THE 30-MINUTE SHAKESPEARE
JULIUS CAESAR
“Nick Newlin’s work as a teaching artist for Folger Education during the past thirteen years has provided students, regardless of their experience with Shakespeare or being on stage, a unique opportunity to tread the boards at the Folger Theatre. Working with students to edit Shakespeare’s plays for performance at the annual Folger Shakespeare Festivals has enabled students to gain new insights into the Bard’s plays, build their skills of comprehension and critical reading, and just plain have fun working collaboratively with their peers.
Folger Education promotes performance-based teaching of Shakespeare’s plays, providing students with an interactive approach to Shakespeare’s plays in which they participate in a close reading of the text through intellectual, physical, and vocal engagement. Newlin’s The 30-Minute Shakespeare series is an invaluable resource for teachers of Shakespeare, and for all who are interested in performing the plays.”
ROBERT YOUNG, PH.D.
DIRECTOR OF EDUCATION
FOLGER SHAKESPEARE LIBRARY
Julius Caesar: The 30-Minute Shakespeare
ISBN 978-1-935550-31-0
Adaptation, essays, and notes © 2012 by Nick Newlin
No part of this publication may be reproduced or transmitted in any form, electronic, photocopying or otherwise, without the prior written permission of the publisher.
There is no royalty for performing Julius Caesar: The 30-Minute Shakespeare in a classroom or on a stage; however, permission must be obtained for all playscripts used by the actors. The publisher hereby grants unlimited photocopy permission for one series of performances to all acting groups that have purchased at least five (5) copies of the paperback edition, or one (1) copy of the downloadable PDF edition available for $12.95 from www.30MinuteShakespeare.com. If a group uses an eBook edition to stage a performance, post a comment to our Facebook page; we’d love to hear about it.
Cover design by Sarah Juckniess
Distributed by Consortium Book Sales & Distribution www.cbsd.com
NICOLO WHIMSEY PRESS
Art Director: Sarah Juckniess
Managing Editors: Katherine Little, Leah Gordon
THE TRAGEDIE of
JULIUS CÆSAR
THE 30-MINUTE SHAKESPEARE
Written by WILLIAM SHAKESPEARE
Abridged AND Edited
by NICK NEWLIN
Brandywine, MD
To my grandmother,Elizabeth Battles Newlin
(“Gammy”)
whose love was constantas the northern star
Special thanks to Joanne Flynn, Bill Newlin, Eliza Newlin Carney, William and Louisa Newlin, Michael Tolaydo, Hilary Kacser, Sarah Juckniess, Katherine Little, Eva Zimmerman, Leah Gordon, Tanya Tolchin, Frank Harris, Julie Schaper and all of Consortium, Leo Bowman and the students, faculty, and staff at Banneker Academic High School, and Robert Young Ph.D. and the Folger Shakespeare Library, especially the wonderful Education Department.
TABLE OF CONTENTS
Preface: No Experience Necessary
Characters in the Play
Performance Notes: Julius Caesar
Sample Program
Additional Resources
Appendix
I was not a big “actor type” in high school, so if you weren’t either, or if the young people you work with are not, then this book is for you. Whether or not you work with “actor types,” you can use this book to stage a lively and captivating thirty-minute version of a Shakespeare play. No experience is necessary.
When I was about eleven years old, my parents took me to see Shakespeare’s Two Gentlemen of Verona, which was being performed as a Broadway musical. I didn’t comprehend every word I heard, but I was enthralled with the language, the characters, and the story, and I understood enough of it to follow along. From then on, I associated Shakespeare with fun.
Of course Shakespeare is fun. The Elizabethan audiences knew it, which is one reason he was so popular. It didn’t matter that some of the language eluded them. The characters were passionate and vibrant, and their conflicts were compelling. Young people study Shakespeare in high school, but more often than not they read his work like a text book and then get quizzed on academic elements of the play, such as plot, theme, and vocabulary. These are all very interesting, but not nearly as interesting as standing up and performing a scene! It is through performance that the play comes alive and all its “academic” elements are revealed. There is nothing more satisfying to a student or teacher than the feeling of “owning” a Shakespeare play, and that can only come from performing it.
But Shakespeare’s plays are often two or more hours long, making the performance of an entire play almost out of the question. One can perform a single scene, which is certainly a good start, but what about the story? What about the changes a character goes through as the play progresses? When school groups perform one scene unedited, or when they lump several plays together, the audience can get lost. This is why I have always preferred to tell the story of the play.
The
