Julius Caesar • 2013 - Chicago Shakespeare Theater

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Brutus versus Hamlet
CLASSROOM ACTIVITIES
Brutus is often seen as a kind of prototype for Shakespeare’s other vacillating intellectual, Hamlet. Working in
pairs, one of you will study Brutus’ s monologues in 2.1.10-85 (“It must be by his death…” to “…to hide thee
from prevention.” Cut Lucius from the scene.) The other takes Hamlet’s “Oh, what a rogue and peasant slave am
I” speech in 2.2.502-605. Like Brutus, Hamlet must make a choice to act against a man he considers a tyrant; in
his case, it is his uncle, Claudius (who also murdered Hamlet’s father and married his mother).
How do Brutus and Hamlet work themselves up to taking action? Go through your part, underlining all the
phrases which you think show your character’s indecision. Circle phrases which show your character working
toward or making a decision to act. Be on the lookout for words which may indicate a change in feeling or logiclike
“but” or “and.” When specifically in the text does each character make his decision?—mark it with an asterisk.
Now perform the soliloquies for each other. CONSIDER COMMON CORE ANCHOR STANDARDS L1, R3, R9
✪ What are their dominant feelings?
✪ What similarities do you see between them? What differences?
✪ Can you guess, based on these two speeches, how each play will end?
ON YOUR OWN
36 Conspiracy
The symbol for Justice is blindfolded and holds a sword and a pair of scales. Time has a long white beard, a
scythe and an hourglass. Such ’emblems’ or ’figures’ were very popular in Shakespeare’s day. Study lines 78-85
in 2.1 (“They are the faction...” to “...hide thee from prevention.”), then create an emblem for Conspiracy. You can
draw it, write about it, or even embody it! CONSIDER COMMON CORE ANCHOR STANDARDS L5, R4, W9
37 Prompts
Directors and stage managers use “prompt books,” or scripts with line and technical notes, to keep track of what
should be happening on stage. Make a photocopy of 2.2. Glue the sheet in the middle of a legal-size piece of
paper, turned on its side. On the right hand side, write in red suggestions to the actors concerning how the lines
should be said. On the left side, in another color, write suggestions to the stage manager about lighting and
sound effects. You can also make any “blocking” notes about where you think the characters should be moving
on stage. CONSIDER COMMON CORE ANCHOR STANDARDS R1, W2
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