Podcasts about shakespeare's julius caesar

“Let me have men about me that are fat; “Sleek-headed men and such as sleep o' nights: Yond Cassius has a lean and hungry look; He thinks too much: such men are dangerous.” So said Julius Caesar to Mark Antony in Shakespeare's "Tragedy of Julius Caesar." Cassius was indeed dangerous as Caesar discovered on the Ides of March when a group of Senators led by Cassius stabed him to death. They, for their part, believed their action represented the height of patriotism. Caesar would be king—an abomination in the Roman Republic. “Liberty! Freedom! Tyranny is dead!” they shouted as Caesar's blood dripped from their knives and hands. Were Cassius, Brutus, and the rest patriots or treasonous monsters? Dante put Cassius and Brutus in the frozen bottom of Hell endlessly chewed by Satan chews along with Judas Iscariot. What was Shakespeare's judgment on these men and their plot? And how should we look at the conspirators and their attempt to defend the republic from what they perceived as tyranny? At the Wyoming School of Catholic Thought, the college's adult learning week, in June, most of those conversations took place in seminar sessions, but Dr. Pavlos Papadopoulos started the discussion with this introduction.

We're joined today by actor Matt Eitzen who is also a Shakespeare and Roman history aficionado. You can catch Matt in upcoming productions at The Guinea Pig Theater in Dallas, Texas through this link: https://www.facebook.com/theguineapigdallas/ You can rent Brian's favorite interpretation, "Caesar Must Die" on YouTube here: https://www.youtube.com/watch?v=EVY_edU8vZA --- Support this podcast: https://anchor.fm/brian-wilson5/support

In the second of two programmes marking In Our Time's 20th anniversary on 15th October, Melvyn Bragg and guests discuss Shakespeare's versions of history, continuing with the Roman plays. Rome was the setting for Titus Andronicus, Julius Caesar, Coriolanus and parts of Antony and Cleopatra and these plays gave Shakespeare the chance to explore ideas too controversial for English histories. How was Shakespeare reimagining Roman history, and what impact has that had on how we see Rome today? The image above is of Marlon Brando playing Mark Antony in a scene from the film version of Shakespeare's Julius Caesar, 1953 With Sir Jonathan Bate Provost of Worcester College, University of Oxford Catherine Steel Professor of Classics and Dean of Research in the College of Arts at the University of Glasgow And Patrick Gray Associate Professor of English Studies at Durham University Producer: Simon Tillotson

In the second of two programmes marking In Our Time's 20th anniversary on 15th October, Melvyn Bragg and guests discuss Shakespeare's versions of history, continuing with the Roman plays. Rome was the setting for Titus Andronicus, Julius Caesar, Coriolanus and parts of Antony and Cleopatra and these plays gave Shakespeare the chance to explore ideas too controversial for English histories. How was Shakespeare reimagining Roman history, and what impact has that had on how we see Rome today? The image above is of Marlon Brando playing Mark Antony in a scene from the film version of Shakespeare's Julius Caesar, 1953 With Sir Jonathan Bate Provost of Worcester College, University of Oxford Catherine Steel Professor of Classics and Dean of Research in the College of Arts at the University of Glasgow And Patrick Gray Associate Professor of English Studies at Durham University Producer: Simon Tillotson

In the second of two programmes marking In Our Time's 20th anniversary on 15th October, Melvyn Bragg and guests discuss Shakespeare's versions of history, continuing with the Roman plays. Rome was the setting for Titus Andronicus, Julius Caesar, Coriolanus and parts of Antony and Cleopatra and these plays gave Shakespeare the chance to explore ideas too controversial for English histories. How was Shakespeare reimagining Roman history, and what impact has that had on how we see Rome today? The image above is of Marlon Brando playing Mark Antony in a scene from the film version of Shakespeare's Julius Caesar, 1953 With Sir Jonathan Bate Provost of Worcester College, University of Oxford Catherine Steel Professor of Classics and Dean of Research in the College of Arts at the University of Glasgow And Patrick Gray Associate Professor of English Studies at Durham University Producer: Simon Tillotson

Friends, Romans and Countrymen by Shakespeare's Julius Caesar. Marc Anthony's  Soliloquy in Act III Scene II

Journey's End opened as a play in 1928. Set in the trenches of the First World War, there's a new film version which will hold a different resonance for modern viewers as for those theatre-goers 90 years ago . The horrors of war never really change, how do artists successfully interpret it anew? The latest production at London's Bridge Theatre is of Shakespeare's Julius Caesar. There have been a lot of recent productions -what do our reviewer think makes this one special? Julian Barnes new novel -The Only Story - is about an affair between a young man and an older woman in 1960's Home Counties suburbia; an affair whose effects are reflected upon over the years. An exhibition of works from the collection of Charles I which were sold off and dispersed by Oliver Cromwell have now been gathered together for the first time in centuries, at the Royal Academy in London A new ITV drama - Trauma - starring Adrian Lester and John Simm begins on ITV. A trauma surgeon must face the reality of a bereaved father Tom Sutcliffe's guests are Christopher Frayling, Bridget Minamore and Bidisha. The producer is Oliver Jones.

CliffCentral.com — Rami and Romeo chat to Mzansi's finest thespian, Sello Maake Ka-Ncube, about his love and passion for theatre. From playing Shakespeare's Julius Caesar to shows like The Lion King and The Suit, he has done it all. Most importantly, he encourages young thespians to play with language as a lifestyle.

Seth takes a closer look at the health care bill draft Senate Republicans finally unveiled after weeks of secret, closed-door meetings. Then, Seth and Amy Poehler revive a signature segment from their time as Weekend Update co-anchors, Really!?! with Seth & Amy. This time around, they address the conservative outrage surrounding a New York production of Shakespeare's Julius Caesar that comments on modern-day American politics. Then, Seth interviews actor and comedian Kumail Nanjiani, who shares some of the harsh, and occasionally racist, personal comments people said about his movie The Big Sick, which is the real-life love story of him and his wife. Afterwards, Kumail talks about his stand-up roots to Late Night producer Henry Melcher as a podcast bonus. LATE NIGHT ON SOCIAL Rate the Late Night Podcast on iTunes: itunes.com/LateNightSeth Subscribe to Late Night on YouTube: youtube.com/LateNightSeth Follow Late Night on Twitter: twitter.com/LateNightSeth Like Late Night on Facebook: www.facebook.com/LateNightSeth Like Late Night on Instagram: www.instagram.com/LateNightSeth Find Late Night on Snapchat: snapchat.com/add/LateNightSeth Get more Late Night with Seth Meyers: www.nbc.com/late-night-with-seth-meyers/ Watch Late Night with Seth Meyers weeknights 12:35/11:35c on NBC.

Why is the book called The Fault in Our Stars? It's based on this quote from Shakespeare's Julius Caesar,  Cassius: "The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings.”  - Julius Caesar (I, ii, 140-141) In this quote, Cassius seems to be arguing that it's not fate that controls our lives, but rather that we're in control, and that we are thus responsible. The title The Fault in Our Stars seems to be saying the opposite. With the two main characters, Augustus and Hazel, John Green shows us of that sometimes we're not in control of our lives. Clearly Augustus and Hazel didn't do anything to cause the cancer they have, yet they have to live with it. The book poses the question: is it possible to find happiness in life despite the fault in our stars? In this episode of On Books I chat The Fault in Our Stars with Kate Gavino (The author and illustrator behind lastnightsreading.tumblr.com).  Read the book notes @ www.on-books.com

With Mark Lawson. Mamma Mia and The Iron Lady director Phyllida Lloyd returns to the stage with a new all-female staging of Shakespeare's Julius Caesar. It's set in a women's prison and contains a heavy-metal soundtrack. Harriet Walter takes the role of Brutus alongside Frances Barber as Caesar. Writer and critic Bidisha reviews. Playwright Mike Bartlett is known for writing Earthquakes in London, Love Love Love, 13 and for adapting Chariots of Fire into a stage production. His first television drama is The Town - a three part exploration of a young man's return to his home town after a ten year absence. Bartlett talks about writing around the ad breaks, recession drama and balancing champagne glasses on hurdles. John Rutter is one of the best-loved contemporary British composers. He is best known for his choral compositions, especially his carols and Christmas music. He discusses his latest project, composing and arranging music for the harp, and his commission for a piece of music to celebrate the Royal Wedding. Producer Claire Bartleet.

Jessica Hecht, now on Broadway as Eddie Carbone's long-suffering but cleared-eyed wife Beatrice in the Broadway revival of "A View From The Bridge", talks about her role in the play's tragic love triangle and why her preparation for this performance was so different than her usual practice. She also discusses how she began studying at Connecticut College, only to have the famed actor Morris Carnovsky send her off to New York to study at New York University; her earliest roles, including an appearance in "Hamlet" at Hartford Stage, near her hometown of Bloomfield CT, as a silent lady-in-waiting to Pamela Payton-Wright as Gertrude; her Broadway debut in "The Last Night of Ballyhoo" where, after being raised in an observant Jewish home, she appeared as part of a Southern family disconnected from their Jewish roots; how she handled portraying a character alternating between dawning love and heart-rending tragedy in the non-linear "Stop Kiss"; working on "After The Fall" at the Roundabout with Arthur Miller and her interaction with the legendary playwright; playing in Shakespeare's "Julius Caesar" with Denzel Washington -- and how that yielded the greatest entrance ovation she's ever experienced; the joy and pain of opening in "Brighton Beach Memoirs" but never being able to perform for an audience in the prematurely closed "Broadway Bound"; and why she's drawn back to the Williamstown Theatre Festival year after year. Original air date - March 17, 2010.

Jessica Hecht, now on Broadway as Eddie Carbone's long-suffering but cleared-eyed wife Beatrice in the Broadway revival of "A View From The Bridge", talks about her role in the play's tragic love triangle and why her preparation for this performance was so different than her usual practice. She also discusses how she began studying at Connecticut College, only to have the famed actor Morris Carnovsky send her off to New York to study at New York University; her earliest roles, including an appearance in "Hamlet" at Hartford Stage, near her hometown of Bloomfield CT, as a silent lady-in-waiting to Pamela Payton-Wright as Gertrude; her Broadway debut in "The Last Night of Ballyhoo" where, after being raised in an observant Jewish home, she appeared as part of a Southern family disconnected from their Jewish roots; how she handled portraying a character alternating between dawning love and heart-rending tragedy in the non-linear "Stop Kiss"; working on "After The Fall" at the Roundabout with Arthur Miller and her interaction with the legendary playwright; playing in Shakespeare's "Julius Caesar" with Denzel Washington -- and how that yielded the greatest entrance ovation she's ever experienced; the joy and pain of opening in "Brighton Beach Memoirs" but never being able to perform for an audience in the prematurely closed "Broadway Bound"; and why she's drawn back to the Williamstown Theatre Festival year after year. Original air date - March 17, 2010.