and he says that he would rather die than see such a man become his master. He reminds Brutus of Brutus’ noble ancestry and of the expectations of his fellow Romans that he will serve his country as his ancestors did. Brutus is obviously moved, but he is unsure of what to do.

Several times during their conversation, Cassius and Brutus hear shouts and the sounds of trumpets. Caesar re-enters with his attendants and, in passing, he remarks to Mark Antony that he feels suspicious of Cassius, who “has a lean and hungry look; / He thinks too much. Such men are dangerous.”

As Caesar exits, Brutus and Cassius stop Casca and converse with him. He tells them that Mark Antony offered the crown to Caesar three times, but that Caesar rejected it each time and then fell down in an epileptic seizure. The three men agree to think further about the matter, and when Casca and Brutus have gone, Cassius in a brief soliloquy indicates his plans to secure Brutus firmly for the conspiracy that he is planning against Caesar.

Act I, Scene iiiThat evening, Cicero and Casca meet on a street in Rome. There has been a ter-rible storm, and Casca describes to Cicero the unnatural phenomena that have occurred: An owl hooted in the marketplace at noon, the dead rose out of their graves, and so on. Cicero then departs and Cassius enters. He interprets the supernatural happenings as divine warnings that Caesar threatens to destroy the Republic. He urges Casca to work with him in opposing Caesar. When Cinna, another conspirator, joins them, Cassius urges him to throw a message through Brutus’ window and to take other steps that will induce Brutus to participate in the plot. The three conspirators, now firmly united in an attempt to unseat Caesar, agree to meet with others of their party—Decius Brutus, Trebonius, and Metellus Cimber—at Pompey’s Porch. They are confident that they will soon win Brutus to their cause.

ACT TWO

Act II, Scene iBrutus is in his orchard. It is night, and he calls impatiently for his servant, Lucius, and sends him to light a candle in his study. When Lucius has gone, Brutus speaks one of the most important and controversial soliloquies in the play. He says that he has “no personal cause to spurn at” Caesar, except “for the general,” mean-ing that there are general reasons for the public good. Thus far, Caesar has seem-ingly been as virtuous as any other man, but Brutus fears that after he is “aug-mented” (crowned), his character will change, for it is in the nature of things that power produces tyranny. He therefore decides to agree to Caesar’s assassination: to “think him as a serpent’s egg, / Which, hatched, would as his kind, grow mis-chievous, / And kill him in the shell.”


Lucius re-enters and gives Brutus a letter that has been thrown into his window. The various conspirators—Cassius, Casca, Decius, Cinna, Metellus Cimber, and Tre-bonius—now arrive. Cassius proposes that they all seal their compact with an oath, but Brutus objects on the ground that honorable men acting in a just cause need no such bond. When Cassius raises the question of inviting Cicero into the con-spiracy, Brutus persuades the conspirators to exclude Cicero from the conspiracy. Cassius then argues that Mark Antony should be killed along with Caesar; Brutus opposes this too as being too bloody a course, and he urges that they be “sacri-ficers, but not butchers.” It is the spirit of Caesar, he asserts, to which they stand opposed, and “in the spirit of men there is no blood.”

When the conspirators have departed, Brutus notices that his servant, Lucius, has fallen asleep. At this moment, Portia, his wife, enters, disturbed and concerned by her husband’s strange behavior. She demands to know what is troubling him. She asserts her strength and reminds Brutus that because she is Cato’s daughter, her quality of mind raises her above ordinary women; she asks to share his burden with him. Deeply impressed by her speech, Brutus promises to tell her what has been troubling him.

Portia leaves, and Lucius is awakened and ushers in Caius Ligarius, who has been sick, but who now declares that to follow Brutus in his noble endeavor, “I here dis-card my sickness.” They set forth together.

Act II, Scene iiThe scene is set in Caesar’s house during a night of thunder and lightning, and Caesar is commenting on the tumultuous weather and upon Calphurnia’s having dreamed of his being murdered. He sends a servant to instruct his augurers, men designated to interpret signs and appease the gods, to perform a sacrifice. Cal-phurnia enters and implores Caesar not to leave home for the day. She describes the unnatural phenomena that have brought her to believe in the validity of omens. Caesar replies that no one can alter the plans of the gods and that he will go out. When Calphurnia says that the heavens proclaim the deaths of princes, not beggars, Caesar contends that the fear of death is senseless because men cannot avoid its inevitability.

The servant returns with information that the priests suggest Caesar stay at home today because they could not find a heart in the sacrificed beast. Caesar rejects their interpretation, but Calphurnia does finally persuade him to stay at home and have Antony tell the senators that he is sick. Decius then enters, and Caesar decides to send the message by him; Decius asks what reason he is to give to the senators for Caesar’s failure to attend today’s session, and Caesar says to tell them simply that he “will not come. / That is enough to satisfy the Senate.” Pri-vately, however, he admits to Decius that it is because of Calphurnia’s dream in which many “smiling Romans” dipped their hands in blood flowing from a statue of him. Decius, resorting to the flattery to which he knows Caesar is susceptible, reinterprets the dream and says that Calphurnia’s dream is symbolic of Caesar’s blood reviving Rome; the smiling Romans are seeking distinctive vitality from the great Caesar. When Decius suggests that the senate will ridicule Caesar for being governed by his wife’s dreams, Caesar expresses shame for having been swayed by Calphurnia’s foolish fears. He declares that he will go to the Capitol.


Publius and the remaining conspirators—all except Cassius—enter, and Brutus reminds Caesar that it is after eight o’clock. Caesar heartily welcomes Antony, commenting on his habit of partying late into the night. Caesar then prepares to leave and requests that Trebonius “be near me” today to conduct some business. Trebonius consents, and in an aside states that he will be closer than Caesar’s “best friends” would like for him to be. In another aside, Brutus grieves when he realizes that all of Caesar’s apparent friends are not true friends.

Act II, Scene iiiArtemidorus enters a street near the capitol reading from a paper that warns Caesar of danger and that names each of the conspirators. He intends to give the letter to Caesar and he reasons that Caesar may survive if the fates do not ally themselves with the conspirators.

Act II, Scene ivPortia and Lucius enter the street in front of Brutus’ house, where Portia is extremely excited. She suggests that Brutus has told her of his plans (in fact, he has not had an opportunity), and she repeatedly gives Lucius incomplete instructions concerning an errand to the Capitol. She struggles to maintain self-control and reacts violently to imagined noises that she thinks emanate from the Capitol.

A soothsayer enters and says that he is on his way to see Caesar enter the Senate House. Portia inquires if he knows of any plans to harm Caesar, and he answers only that he fears what may happen to Caesar. He then leaves to seek a place from which he can speak to Caesar. Portia sends Lucius to give her greetings to Brutus and to tell him that she is in good spirits, and then to report back immediately to her.

ACT THREE

Act III, Scene iOutside the Capitol, Caesar appears with Antony, Lepidus, and all of the conspira-tors. He sees the soothsayer and reminds the man that “The ides of March are come.” The soothsayer answers, “Aye, Caesar, but not gone.” Artemidorus calls to Caesar, urging him to read the paper containing his warning, but Caesar refuses to read it. Caesar then enters the Capitol, and Popilius Lena whispers to Cassius, “I wish your enterprise to-day may thrive.” The rest enter the Capitol, and Trebonius deliberately and discretely takes Antony offstage so that he (Antony) will not inter-fere with the assassination. At this point, Metellus Cimber pleads with Caesar that his brother’s banishment be repealed; Caesar refuses and Brutus, Casca, and the others join in the plea. Their pleadings rise in intensity and suddenly, from behind, Casca stabs Caesar. As the others also stab Caesar, he falls and dies, saying “Et tu, Bruté (et tooh brooh-tay)?” (Translated from Latin as “Even you, Brutus?”)

While the conspirators attempt to quiet the onlookers, Trebonius enters with the news that Mark Antony has fled home. Then the conspirators all stoop, bathe their hands in Caesar’s blood, and brandish their weapons aloft, preparing to walk “waving our red weapons o’er our heads” out into the marketplace, crying “Peace, freedom, and liberty!”


A servant enters bearing Mark Antony’s request that he be permitted to come to them and “be resolved / How Caesar hath deserved to lie in death.” Brutus grants the plea and Antony enters. Antony gives a farewell address to the dead body of Caesar; then he pretends a reconciliation with the conspirators, shakes the hand of each of them, and requests permission to make a speech at Caesar’s funeral. This Brutus grants him, in spite of Cassius’ objections.

When the conspirators have departed, Antony begs pardon of Caesar’s dead body for his having been “meek and gentle with these butchers.” He predicts that “Caesar’s spirit, ranging for revenge,” will bring civil war and chaos to all of Italy.

A servant enters then and says that Octavius Caesar is seven leagues from Rome, but that he is coming. Antony tells the young man that he is going into the mar-ketplace to “try, / In my oration, how the people take / The cruel issue of these bloody men.” He wants the servant to witness his oration to the people so that he can relate to Octavius how they were affected. The two men exit, carrying the body of Caesar.

Act III, Scene iiBrutus and Cassius enter the Forum, which is thronged with citizens demanding satisfaction. They divide the crowd—Cassius leading off one portion to hear his argument, and Brutus presenting reasons to those remaining behind at the Forum. Brutus asks the citizens to contain their emotions until he has finished, to bear in mind that he is honorable, and to use their reason in order to judge him. He then sets before them his reasons for the murder of Caesar and points out that docu-mentation exists in the Capitol that support his claims. The citizens are convinced and at the end of his oration, cheer him with emotion. He then directs them to listen to Antony’s funeral oration.

Antony indicates that, like Brutus, he will deliver a reasoned oration. He refers to Brutus’ accusation that Caesar was ambitious, acknowledges that he speaks with “honorable” Brutus’ permission, and proceeds to counter all of Brutus’ argu-ments. The crowd begins to be swayed by his logic and his obvious sorrow over his friend’s murder. They are ultimately turned into an unruly mob calling for the blood of the conspirators by mention of Caesar’s generosity in leaving money and property to the people of Rome, and by the spectacle of Caesar’s bleeding body, which Antony unveils.

The mob leaves to cremate Caesar’s body with due reverence, to burn the houses of the assassins, and to wreak general destruction. Antony is content; he muses, “Mischief, thou art afoot, / Take thou what course thou wilt!”

A servant enters and informs Antony that Octavius has arrived and is with Lepidus at Caesar’s house. Antony is pleased and decides to visit him immediately to plan to take advantage of the chaos he has created. The servant reports that Brutus and Cassius have fled Rome, and Antony suspects that they have heard of his rousing the people to madness.

Act III, Scene iiiCinna the poet is on his way to attend Caesar’s funeral when he is accosted by a group of riotous citizens who demand to know who he is and where he is going.


He tells them that his name is Cinna and his destination is Caesar’s funeral. They mistake him, however, for the conspirator Cinna and move to assault him. He pleads that he is Cinna the poet and not Cinna the conspirator, but they reply that they will kill him anyway because of “his bad verses.” With Cinna captive, the crowd exits, declaring their intent to burn the houses belonging to Brutus, Cassius, Decius, Casca, and Caius Ligarius.

ACT FOUR

Act IV, Scene iAfter they have formed the Second Triumvirate, Antony, Octavius, and Lepidus meet in Rome to decide which Romans shall live and which shall die. Lepidus agrees to the death of his brother, and Antony agrees to the death of a nephew.Antony then sends Lepidus to obtain Caesar’s will so that they can reduce some of the bequests. After he exits, Antony tells Octavius that Lepidus may be fit to run errands but that he is not fit to rule one-third of the world; after they are through using him, they will assume the power he temporarily enjoys. Octavius does not want to argue with Antony, but he recognizes Lepidus to be a proven, brave sol-dier. Antony answers that his horse also has those qualities; therefore, Lepidus will be trained and used. Antony and Octavius then agree that they must make imme-diate plans to combat the armies being organized by Brutus and Cassius.

Act IV, Scene iiOutside of his tent at a camp near Sardis, Brutus greets Titinius and Pindarus, who bring him word that Cassius is approaching. Brutus complains that Cassius has offended him, and he looks forward to hearing Cassius’ explanation. Pindarus, Cassius’ servant, is certain that the explanation will satisfy Brutus. Lucilius says that Cassius has received him with proper protocol, but he qualifies his statement, adding that Cassius’ greeting was not with his accustomed affection. Brutus says that Lucilius has just described a cooling friendship and he suggests that Cassius may fail them when put to the test. Cassius arrives then with most of his army and immediately accuses Brutus of having wronged him. Brutus responds that he would not wrong a friend and suggests that they converse inside his tent so that “both our armies” will not see them quarreling. The two men then order their sub-ordinates to lead off the armies and guard their privacy, and they all exit.

Act IV, Scene iiiAs soon as the two men are within the tent, Cassius accuses Brutus of having wronged him by condemning Lucius Pella for taking bribes from the Sardians, in spite of Cassius’ letters in his defense. Brutus replies that Cassius should not have written defending such a cause, and Brutus charges him with having an “itching palm”—that is, Cassius has been selling offices. Brutus reminds Cassius that it was for the sake of justice that they killed Caesar, and he says strongly that he would “rather be a dog and bay the moon” than be a Roman who would sell his honor for money. The quarrel grows in intensity as Cassius threatens Brutus, but Brutus ignores his threats. Brutus reminds Cassius of his failure to send sums of gold that Brutus had requested for his troops. Cassius denies this and laments that his friend no longer loves him; he invites Brutus to kill him. Finally the two men are recon-ciled and they grasp one another’s hands in renewed friendship.


Brutus and Cassius drink together as Titinius and Messala join them. From the conversation that follows, you discover that Octavius and Antony are march-ing with their armies toward Philippi and that they “put to death an hundred senators,” including Cicero. Messala also reports the death of Portia, but Brutus stoically gives no indication that he already knows of her suicide. He proposes that they march toward Philippi to meet the enemy at once. Cassius disagrees, maintaining that it would be better to wait for the enemy to come to them. This strategy would weary the enemy forces while their own men remain fresh. Brutus persists, however, and Cassius at last gives in to him.

When his guests have departed, Brutus tells his servant Lucius to call some of his men to sleep with him in his tent. Varro and Claudius enter and offer to stand watch while Brutus sleeps, but he urges them to lie down and sleep as well. Brutus then asks Lucius to play some music. Lucius sings briefly, then falls asleep. Brutus resumes reading a book he has begun, but he is suddenly interrupted by the entry of Caesar’s ghost. Brutus asks the ghost if it is “some god, some angel, or some devil,” and it says that it is “thy evil spirit.” It has appeared only to say that they will meet again at Philippi. The ghost then disappears, whereupon Brutus calls to Lucius, Varro, and Claudius, all of whom he accuses of crying out in their sleep. They all swear that they have seen and heard nothing.

ACT FIVE

Act V, Scene iOn the plain of Philippi, Octavius and Antony, along with their forces, await Brutus, Cassius, and their armies. A messenger arrives and warns Octavius and Antony that the enemy is approaching. Antony orders Octavius to take the left side of the field, but Octavius insists upon taking the right and Antony taking the left.

Brutus, Cassius, and their followers enter, and the opposing generals meet. The two sides immediately hurl insults at one another: Antony accuses Brutus of hypocrisy in the assassination and he derides the conspirators for the cowardly way that they killed Caesar. Cassius accuses Antony of using deceit in his meeting with the conspirators following the assassination and he reminds Brutus that they would not have to endure Antony’s offensive language now had he died alongside Caesar. Octavius suggests that they cease talking and begin fighting and boasts that he will not sheath his sword until he has either revenged Caesar or has been killed by traitors. Brutus denies being a traitor. Cassius calls Octavius a “peevish schoolboy” and Antony a “masker and a reveller.” Antony responds that Cassius is “old Cassius still,” and Octavius challenges Brutus and Cassius to fight now or whenever they muster the courage. Octavius, Antony, and their armies exit.

Cassius has serious misgivings about the battle, and both he and Brutus worry that they will never see each other again. They part poignantly with Cassius saying, “For ever, and for ever, Brutus! / If we do meet again, we’ll smile indeed; / If not, ’tis true this parting was well made.”

Act V, Scene iiDuring the early course of the battle of Philippi, Brutus sends Messala with a mes


sage, urging Cassius to engage the enemy forces at once. Brutus believes that the forces under Octavius, which are positioned before him, are currently unspirited and vulnerable to attack.

Act V, Scene iiiOn another part of the field, Cassius sees his men retreating; Brutus’ forces, having driven back those of Octavius, are foraging about the battlefield for spoils, leaving Antony’s army free to encircle Cassius’ troops. Thus Cassius sends Titinius to ride toward the soldiers that he sees in the distance and determine who they are, and he asks Pindarus to mount the hill and watch Titinius. When Pindarus reports that he saw Titinius alight from his horse among soldiers who were shouting with joy, Cassius mistakenly concludes that Titinius has been taken prisoner by the enemy. He asks Pindarus to keep his oath of obedience and to stab him. Pindarus does so, and Cassius dies, saying, “Caesar, thou art revenged, / Even with the sword that killed thee.”

Titinius was not captured at all, but hailed by some of Brutus’ troops when he arrived on horseback. He now enters with Messala, hoping to comfort Cassius with the news that Octavius’ men have been overthrown by Brutus. They find Cassius’ dead body. While Messala goes to report his tragic discovery to Brutus, Titinius kills himself with Cassius’ sword.

Brutus comes onstage with Messala, Young Cato, Strato, Volumnius, and Lucilius and finds the bodies of Titinius and Cassius. To both of them, he pays a sad fare-well, calling Cassius “the last of all the Romans.” The men leave for another encounter with the enemy.

Act V, Scene ivOn the battlefield, in the midst of fighting, Brutus enters with Young Cato, Lucilius, and others. He urges them all to stand upright and brave. He exits, and Young Cato shouts his name and his loyalty to Rome, although some texts credit these lines, showing this loyalty to Brutus and Rome, to Lucilius. Young Cato is killed, and Lucilius is captured by Antony’s soldiers who think that he is Brutus. He is then left under guard as one of the soldiers runs to bring Antony to the prisoner whom he believes to be Brutus. When Antony arrives and asks for Brutus, Lucilius tells him that Brutus is alive and will never be taken prisoner. Antony sets guard over the loyal Lucilius, and he sends his soldiers to search for Brutus and report to him later at Octavius’ tent.

Act V, Scene vBrutus, Dardanius, Clitus, Strato, and Volumnius enter. They are tired from battle, and Brutus whispers a request first to Clitus and then to Dardanius; he wants one of the men to kill him. They both refuse him. He tells Volumnius that Caesar’s ghost appeared to him again; he knows that it is time for him to die. Volumnius disagrees, but Brutus argues that the enemy has them cornered, and he asks Volumnius to hold his sword while he runs onto it. Volumnius refuses, believ-ing it an improper act for a friend to perform. An alarm signals the approach of the enemy, and Clitus warns Brutus to flee. Brutus wishes his comrades farewell, including Strato, who has awakened from a quick nap; he repeats that it is time for


him to die. Offstage shouts prompt him to send his soldiers onward, and he and Strato remain alone. Strato agrees to hold Brutus’ sword; they shake hands, and Brutus runs onto the sword, killing himself.

Amid alarms signaling the rout of Brutus’ army, Octavius, Antony, Messala, Lucilius, and others enter and come upon Strato with Brutus’ body. Octavius offers to take into his service all who have followed Brutus, and Antony delivers a brief and now-famous oration over the body of Brutus beginning, “This was the noblest Roman of them all.” Antony believes that all the other conspirators attacked Caesar because of personal envy; Brutus alone did it because he believed that it would be for the general good of Rome. Octavius promises an appropriate funeral for Brutus and gives orders to stop the battle. Finally, he calls on his col-leagues to join him in celebrating their victory.

Source: http://absoluteshakespeare.com/guides/caesar/characters/characters.htm

John Light (Brutus) and Craig Gazey (Lucius) in Julius Caesar (Photo by Paul Ros)

Title


Themes in Julius CaesarFate versus Free WillJulius Caesar raises many questions about the force of fate in life versus the capacity for free will. Cassius refuses to accept Caesar’s rising power and deems a belief in fate to be nothing more than a form of passivity or cowardice. He says to Brutus: “Men at sometime were masters of their fates. / The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings” (I.ii.140–142). Cas-sius urges a return to a more noble, self-possessed attitude toward life, blaming his and Brutus’ submissive stance not on a predestined plan but on their failure to assert themselves.

Ultimately, the play seems to support a philosophy in which fate and freedom maintain a delicate coexistence. Thus Caesar declares: “It seems to me most strange that men should fear, / Seeing that death, a necessary end, / Will come when it will come” (II.ii.35–37). In other words, Caesar recognizes that certain events lie beyond human control; to crouch in fear of them is to enter a paralysis equal to, if not worse than, death. It is to surrender any capacity for freedom and agency that one might actually possess. Indeed, perhaps to face death head-on, to die bravely and honorably, is Caesar’s best course: in the end, Brutus interprets his and Cassius’s defeat as the work of Caesar’s ghost—not just his apparition, but also the force of the people’s devotion to him, the strong legacy of a man who refused any fear of fate and, in his disregard of fate, seems to have transcended it.

Public Self versus Private SelfMuch of the play’s tragedy stems from the characters’ neglect of private feelings and loyalties in favor of what they believe to be the public good. Similarly, char-acters confuse their private selves with their public selves, hardening and dehu-manizing themselves or transforming themselves into ruthless political machines. Brutus rebuffs his wife, Portia, when she pleads with him to confide in her; believ-ing himself to be acting on the people’s will, he forges ahead with the murder of Caesar, despite their close friendship. Brutus puts aside his personal loyalties and shuns thoughts of Caesar the man, his friend; instead, he acts on what he believes to be the public’s wishes and kills Caesar the leader, the imminent dictator. Cassius can be seen as a man who has gone to the extreme in cultivating his public per-sona. Caesar, describing his distrust of Cassius, tells Antony that the problem with Cassius is his lack of a private life—his seeming refusal to acknowledge his own sensibilities or to nurture his own spirit. Such a man, Caesar fears, will let nothing interfere with his ambition. Indeed, Cassius lacks all sense of personal honor and shows himself to be a ruthless schemer.

Ultimately, neglecting private sentiments to follow public concerns brings Caesar to his death. Although Caesar does briefly agree to stay home from the Senate in order to please Calpurnia, who has dreamed of his murder, he gives way to ambi-tion when Decius tells him that the senators plan to offer him the crown. -Caesar’s public self again takes precedence. Tragically, he no longer sees the difference between his omnipotent, immortal public image and his vulnerable human body. Just preceding his death, Caesar refuses Artemidorus’s pleas to speak with him, saying that he gives last priority to his most personal concerns. He thus endangers himself by believing that the strength of his public self will protect his private self.


TitleMisinterpretations and MisreadingsMuch of the play deals with the characters’ failures to interpret correctly the omens that they encounter. As Cicero says, “Men may construe things after their fashion, / Clean from the purpose of the things themselves” (I.iii.34–35). Thus, the night preceding Caesar’s appearance at the Senate is full of portents, but no one reads them accurately: Cassius takes them to signify the danger that Caesar’s impending coronation would bring to the state, when, if anything, they warn of the destruction that Cassius himself threatens. There are calculated misread-ings as well: Cassius manipulates Brutus into joining the conspiracy by means of forged letters, knowing that Brutus’s trusting nature will cause him to accept the letters as authentic pleas from the Roman people.

The circumstances of Cassius’s death represent another instance of misinterpre-tation. Pindarus’ erroneous conclusion that Titinius has been captured by the enemy, when in fact Titinius has reunited with friendly forces, is the piece of misinformation that prompts Cassius to seek death. Thus, in the world of politics portrayed in Julius Caesar, the inability to read people and events leads to down-fall; conversely, the ability to do so is the key to survival. With so much ambition and rivalry, the ability to gauge the public’s opinion as well as the resentment or loyalty of one’s fellow politicians can guide one to success. Antony proves mas-terful at recognizing his situation, and his accurate reading of the crowd’s emo-tions during his funeral oration for Caesar allows him to win the masses over to his side.

Inflexibility versus CompromiseBoth Brutus and Caesar are stubborn, rather inflexible people who ultimately suffer fatally for it. In the play’s aggressive political landscape, individuals succeed through adaptability, bargaining, and compromise. Brutus’s rigid though honor-able ideals leave him open for manipulation by Cassius. He believes so thoroughly in the purpose of the assassination that he does not perceive the need for exces-sive political maneuvering to justify the murder. Equally resolute, Caesar prides himself on his steadfastness; yet this constancy helps bring about his death, as he refuses to heed ill omens and goes willingly to the Senate, into the hands of his murderers.

Antony proves perhaps the most adaptable of all of the politicians: while his speech to the Roman citizens centers on Caesar’s generosity toward each citi-zen, he later searches for ways to turn these funds into cash in order to raise an army against Brutus and Cassius. Although he gains power by offering to honor Caesar’s will and provide the citizens their rightful money, it becomes clear that ethical concerns will not prevent him from using the funds in a more politically expedient manner. Antony is a successful politician—yet the question of morality remains. There seems to be no way to reconcile firm moral principles with suc-cess in politics in Shakespeare’s rendition of ancient Rome; thus each character struggles toward a different solution.

Rhetoric and PowerJulius Caesar gives detailed consideration to the relationship between rhetoric and power. The ability to make things happen by words alone is the most power

Title


ful type of authority. Early in the play, it is established that Caesar has this type of absolute authority: “When Caesar says ‘Do this,’ it is performed,” says Antony, who attaches a similar weight to Octavius’s words toward the end of the play (I.ii.12). Words also serve to move hearts and minds, as Act III evidences. Antony cleverly convinces the conspirators of his desire to side with them: “Let each man render me with his bloody hand” (III.i.185). Under the guise of a gesture of friend-ship, Antony actually marks the conspirators for vengeance. In the Forum, Brutus speaks to the crowd and appeals to its love of liberty in order to justify the killing of Caesar. He also makes ample reference to the honor in which he is generally esteemed so as to validate further his explanation of the deed. Antony likewise wins the crowd’s favor, using persuasive rhetoric to whip the masses into a frenzy so great that they don’t even realize the fickleness of their favor.

John Light (Brutus) and Mariah Gale (Portia) in Julius Cesaer (Photo by Paul Ros)

ShakespearePortrait of William Shakespeare distributed by Corbis--BettmannPortrait of William Shakespeare


For all his fame and celebration, William Shakespeare remains a mysterious figure with regards to personal history. There are just two primary sources for information on the Bard: his works, and various legal and church documents that have survived from Elizabethean times.

William Shakespeare was born in Stratford-upon-Avon, allegedly on April 23, 1564. Young William was born to John Shakespeare, a glover and leather mer-chant, and Mary Arden, an heiress. William was the third of eight children-three of whom died in childhood. John Shakespeare had a remarkable run of success as a merchant, and later as an alderman and high bailiff of Stratford. His fortunes declined, however, in the 1570s.

There is great conjecture about Shakespeare’s childhood years, especially regard-ing his education. It is surmised by scholars that Shakespeare attended the free grammar school in Stratford, which at the time had an outstanding reputation. While there are no records extant to prove this claim, Shakespeare’s knowledge of Latin and Classical Greek would tend to support this theory. John Shakespeare, as a Stratford official, would have been granted a waiver of tuition for his son. Cer-tainly the literary quality of Shakespeare’s works suggest a solid education. William Shakespeare never proceeded to university.

William Shakepeare wed Anne Hathaway on November 28, 1582. William was 18 at the time, and Anne was 26. Their first daughter, Susanna, was born on May 26, 1583. The couple later had twins, Hamnet and Judith, born February 2, 1585. Hamnet died in childhood at the age of 11, on August 11, 1596.

It is estimated that Shakespeare arrived in London around 1588 and began to establish himself as an actor and playwright. By 1594, he was not only acting and writing for the Lord Chamberlain’s Men (called the King’s Men after the ascension of James I in1603), but was a managing partner in the operation as well. With Will Kempe, a master comedian, and Richard Burbage, a leading tragic actor of the day, the Lord Chamberlain’s Men became a favorite London troupe, patronized by royalty and made popular by the theatre-going public. When the plague forced theatre closings in the mid-1590s, Shakespeare and his company made plans for opening the Globe Theatre in the Bankside district.

His company was the most successful in London in his day. He had plays published and sold in octavo editions, or “penny-copies” to the more literate of his audi-ences. It is noted that never before had a playwright enjoyed sufficient acclaim to see his works published and sold as popular literature in the midst of his career. While Shakespeare could not be accounted wealthy, his success allowed him to retire in comfort to Stratford in 1611.

William Shakespeare allegedly died on his birthday, April 23, 1616. This is prob-ably more of a romantic myth than reality, but Shakespeare was interred at Holy Trinity in Stratford on April 25. In 1623, two working companions of Shakespeare from the Lord Chamberlain’s Men, John Heminges and Henry Condell, printed the First Folio edition of the Collected Works, of which half the plays contained therein were previously unpublished. The First Folio also contained Shakespeare’s sonnets.

William Shakespeare’s legacy is a body of work that will never again be equaled in Western civilization. His words have endured for 400 years, and still reach across the centuries as powerfully as ever.

Biography of William Shakespeare


This baptismal record from 1564 lists “Guglielmus fi lius Johannes Shakespeare,” Latin for “William, Son of Shakespeare.” This register is now in the possesssion of The Shakespeare Birthplace Trust, Stratford-Upon-Avon, England.

“...an upstart crow, beautified with our

feathers, that with his Tiger’s heart wrapped in a player’s hide, supposes he

is as well able to bombast out a blank verse

as the best of you: and being an absolute Johannes

fac totum, is in his own conceit the only

Shake-scene in a country.”

Robert Greene, a London playwright and critic, in 1592


Shakespeare Family Tree

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Lesson Plans


Are you interestedin more lesson

plans?

Visit the KennedyCenter’s ArtsEdge

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Curriculum ConnectionsIntroduction

The following lessons and activities offer suggestions intended to be used in preparation for the UMS Youth Performance. These lessons are meant to be both fun and educational, and should be used to create anticipation for the performance. Use them as a guide to further exploration of the art form. Teachers may pick and choose from the cross-disciplinary activities and can coordinate with other subject area teachers. You may wish to use several activities, a single plan, or pursue a single activity in greater depth, depending on your subject area, the skill level or maturity of your students and the intended learner outcomes.

Learner Outcomes

• Each student will develop a feeling of self-worth, pride in work, respect, appreciation and understanding of other people and cultures, and a desire for learning now and in the future in a multicultural, gender-fair, and ability- sensitive environment.

• Each student will develop appropriately to that individual’s potential, skill in reading, writing, mathematics, speaking, listening, problem solving, and examining and utilizing information using multicultural, gender-fair and ability-sensitive materials.

• Each student will become literate through the acquisition and use of knowledge appropriate to that individual’s potential, through a comprehensive, coordinated curriculum, including computer literacy in a multicultural, gender-fair, and ability-sensitive environment.


Meeting Michigan StandardsUMS can help you meet Michigan’s

Curricular Standards!

The activities in this study guide,

combined with the live performance, are aligned with Michigan

Standards and Benchmarks.

For a complete list of Standards and

Benchmarks, visit the Michigan Department of Education online:

www.michigan.gov/mde

Arts EducationStandard 1: Performing All students will apply skills and knowledge to perform in the arts.Standard 2: Creating All students will apply skills and knowledge to create in the arts.Standard 3: Analyzing in Context All students will analyze, describe, and evaluate works of art.Standard 4: Arts in Context All students will understand, analyze, and describe the arts in their

historical, social, and cultural contexts.Standard 5: Connecting to other Arts, other Disciplines, and Life All students will recognize,

analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life.

English Language ArtsStandard 3: Meaning and Communication All students will focus on meaning and communication

as they listen, speak, view, read, and write in personal, social, occupational, and civic contexts.

Standard 5: Literature All students will read and analyze a wide variety of classic and contemporary literature and other texts to seek information, ideas, enjoyment, and understanding of their individuality, our common heritage and common humanity, and the rich diversity of our soci-ety.

Standard 6: Voice All students will learn to communicate information accurately and effectively and demonstrate their expressive abilities by creating oral, written, and visual texts that enlighten and engage an audience.

Standard 7: Skills and Processes All students will demonstrate, analyze, and reflect upon the skills and processes used to communicate through listening, speaking, viewing, reading, and writing.

Standard 12: Critical Standards All students will develop and apply personal, shared, and academic criteria for the enjoyment, appreciation, and evaluation of their own and others’ oral, written, and visual texts.

Social StudiesStandard I-2: Comprehending the Past All students will understand narratives about major eras of

American and world history by identifying the people involved, describing the setting, and sequencing the events.

Standard I-3: Analyzing and Interpreting the Past All students will reconstruct the past by comparing interpretations written by others form a variety of perspectives and creating narratives from evidence.

Standard II-1: People, Places, and Cultures All students will describe, compare, and explain the locations and characteristics of places, cultures, and settlements.

Standard III-3: Democracy in Action All students will describe the political and legal processes created to make decisions, seek consensus, and resolve conflicts in a free society.

Standard VII-1: Responsible Personal Conduct All students will consider the effects of an individual’s actions on other people, how one acts in accordance with the rule of law, and how one acts in a virtuous and ethically responsible way as a member of society.

MathStandard I-1: Patterns Students recognize similarities and generalize patterns, use patterns to create

models and make predictions, describe the nature of patterns and relationships, and construct representations of mathematical relationships.

Standard I-2: Variability and Change Students describe the relationships among variables, predict what will happen to one variable as another variable is changed, analyze natural variation and sources of variability, and compare patterns of change.analytic and descriptive tool, identify characteristics and define shapes, identify properties, and describe relationships among shapes.


ScienceStandard I-1: Constructing New Scientific Knowledge All students will ask questions that help

them learn about the world; design and conduct investigations using appropriate methodology and technology; learn from books and other sources of information; commu-nicate their findings using appropriate technology; and reconstruct previously learned knowl-edge.

Standard IV-1: Matter and Energy All students will measure and describe the things around us; explain what the world around us is made of; identify and describe forms of energy; and explain how electricity and magnetism interact with matter.

Standard IV-3: Motion of Objects All students will describe how things around us move and explain why things move as they do; demonstrate and explain how we control the motions of objects; and relate motion to energy and energy conversions.

Standard IV-4: Waves and Vibrations All students will describe sounds and sound waves; explain shadows, color, and other light phenomena; measure and describe vibrations and waves; and explain how waves and vibrations transfer energy.

Career and EmployabilityStandard 1: Applied Academic Skills All students will apply basic communication skills, apply

scientific and social studies concepts, perform mathematical processes, and apply technology in work-related situations.

Standard 2: Career Planning All students will acquire, organize, interpret, and evaluate information from career awareness and exploration activities, career assessment, and work-based experiences to identify and to pursue their career goals.

Standard 3: Developing and Presenting Information All students will demonstrate the ability to combine ideas or information in new ways, make connections between seemingly unrelated ideas, and organize and present information in formats such as symbols, pictures, schematics, charts, and graphs.

Standard 5: Personal Management All students will display personal qualities such as responsibility, self-management, self-confidence, ethical behavior, and respect for self and others.

Standard 7: Teamwork All students will work cooperatively with people of diverse backgrounds and abilities, identify with the group’s goals and values, learn to exercise leadership, teach others new skills, serve clients or customers and contribute to a group process with ideas, suggestions, and efforts.

TechnologyStandard 2: Using Information Technologies All students will use technologies to input, retrieve,

organize, manipulate, evaluate, and communicate information.Standard 3: Applying Appropriate Technologies All students will apply appropriate technologies

to critical thinking, creative expression, and decision-making skills.

World LanguagesStandard 5: Constructing Meaning All students will extract meaning and knowledge from

authentic non-English language texts, media presentations, and oral communication.Standard 6: Linking Language and Culture All students will connect to a non-English language

and culture through texts, writing, discussions, and projects.Standard 8: Global Community All students will define and characterize the global community.Standard 9: Diversity All students will identify diverse languages and cultures throughout the world.

HealthStandard 3: Health Behaviors All students will practice health-enhancing behaviors and reduce

health risks.


This lesson was designed with older students

in mind, but can easily be adapted

to suit youngerstudents as well.

• What is theatre? How does it fit into our lives?

• Ask your students if they have ever attended a performance before. If they have, what? If they haven’t, what do they think it would be like to attend? If they have attended a Shakespeare performance, what, if anything, makes it different from other plays?

• Ask the students to compare the differences between going to sports events and attending the theater.

• Have your students create their own University Musical Society in which they could perform in anything they wanted. What would they be, and who would help them?

• Discuss the kinds of jobs associated with a performing arts center: costumer, dancer, director, actor, stage manager, set designer, musician, etc. If they could work in a theater, what would they do?

• What do your students know about Shakespeare already?

• Ask students if they know any famous Shakespearean quotations.

• Please refer to page 31-33 of this study guide to spark discussion questions regarding the themes of Julius Caesar.

Assessing student’s prior knowledge before a performance is a great way to prepare them for what they are about to see, and offers an opportunity for discussion. Here are a few questions you might find helpful in preparing your students for Julius Caesar.

Assessing Prior Knowledge


Lesson 1: It’s Shakespeare! Objective:

Students will explore their preconceived notions of Shakespeare before read-ing and viewing Richard III and again after discussing the work. By interviewing others, they will be able to measure the degree to which Shakespeare’s plays and characters have permeated contemporary life and decide for themselves if Shake-speare has a place in today’s classroom.

Materials:Three Handouts

Procedures:

HANDOUT 1•. Explain that the class will be studying Richard III to prepare for a live performance by the Guthrie Theater. Before beginning a study unit, however, you’d like to see what they think and know about Shakespeare.

•Distribute Handout 1 among the class. Ask the students to rate each statement on a scale of 1 to 4. 1 = strongly agree 2 = agree somewhat 3 = disagree somewhat 4 = strongly disagree.

•. Now ask the class to move around the room and interview two classmates, putting their answers in Columns B and C.

• When everyone’s chart has the first three columns filled in, bring the class together to discuss the results.

HANDOUT 2•. Divide the class into groups of equal size and ability. Distribute Handout 2 face down, one paper to each group.

•. Explain that each group has fifteen minutes to try to answer as many questions as possible.

•. On your signal, the groups should begin.

(continued on next page)


. • When the fifteen minutes are up, reconvene the class to discuss the answers.

“Bubble, bubble, toil “A horse! A horse! My kingdom for a and trouble” horse!”

(Shakespeare, Macbeth) (Shakespeare, Richard III)

“Hogwash!” “A tisket, a tasket, a green and yellow (n/a) basket”

(1950’s song)

“To be or not to be” “Thine eyes have seen the glory” (Shakespeare, Hamlet) (Howe, “Battle Hymn of the Republic”)

“To thine own self be true” “Bah, humbug!” (Shakespeare, Hamlet) (Dickens, A Christmas Carol)

“in order to form a more “In Fair Verona, where we set our stage” perfect union” (Shakespeare, Romeo and Juliet) (U.S. Constitution)

HANDOUT 3: CLOSURE/HOMEWORK • Now that students have had a chance to reflect on their experiences, distribute Handout 3 as a closure activity/homework.

Lesson 1(cont.)


What happens when you shout the word “Shakespeare” in a crowded room? Do half the occupants run for cover while the other half begin to recite?

Before reading and seeing Julius Caesar, take some time to measure your attitudes and those of your friends and family about Shakespeare. For your own answers, use Column A below.

Enter number 1 if you strongly agree with the statement, 2 if you agree somewhat, 3 if you disagree somewhat, and 4 if you strongly disagree. Then ask two classmates what they think and record their responses in Columns B and C. Finally, after experiencing and discussing the play, fill in Column D, noting differences between your “before” and “after” responses.

1=strongly agree 2=agree somewhat 3=disagree somewhat 4=strongly disagree

Handout 1: The Survery Says...

You

Friend 1

Friend 2

1. I would not enjoy watching a Shakespearean play.

2. That’s old stuff; Shakespeare has no relevance to life today.

3. Nobody can understand Shakespeare’s plays without notes and definitions in the margins.

4. Shakespeare should be required reading for high school and college students.

5. People’s problems and behaviors change significantly from one century to another.

6. Shakespeare’s plays were meant for the upper class.

7. People can’t appreciate Shakespeare because his language is so different from ours.


Many people have heard of Shakespeare, but how much do they really know about him and his plays? In your group, work together to try to answer these questions without notes.

1. Name two works by William Shakespeare.

2. Name the country where Shakespeare was born.

3. Name one genre of literature that Shakespeare wrote.

4. Circle the lines written by Shakespeare. There are 5 in all.

“Bubble, bubble, toil “A horse! A horse! My kingdom for a horse!” and trouble”

“Hogwash!” “A tisket, a tasket, a green and yellow basket”

“To be or not to be” “Thine eyes have seen the glory”

“To thine own self be true” “Bah, humbug!”

“in order to form a more “In Fair Verona, where we set our stage” perfect union”

5. Choose one of the Shakespeare lines from #4. What does the line mean?

Adapted from a lesson designed by Youth Media International.

Handout 2: What do you know?


Should Shakespeare Still Be in School?

Imagine you have been elected student representative to your school’s curriculum committee. At ameeting, someone proposes dropping Shakespeare from the required curriculum, arguing that he isdifficult to read, irrelevant to today’s students, and not representative of the cultural and social

population of the school. Before the committee votes, you must present your position on this issue. Use results of the surveys you have conducted to prepare a brief statement:

I feel strongly that we should/should not drop Shakespeare from the curriculum because...

[Continue your answers on an additional sheet of paper if necessary]

Handout 3: Shakespeare and School


Lesson 2: Getting Into CharacterObjective:For students to gain a deeper understanding of Antony’s emotions and plans through a monologue.

Materials:Handout 4 on following pageHighlighters, markers or colored pencils

Warm-up:•. Distribute Handout 4 to the class.

• Arrange the class in a circle.

• Explain to the class that this is a speech from Julius Caesar and that each student is only responsible for one word at a time. This activity is recommended by the Folger Shakespeare Library and the Royal Shakespeare Company as a way for student to gain meanings faster connections with Shakespeare’s words while gaining a greater meaning.

• Here are some questions to help students get into character: These questions should be kept in mind, not only as the character is being developed but as it is being played 1. Who am I? 2. Where am I? 3. What do I want? 4. Why do I want it? 5. What is preventing me from getting it? 6. What am I willing to do to get what I want? 7. Whom do I want it from? 8. When do I need it?

Alternate Activity:• Assign each student a number from 1-30. Divide the monologue into 30 parts, so some students may need to read more than one part.

• Ask each student to use a highlighter, marker or colored pencil to mark each of his/her lines.

• Read the speech aloud in choral style.


This monologue is intended to be used with Lesson 2 of this study guide.

ANTONY (Act 3, Scene ii): Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interred with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer’d it. Here, under leave of Brutus and the rest-- For Brutus is an honourable man; So are they all, all honourable men-- Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man. He hath brought many captives home to Rome Whose ransoms did the general coffers fill: Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept: Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause: What cause withholds you then, to mourn for him? O judgment! thou art fled to brutish beasts, And men have lost their reason. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me.

Handout 4: A Monologue


Lesson 3: Create Your Own UMSObjectiveFor students to learn about the workings of an arts organization, increase Internet research skills, and become familiar with a wider variety of art forms and performers.

MaterialsInternet Access

Opening DiscussionAt arts organizations such as University Musical Society, a great deal of work is needed to put on a concert series. UMS has eight departments, 30 staff members, and over 20 interns working together to help concerts go as well as possible!

Each year, the organization must decide what artists it will hire, when they will perform, and in what venue. It is very important to have a variety of art forms. For example, UMS offers dance, theater, jazz, orchestral, chamber music, and soloists throughout the season. It is also important to UMS to choose performers who will appeal to people from different backgrounds. For the 2006-2007 season, several shows are centered on Mexico and the Americas. UMS also tries to include concerts that showcase African American heritage, Asian art forms, and other cultures. In order to meet these goals, negotiations between UMS staff and the performers’ representatives sometimes begin years in advance.

Activity• After explaining briefly how an arts organization like UMS works, explain that the students will be designing a concert series of their own.

• Direct the students to UMS’s website at www.ums.org. Let them explore and read about the different performances being presented this season. What shows are most interesting to them? Is there an art form or style they particularly like?

• Keeping in mind the concerns arts administrators have when planning a season, have them select concerts they would put on their own concert series. Feel free to include performers that may not be appearing at UMS this season. Why did they select those specific artists? How are the concerts linked? Is there a theme connecting them all (cultural, same art form, good variety)? (Consider limiting five shows to start.)

• Write a memo to Ken Fischer, president of University Musical Society, Tell him what shows you think should be presented and why you selected them. Mail the memos to the Youth Education Department, and we’ll give them to Mr. Fischer ourselves!

Discussion/Follow-upWhat did you learn from this experience? How was your list different from that of others? How did you justify your choices?

Theater Vocabulary

BelowOpposite of above; toward the front of the stage.

BlackoutTo plunge the stage into total darkness by switching off the lights.

BlockingThe arrangement of the performers’ movements onstage with respect to

each other and the stage space.

BorderA strip of drapery (usually black) or painted canvas hung from a batten to

mask the area above the stage.

BusinessObvious and detailed physical movement of performers to reveal character, help

the action of the play, or establish mood (e.g., pouring a cup of coffee or open ing a cabinet).

CatharsisA Greek word that Aristotle used in his definition of tragedy. It refers to vicarious cleansing of certain emotions in the members of the audience through

seeing those emotions onstage.

Center stageA stage position in the very middle of the stage.

ComplicationThe introduction in a play of a new force that creates new balance of power

and makes delay in reaching the climax necessary. It is one way of creating conflict and precipitating a crisis.

ConflictTension between two or more characters that leads to crisis or a climax. The basic

conflict is the fundamental struggle or imbalance underlying the play as a whole. May also be a conflict of ideas or actions.

CrewThe backstage team responsible for carrying out the technical parts of a production.

CrossA movement by a performer across the stage in a given direction.

CueAny prearranged signal, such as the last words in a speech, a piece of business,

or any action of lighting change that indicates to a performer or stage manager that it is time to move on to the next line or action.

Theater Vocabulary

AboveUpstage or away from the audience. A performer crossing above a

table keeps it between him/herself and the front of the stage.

Ad libTo improvise lines of speech, especially in response to an emergency,such as

a performer’s forgetting his or her lines.

AntagonistThe chief opponent of the protagonist in a drama. In some cases,there may

be several antagonists.

ApprenticeA young performer in an Elizabethan acting company who was taught

the art of acting through actual experience and who received room and board. Apprentices still work in theaters today; today they might also be called interns; current apprentices can work in all areas of the performing arts (acting, technical, administrative, and other).

Apron The stage space in front of the curtain line or proscenium.

AsideIn a play, when a character speaks thoughts aloud without others onstage

noticing.

At riseAn expression used when describing what is happening onstage at the

moment the curtain first rises or the lights come up at the beginning of the play.

BackdropA large drapery or painted canvas that provides the rear or upstage masking

of a set.

BackstageThe parts of the stage unseen by the audience; includes the wings and

dressing rooms.

Basic situationThe specific problem of maladjustment from which the play arises.

BattenA pipe or long pole suspended horizontally above the stage, upon which

scenery, drapery or lights may be hung. Battens are not seen by the audience.

Theater VocabularyCue sheetA list of cues for the use of the crew.

CycloramaA large curved drop used to mask the rear and sides of the stage, painted a neutral color or blue to represent sky oropen space.

DenouementThe moment when the conflict or crisis is solved. The word is French and was

used to refer to the working out of the resolution in a well-made play.

DimmerA device that permits lighting intensities to be changed smoothly and at varying

rates.

DirectorIn American usage,the person who is responsible for the overall unity of theproduction and for coordinating the efforts of the contributing artists. The director is in charge of rehearsals and supervises the performers in the preparation of their parts. The American director is the equivalent of the British

producer.

DownstageThe front of the stage, toward the audience.

DropA large piece of fabric, generally painted canvas, hung from a batten to the

stage floor, usually to serve as the back of the scene.

Ensemble playingActing that stretches the total artistic unity of the performance rather than the

individual performances of specific actors and actresses.

EntranceWhen an actor comes onto the stage.

EpilogueA speech addressed to the audience after the conclusion of the play and spoken

by one of the performers. Shakespeare used this device in many of his plays.

ExitThe performer’s leaving of the stage.

Theater VocabularyExpositionThe imparting information necessary for an understanding of the story but not covered by the action onstage. Events or knowlege from the past, or occurring outside the play, which must be introduced for the audience to understand the characters or plot. Exposition is always a problem in drama because relating or conveying information is often boring. The play-wright must find ways to make exposition as interesting as possible.

FlatA single piece of scenery made of canvas stretched over a wooden frame. Flats may be attached together to create a set.

Fly loft or fliesThe space above the stage where scenery may be lifted out of sight by means of ropes and pulleys when not needed.

FreezeTo remain motionless onstage.

Front of houseThe portion of the theater resered for the audience. It is often called simply “the house.”

GelA thin, flexible plastic-like sheet attached to lighting instruments to make colored light.

GroundlingsAudience members who stood in the yard of the Elizabethan theater, called“groundlings” because they stood on the ground. More expensive tickets forseating were

available as well.

Hand propsSmall props carried onstage or offstage by actors during the performance. Seeprops.

History playIn the broadest sense, a play set in a historical period that deals with historical personages. The form originated in Shakespeare’s time, Elizabethan England, which produced more history plays than any comparable place and time. In that period, history plays were often designed to teach the audience a lesson based on a review of the past. Shakespeare was the major writer of Elizabethan history plays. His style influenced many later history plays, especially those of August Strindberg.

Theater VocabularyHubrisAn ancient Greek term usually defined as “excessive pride” and cited as a

common tragic flaw.

LineA sentence or set of sentences said by an actor. When an actor forgets what to say next in a rehearsal, she may call, “Line!”

MaskA face covering to hide the face; also, to hide certain areas from the audience.

MonologueA long speech made by an actor.

ObjectiveRussian director Stanislavski’s term for what is urgently desired or sought by a character.

ObstacleThat which delays or prevents the achieving of a goal by a character. An obstacle creates complication and conflict.

OffstageThe areas of the stage, usually in the wings or backstage, that are not in view of the audience.

Onstage The area of the stage which is in view of the audience.

PaceThe rate at which a performance is played; also, to play a scene or an entire play in order to determine its proper speed.

PeriodA term describing any representation onstage of a former age, as in period costume or period play.

PitThe floor of the house in a theater. In Elizabethan times, it was where the groundlings stood. Today, “pit” can also refer to the sunken area in front of the stage where an orchestra performs during a musical or opera.

PlatformA raised surface on the stage floor serving as an elevation for parts of the stageaction and allowing for a multiplicity of stage levels.

Theater VocabularyPlotThe patterned arrangements of events and characters for a drama. The incidents are selected and arranged for maximum dramatic impact. In modernplays, the plot may begin long after the beginning of the story and refer to information regarding the past in flashbacks (going back in time).

ProducerThe person responsible for the business side of a production, including raisingthe necessary money. In British usage, a producer is the equivalent of theAmerican director.

PrologueAn introductory speech delivered to the audience by one of the actors or actresses before the play begins. Prologues are common in many Shakespearean plays.

PromptTo furnish a performer with missed or forgotten lines or cues during a performance. Prompts are almost never used in modern dramas. Shakespearean plays were rehearsed and performed so quickly that prompters were necessary to keep the play moving.

Prompt bookThe script of a play indicating perofrmers’ movements, light cues, sound cues, etc. In America, this book is made by the stage manager.

Props (Properties)Objects used by performers onstage or necessary to complete the set. Props can be as small as plates or as large as furniture.

ProsceniumThe arch or frame surrounding the stage opening in many traditional spaces. Ann Arbor theaters like the Michigan Theatre and the Lydia Mendelssohn Theater

are considered proscenium spaces. Power Center can adjust to be a proscenium stage or a thrust stage.

ProtagonistThe principal character in a play; the one around whom the play focuses. The main character.

Repertory or repertoireThe kind of acting company which at any given time has a number of plays which it can perform alternately; also, a collection of plays.

ReversalA sudden switch or reversal of circumstances or knowledge which leads to a result contrary to expectations.

Theater Vocabulary

SceneA stage setting; or the structural units into which acts of the play are divided; or the location of a play’s action.

ScrimA thin, open-weave fabric which is nearly transparent when lit from behind and opaque when lit from the front.

ScriptThe written or printed text, consisting of dialogue, stage directions, character descriptions, and the like, of a play or other theatrical theatrical representation.

SetThe scenery, taken as a whole, for a scene or an entire production.

Set pieceA piece of scenery.

ShareholdersIn Elizabethan acting troupes, members who received part of the profits as payment. Unfortunately, this tradition has all but died out.

SidesA script containing only the lines and cues for one performer; in Elizabethan England, this is how actors learned their parts. It is part of why it is difficult to know which version of Shakespeare is the “truest.” Today, most actors

receive copies of the entire play.

SoliloquyA speech in which a character who is alone onstage speaks inner thoughts. Allsoliloquies are monologues, but not all monologues are soliloquies. “To Be OrNot To Be,” from Shakespeare’s Hamlet, is probably the most famous soliloquy in theater history.

SROStanding room only. A notice that all seats for a performance have been sold and there is only room for attendees to stand.

Stage conventionAn understanding established through custom or usage that certain deviceswill be accepted or assigned specific meaning or significance.

Stage doorAn outside entrance to the backstage areas which is used by the performers and crew.

Theater VocabularyStage houseThe stage floor and all the space above it. You can easily identify the stage house from outside a theater because it is almost always the tallest part of the building.

StrikeTo remove pieces of scneery or props from onstage or to take down the entire set after the performance.

SubtextA term referring to the meaning and movement of the play below the surface: something that is implied and never stated.

ThemeThe central thought of the play. The idea or ideas with which the play deals

Tragic flawThe factor which is a character’s chief weakness and which makes him or hermost vulnerable.

TrapAn opening in the stage floor, usually covered, which can be used for special effects, such as having scenery or performers rise from below, or which permitsthe construction of a staircase which supposedly leads to an imaginary lowerfloor or cellar. The Power Center is capable of having traps; the area belowthe traps is called the Trap Room.

UpstageAt or toward the back of the stage, away from the front edge of the stage.(See Rake.)

WingsLeft and right offstage areas; also, narrow standing pieces of scenery, or“legs,” more or less parallel to the proscenium, which form the sides of a setting.

Work lightsLights that come up to help the crew see backstage when the curtain is down. The audience should never see the work lights!

YardThe pit, or standing area, in the Elizabethan public theater such as Shakespeare’s Globe.

Theater Vocabulary Word-o

FREE SPACE

Before the game begins, fill in each box with one of the vocabulary words or phrases below. Your teacher will call out the definition for one of the words below. If you’ve got the matching word on your board, cover the space with your chip. When you’ve got a horizontal, vertical, or diagonal row of five chips, call out WORD-O!

stage subtext flat set proceniumteaser ad lib gel blocking obstacle

trap cue soliloquy platform thespiancrew monologue protagonist plot trap

ResourcesLucillus, friend to Brutus and Cassius, in Julius Caesar (Photo by Paul Ros)

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Dear Parents and Guardians,

We will be taking a field trip to see a University Musical Society (UMS) Dress Rehearsal of the Royal Shakespeare Company’s production of Julius Caesar on Friday, October 27 from 2:30-5:30pm at Power Center in Ann Arbor.

We will travel (please circle one) • by car • by school bus • by private bus • by footLeaving school at approximately ________am and returning at approximately ________pm.

The UMS Youth Performance Series brings the world’s finest performers in music, dance, theater, opera, and world cultures to Ann Arbor. This performance features The Royal Shakespeare Company of Strat-ford-upon-Avon, England.

We (circle one) • need • do not need additional chaperones for this event. (See below to sign up as a chaperone.)

Please (circle one) • send • do not send lunch along with your child on this day.

If your child requires medication to be taken while we are on the trip, please contact us to make arrangements.

If you would like more information about this Youth Performance, please visit the Education section of www.ums.org/education. Copies of the Teacher Resource Guide for this performance are available for you to download.

If you have any questions, please don’t hesitate to call me at ____________________________________ or send email to _________________________________________________________________________. Please return this form to the teacher no later than ________________._____________________________

Sincerely,

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - -

My son/daughter, __________________________________, has permission to attend the UMS Youth Performance on Friday, October 27, 2006. I understand that transportation will be by _____________.

I am interested in chaperoning if needed (circle one). • yes • no

Parent/Guardian Signature________________________________________ Date_____________________

Relationship to student ____________________________________________

Daytime phone number__________________________________________

Emergency contact person________________________________________

Emergency contact phone number_________________________________

UMS FIELD TRIP PERMISSION SLIP


TitleArts Resources

www.ums.org/educationThe official website of UMS. Visit the Education section (www.ums.org/education) for study guides, information about community and family events and more information about the UMS Youth Education Program.

www.artsedge.kennedy-center.orgThe nation’s most comprehensive web site for arts education, including lesson plans, arts education news, grant information, etc.

Royal Shakespeare Compnay

www.rsc.org.uk - The official website of the Royal Shakespeare Company. Site includes information on The Complete Works Festival, about the RSC’s management, history of the company, and current productions

Shakespeare

www.shakespeareinamericancommunities.org/home.html - Shakespeare in the Communities is an initiative sponsored by the National Endowment for the Arts and Artsmidwest. On this site, teachers may order a teacher’s manual including lesson plans, Fun with Shakespeare brochure with word games, a recitation contest guide, timeline poster, audio CD, educational video, and bookmarks.

www.pbs.org/shakespeare/educators/ - Developed in partnership with the Folger Shakespeare Library, these classroom resources were designed around six thematic strands: Shakespeare’s Language, Shakespeare on Film, Performance, Primary Sources, Teaching Shakespeare to Elementary Students, and Teaching Shakespeare with Technology.

http://www.folger.edu/index_sa.cfm?specaudid=2 - This site contains contains resources for lesson plans, study guides, and ways to use primary sources.

Julius Caesar

http://www-tech.mit.edu/Shakespeare/julius_caesar/ - The complete text of the Julius Caesar, courtesy of the Massachusetts Institute for Technology.

www.lausd.k12.ca.us/lausd/resources/shakespeare/caesarwebguide.html This unit was designed for use with 10th grade English classes. The unit affords practice in analyzing and discussing character in a written composition, in discussing how decisions based on character move the plot of a drama forward, in speculating on leadership skills, and in searching for alternatives to violence in government leadership changeovers.

Internet ResourcesVisit UMS Online

www.ums.org/education

Although UMS previewed each web site, we recommend that teachers check all web sites before introducing them to students, as content may have changed since this guide was published.

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There are many more

books available!

Just visit www.amazon.com

Recommended Reading UPPER MIDDLE & SECONDARY GRADES

Aliki. William Shakespeare and the Globe. New York: HarperCollins, 1999. A delightful picture book dividing Shakespeare’s life into ‘acts’ and

‘scenes.

Becker, George J. Shakespeare’s Histories. New York: Frederick Ungar Publishing,1977. More academically focused look at the two tetralogies (Richard II to Henry

V and Henry VI, Part I, to Richard III).

Bloom, Harold. Bloom’s Major Dramatist: Shakespeare’s Histories. Broomall, PA: Chelsea House, 2000.

Chute, Marchette. Shakespeare of London. New York: E.P. Dutton, 1949. A classic book on Shakespeare’s work in London.

Doyle, John, and Ray Lischner. Shakespeare for Dummies. New York; IMG, 1999. OK, we hate the title, too, but this is a very easily digested introduction to Shakespeare. If you liked the scorecard, you can find it and many more here. Includes a plot summary of each Shakespeare play. Introduction by Dame Judi Dench, well-known in England for her work with the RSC and best- known in the US for her role as Queen Elizabeth I in Shakespeare in Love.)

Greenhill, Wendy, and Paul Wignall. Shakespeare: Man of the Theater. Chicago: Heinemann Library, 1999. Written by RSC’s former Head of Education, this is an easy-to-read sum

mary of Shakespeare’s life, work and culture.

Lamb, Charles and Mary. Tales from Shakespeare, New York: Puffin Classics, 1987.

Turns many of Shakespeare’s plays into fiction format. This work was originally published in 1807, so the language may be difficult for some.

O’Brien, Peggy, ed. Shakespeare Set Free. New York: Washington Square Press, 1993.

This book is geared specifically toward teaching Romeo and Juliet, Macbeth, and A Midsummer Night’s Dream, but the activities can be

adapted easily to other plays. In addition to ideas for teaching rhyme, meter, and figurative language, there are also fun activities. We like the active learning activites in this book.

Stanley, Diane. Bard of Avon: The Story of William Shakespeare. New York: William Morrow and Company, 1992. A text-heavy picture book of the life of Shakespeare. A good reference book for high-interest, low-ability readers.

Wilson, Edwin. Theater: The Lively Art. New York: McGraw-Hill, Inc., 1991. A beginning college textbook covering theatrical history, acting, and design.


TitleCommunity and National ResourcesThese groups andorganizations can help you to learn more about this

topic.

University Musical Society University of Michigan Burton Memorial Tower 881 N. University Ave Ann Arbor, MI 48109-1101 734.615.0122 [email protected] www.ums.org/education

University of Michigan Department of Theatre and Drama Walgreen Drama Center 1226 Murfin Avenue Ann Arbor, MI 48109-1212 734.764.5350 [email protected] www.music.umich.edu/departments/theatre/index.htm

Wayne State University Department of Theatre 4841 Cass Avenue, Suite 3225 Detroit, MI 48202 313.577.3508 [email protected] www.theatre.wayne.edu/index2.php

Michigan Shakespeare Festival PO Box 323 Jackson, MI 49204 517.788.5032 [email protected] http://michshakefest.org/index.php Grand Valley Shakespeare Festival School of Communications 290 Lake Superior Hall Grand Valley State University Allendale, MI 49401 616.331.3668 www.gvsu.edu/shakes

Gillian Eaton, actress and educator [email protected]

Performance Network 120 E Huron St. Ann Arbor, MI 48104-1437 734.663.0696 www.performancenetwork.org/

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Hilberry Theatre At Wayne State University 4841 Cass Avenue, Suite 3225 Detroit, MI 48202 313.577.2972 www.hilberry.com/

Oakland University Department of Music, Theatre & Dance 211 Varner Hall Rochester, MI 48309-4401 248.370.2030 [email protected] www2.oakland.edu/oakland/ouportal/index.asp?site=67

MeadowBrook Theatre 207 Wilson Hall Oakland University Rochester, MI 48309 248.377.3300 www.mbtheatre.com/

Chicago Shakespeare Theater 800 East Grand Avenue Chicago, IL 60611 312.595.5600 www.chicagoshakes.com/index.html Folger Shakespeare Library 201 East Capitol Street, SE Washington, DC 20003 202.544.4600 www.folger.edu/

Send Us Your Feedback!UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters or reviews.

UMS Youth Education ProgramBurton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011

(734) 615-0122 phone • (734) 998-7526 fax • [email protected]/education

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