1.18.2011

Julius Caesar


Pictured: Anna McGahan & Steven Rooke
Image by Justine Walpole


Julius Caesar is considered one of the world’s greatest tragedies, and you will realize that it is very moving, partly because of its comparisons to our world today. (For instance, note the differences in the peaceful transition of power in United States elections compared to the assassination of Caesar and the resulting riots and wars.)

One of the most important themes is the question of what qualities make up a good leader. The play explores this question at length in its detailed examination of Caesar and Brutus as leaders. Your awareness of the constant scrutiny to which today’s leaders are subjected makes the play’s examination of leadership timely. You may be quite opinionated about who is and is not a good leader. By comparing and contrasting the leadership qualities held by Caesar and Brutus, as well as many of the other characters, you can hopefully become more aware of the careful thought that is necessary to choose a good leader.

Another important and relevant issue is peer pressure. Nothing or no one has more influence on adolescents than their friends. The issue of friendship and the importance people place on it is another issue explored in the play. You may have strong opinions about the differing philosophies of friendship followed by Brutus and Antony. You can have lively discussions over the question of who is the better friend.


Animated intro

Text of play



La Boite
Director David Berthold
Designer Greg Clarke
Lighting Designer Jason Glenwright
Music & Sound Designer Steve Toulmin
Fight Director Nigel Poulton

with Ross Balbuziente, Paul Bishop, Thomas Larkin, Anna McGahan,
Hugh Parker, Steven Rooke, Emily Tomlins & Steve Toulmin


Historical information:
Wikipedia
Biography from BBC
Gaius Julius Caesar


Caesar Quotes:
I came, I saw, I conquered.
I had rather be first in a village than second at Rome.
I love the name of honour, more than I fear death.
If you must break the law, do it to seize power: in all other cases observe it.
It is easier to find men who will volunteer to die, than to find those who are willing to endure pain with patience.

Movie videos:
YouTube videos
Julius Caesar
Marlon Brandon - Mark Anthony speech

Links to learn more:
Study Guide
Julius Caesar Tragedy Wikipedia
Character introduction
Julius Caesar Historical
Julius Caesar Facts
There is a Julius Caesar app
Caesar Powerpoint
Caesar Guide
Extract: Synopsis -
Julius Caesar, returning victorious to Rome from foreign wars, is escorted to the Capitol by enthusiastic citizens for a public celebration. On the way, he is warned by a soothsayer to “beware the Ides of March.” At the celebration, the citizens, through Mark Antony, offer Caesar the crown. Three times he refuses. However, a group of conspirators, headed by Cassius, is disturbed by the power Caesar has gained and the idea that he might seize total power. To help their cause, the attempt to persuade Brutus, a good friend of Caesar and a man well-known for his honesty, that the welfare of Rome demands Caesar’s death.
That night, a tormented Brutus debates with himself whether to join the conspiracy. His fear that Rome may lose its freedom wins out over his admiration for Caesar, and at last he agrees to join with Cassius and the other to assassinate Caesar the next day.
The next morning is March 15, the Ides of March, and Calphurnia, Caesar’s wife, complains that she has had frightful dreams and has heard of evil omens. She urges her husband to avoid danger and stay home from the senate that day. After arguing that he will appear frightened or ignoble by staying home, Caesar finally gives into his wife and consents to staying with her. The conspirators, however, come to his house, acting as friends and supporters, and succeed in inducing him to accompany them, instead, to the capitol. In the capitol, at the foot of the statue of Caesar’s old enemy, Pompey, the conspirators surround Caesar on the pretext of discussing business with him—and each, in turn, stabs him. Seeing Brutus’s thrust, Caesar exclaims “et tu, Brute” (you too, Brutus) and dies. Mark Antony, Caesar’s friend, confronts the conspirators; and they seem to convince him that their actions were right, and they agree that Antony may speak at the funeral, as long as he does not condemn the conspirators. Brutus speaks first at the funeral and says that love of Rome alone made the murder necessary, a sentiment which is hailed with enthusiasm by the populace. Antony follows, praising Caesar, while calling Brutus and the conspirators “honorable men.” He so cleverly twists the argument, without blaming the conspirators, that the crowd, a moment before cheering Brutus, turns in anger against the conspirators, who are forced to flee from the city. Indeed things become so chaotic that a poet named Cinna, who had nothing to do with Caesar’s death, is killed by the mob just because his name is the same as one of the conspirators.
In Rome, the ruling triumvirate of Antony, Octavius, and Lepidus formed after Caesar’s death plot revenge and organize a military force to fight the armies of Brutus and Cassius. The opposing armies gather on the battlefield of Phillipi.
Meanwhile, the relationship between Cassius and Brutus has deteriorated into an open quarrel. After the argument is settled, Brutus confides to Cassius that his wife, Portia, has committed suicide. Later that night, unable to sleep, Brutus is stunned to see Caesar’s ghost, who warns that he will meet him again at the battlefield of Philippi.
That morning the armies meet and the forces of the triumvirate are victorious. Unwilling to endure defeat and dishonor, both Cassius and Brutus kill themselves. Antony vows to give Brutus the funeral of a noble Roman and calls him “the noblest Roman of them all,” since he was the only conspirator whose motive was not envy of the powerful Caesar.

11.23.2010

'SHAKESPEARIENCE' .... A NIGHT TO REMEMBER!!

The final Year 11 production for the year (held in the Drama Room) made parents and teacher proud! The girls performed extracts from "ROMEO AND JULIET", 'HAMLET" and "MACBETH". And there wasn't a "sound" performance viewed on the night............the achievements gained were commendably higher for all!

Well done on your introduction to Shakespeare girls!










11.10.2010

11.08.2010

CONGRATULATIONS TO THE YEAR 12 DRAMA CLASS 2010




Take a BOW girls - you have achieved well over your TWO YEARS of SENIOR DRAMA!!






10.30.2010

THE STORY OF THE MIRACLES AT COOKIE'S TABLE


Compelling theatre for those lucky to see this magnificent production.


From the QTC site:

Powerful family saga spanning four generations, The Story of the Miracles at Cookie's Table is a moving testament to culture lived, lost and found, the strength of family, adapting and gathering together.
In the 1870's a girl is born under a tree - her birth tree - chosen to give her strength and wisdom. When the tree is cut down she follows it into the white man's world, working as a cook for the big house on the island. Her tree has become a kitchen table, one she will pass down through successive generations as a legacy - a way of carving out her family stories. Now, generations later, a young man and his mother fight for ownership of the table.
First produced by Griffin and Hothouse Theatre Company, this new production was directed by Leah Purcell and written by Wesley Enoch.
Video interviews (click on more)
"The Story of the Miracles at Cookie’s Table is original, riveting theatre. It’s easy to see why Wesley Enoch’s play won the 2005 Patrick White Playwrights Award, because it’s poetic, searing, and wildly funny. As the evening progresses and layer upon layer of lies are stripped away, the dark DNA of the piece is exposed. There’s little real joy in this family with no room for sentiment. Enoch’s idea of using a ‘birth tree’ (a tree that in indigenous culture is chosen to give strength and wisdom), that is cut down and made into a kitchen table, allows him to sweep through five generations of one family as the table is handed down. In an extraordinary powerful performance, Leah Purcell as the mother Annie is mesmerizing. At times raw and vulgar, and at others incredibly vulnerable, she commands the stage and the play with a brilliance that is totally honest. She is one of our finest actors. In contrast, Roxanne McDonald as the grandmother, Faith, lacked passion. There’s more to the role than she allowed us to see, but Nathan Ramsay as the 35-year-old son, Nathan, was a strong match for Purcell. Both Purcell and McDonald have been with the play since it was first produced by Griffin and Hothouse Theatre Companies in Sydney in 2007. Purcell’s direction is sure, with Brendan O’Brien’s haunting music and sound design adding to the atmosphere. The stolen generation and homosexuality are themes that Enoch explores, but it is underage rape and its consequences that lie at the core of the piece. Excellent, abrasive theatre. It should not be missed!"
"Cookie’s Table explores storytelling and its various connotations; storytelling as a living history, storytelling as in political spin, or simply storytelling for entertainment or inspiration. While the truth here is highly subjective, there was such honesty in the performances; they grounded the material in a very explicit, palpable way. Nathan Ramsay was tormented yet understated as the detached young man yearning for his history, while Roxanne McDonald brought a quiet humanity to Faith, the stubborn matriarch whose character is often disputed. However, the heart of the play lies within the mercurial Annie, played with exuberance and wicked timing by Leah Purcell. From the moment she appeared on stage she had the entire audience in the palm of her hand, leading them through old tales and vivid memories, entertaining them with a sharp tongue and the love of a good joke. She gave vibrancy, rhythm and power to the language of Enoch’s script, and had the crowd laughing, even cheering for the woman they instantly felt they knew. The audience roared at her hi-jinks, cried through her pain, stilling and quiet as they witnessed her growth and her homecoming."
Review SMH (Sydney version)

9.01.2010

Year 11 Make 'em laugh!

The “Make ‘Em Laugh” evening held in the Drama Room on Wednesday, September 1st was a ROARING success! Our VERY talented 2010 Year 11 Drama students proved that they can not only write but perform‘stand-up’ and ‘comic monologue’ with true FLAIR! The audience of happy parents were both delighted and surprised that their beautiful daughters had so much natural talent!
Take a BOW girls! You have faced a challenge and built the bridge! You have proven that you are capable of so much more than you thought possible!.Well Done! (I filmed the event……but the video will look something like the filming of “The Blair Witch Project”……a shaky filming, as your teacher was ROFL!!)

LOL!!


















7.16.2010

QTC Physical Theatre Workshop

On Friday, July 16th, the Years 10 and 11 Drama students had the wonderful opportunity of participating in a Physical Theatre workshop held as part of the College “GO4IT “ days. This one- day intensive workshop was offered by the Queensland Theatre Company, and we were very fortunate in acquiring Jason from the Company to lead the workshop.

The physical theatre day was a drama extension activity which was both challenging and most enjoyable for the girls, who responded well to Jason’s professional approach and direction. The day began with trust, focus and movement exercises, and was followed by sessions concentrating on movement and awareness. The girls worked in three groups towards developing and devising a physical interpretation of a short story by Edgar Allen Poe, focusing on the use of movement and sound. The result was three very interesting and creative performances that the drama students can feel proud of!

All in all, the experience was rewarding and enriching, and will most certainly be invaluable as the girls continue with their studies in Drama.






























6.15.2010

Year 8 mime and movement

Creeping, rollicking or dancing, bunyips play a vital role in modern children's imagination. Bunyips Don’t by Sally Odgers and illustrated by Kim Gamble is explored by Year 8's using movement.