Julius Caesar is a 1970 film adaptation of William Shakespeare's play of the same name, directed by Stuart Burge. It was an independent production of Commonwealth United Entertainment, filmed in England and Spain. It is the first film version of the play made in colour.



CAST
John Gielgud as Julius Caesar
Charlton Heston as Mark Antony
Jason Robards as Brutus
Richard Johnson as Cassius
Robert Vaughn as Casca
Richard Chamberlain as Octavius
Diana Rigg as Portia
Christopher Lee as Artemidorus
Jill Bennett as Calpurnia
André Morell as Cicero
Derek Godfrey as Decius Brutus
David Dodimead as Lepidus
Michael Gough as Metellus Cimber
David Neal as Cinna
Preston Lockwood as Trebonius
John Moffatt as Popilius Lena
Steven Pacey as Lucius
Edwin Finn as Publius
Norman Bowler as Titinius
Paul Hardwick as Messala
John Tate as Clitus
Damien Thomas as Pindarus
Bob Keegan as Lucilius
Ewan Hooper as Strato
Andrew Crawford as Volumnius
Thomas Heathcote as Flavius
Alan Browning as Marullus
Christopher Cazenove as a Servant to Antony
Liz Gebhardt as Calpurnia’s Maid
Laurence Harrington as a Carpenter
Ron Pember as a Cobbler
Roy Stewart as a Slave
Michael Keating, David Leland, Yvette Rees, Michael Wynne, and Ken Hutchison as Citizens of Rome

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Shakespeare em Português - Romeu e Julieta - Gabriel Villela - Romeo and Juliet - The Globe Theatre - 2000 - 4K

Espetáculo concebido e dirigido por Gabriel Villela, com dramaturgia e textos adicionais de Cacá Brandão, sobre o original de William Shakespeare. O espetáculo teve grande repercussão com a temporada no Globe Theatre, em Londres, em 2000.



Romeo & Juliet: at the Globe Theatre
Grupo Galpão’s Romeu e Julieta (1992), directed by Gabriel Villela, is an intercultural adaptation of Shakespeare’s Romeo and Juliet, a production that intentionally draws on a range of popular practices such as street theatre, circus performance and the tradition of the commedia dell’arte, as well as on elements from the cultural imaginary of Minas Gerais in southeast Brazil. The group has done extensive reworking of Onestaldo de Pennafort’s Portuguese translation, cutting a lot of text and transmuting extensive passages into songs and rhythms of the Brazilian backlands. They cunningly mix comedy and tragedy, remediate Elizabethan stage convention and recreate formal and stylistic aspects of Shakespeare’s play. Besides blending Shakespeare’s verse with the syntax of Guimarães Rosa, constantly negotiating between the global and the local, the company appropriated Peter Brook’s conception of Romeo and Juliet as the tragedy of precipitation, which provided them with the idea of acting on stilts to enhance the necessary bodily vertigo for speech and action. The dramatic design and fusion of its hybrid interlocking elements can be pointed out as strategies that contribute to revitalize Shakespeare’s dramaturgy.

Like Shakespeare, who also used recognizable popular songs of his own day, the use popular Brazilian regional songs from Minas Gerais and other regions exerted several important functions, such as marking the beginning and end of some scenes, enhancing the festive atmosphere and reinforcing the intercultural dialogue. In spite of the multiple incarnations of the production in different performance spaces, it is possible to speak of a conceptual unity of the play. By the time it reached the Globe in London, in 2000, the main elements remained constant, while others were introduced when particular circumstances required them. The Globe staging stunningly achieved the same festive effect reached in street theatre.

Grupo Galpão
Direção - Gabriel Villela
Adaptação: Cacá Brandão

Cast: Antonio Edson, Beto Franco, Chico Pelúcio, Helvécio Isabel, Eduardo Moreira, Inês Peixoto, Simone Ordones, Júlio Maciel, Lydia Del Picchia, Rodolfo Vaz, Teuda Bara, Wanda Fernandes, Fernanda Vianna.

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James Reynard
Role: Timon

Do you recall what your first ever Shakespeare role was and can you tell us your thoughts on your first performance?

Hmm... have to cast the mind back for this one! I recall a workshop on “Macbeth” at school, but I think my first professional performance was as Mercutio in “Romeo and Juliet”. I remember doing what I thought might work, but without much actual knowledge about acting! I think it was very exterior – someone in the cast said “Like a Christmas Tree, lots on the outside, but not much inside!” Anyway, I guess there was something inside as I got some very nice critiques and I learned a lot from the production (I played the same character twice more during subsequent years).

You have been incredibly prolific with Shakespeare in your career, more so than any other cast member. What draws you to Shakespeare again and again?

EDUCATIONAL VIDEOS
Master Classes - Shakespeare After All: The Later Plays - Lecture 13 Plenary - Review session - Harvard University - 2007
by Prof. Marjorie Garber
Harvard University - Department of English



Lecture 1: Introduction
Lecture 2: Troilus and Cressida
Lecture 3: Measure for Measure
Lecture 4: Othello
Lecture 5: King Lear
Lecture 6: Macbeth
Lecture 7: Antony and Cleopatra
Lecture 8: Coriolanus
Lecture 9: Pericles
Lecture 10: Cymbeline
Lecture 11: The Winter’s Tale
Lecture 12: The Tempest
Lecture 13: Plenary - Review session

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SHAKESPEARE SONETTE - SHAKESPEARE'S SONNET - Performed in German and English - Deutsch und Englisch - 2009



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Directed by: Robert Wilson

Cast: Katharina Susewind, Anke Engelsmann, Ruth Glöss, Anna Graenzer, Ursula Höpfner-Tabori, Traute Hoess, Inge Keller, Krista Birkner, Dejan Bucin, Jürgen Holtz, Christopher Nell, Ulrich Brandhoff, Georgios Tsivanoglou, Georgette Dee, Winfried Goos.

Musicians: Stefan Rager, Hans-Jörn Brandenburg, Dominic Bouffard, Ralph Gräβler.

Isang Quartett: Seungwon Lee, Yewon Kim, Sara Kim, Yeo Hun Yun.

Music: Rufus Wainwright Costumes: Jacques Reynaud Co-direction: Ann-Christin Rommen Collaborator: Serge von Arx Costumes collaborator: Yashi Tabassomi Music direction: Hans-Jörn Brandenburg și Stefan Rager Light design: Andreas Fuchs Aditional music: Bryan Senti Direction assistant: Michael Götz Produced by: Berliner Ensemble Premiere: 2009 Running time: 140 minutes

The Bard is modern and alive than ever in Robert Wilson's Shakespeare's Sonnets, a contemporary take on 25 specially chosen sonnets from Shakespeare's cannon. Set to a sweeping score composed by Rufus Wainwright, a genre-bending mix of medieval German Minnesang, classical, pop, and cabaret rock is performed by the actors of the Berliner Ensemble. The sonnets were pared down and selected by dramaturge Jutta Ferbers who deftly adapted these captivating poems that were originally unintended for the theater.

For this production, Wilson embraces the prevalence of subversive gender conventions embedded in Shakespeare's 154 sonnets which move fluidly between male and female objects of desire. Several quintessential characters make an appearance; from boy to fool, from Cupid to the mysterious Dark Lady, from the Queen of England to Shakespeare himself. Wilson's signature sculpting of time, light, and gesture combined with Wainwright's romantic, sensitive, and at times disturbingly dark score transports audiences to a dreamlike place suspended in time.

AUDIO / IMAGE HD Restoration - Sources and/or Archive copies quality used for this restoration: bad.

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EDUCATIONAL VIDEOS
Master Classes - Shakespeare After All: The Later Plays - Lecture 12 - The Tempest - 2007
by Prof. Marjorie Garber
Harvard University - Department of English



Lecture 1: Introduction
Lecture 2: Troilus and Cressida
Lecture 3: Measure for Measure
Lecture 4: Othello
Lecture 5: King Lear
Lecture 6: Macbeth
Lecture 7: Antony and Cleopatra
Lecture 8: Coriolanus
Lecture 9: Pericles
Lecture 10: Cymbeline
Lecture 11: The Winter’s Tale
Lecture 12: The Tempest
Lecture 13: Plenary - Review session

This recording is for educational purposes only and is covered under Fair Use doctrine - Copyright - All rights reserved to their respective owners.

Support Us - Donate Now !

Why Donate?