Shakespeare’s Julius Ceasar:

The name of William Shakespeare often evokes images of Sir Laurence Olivier and Sir John Gielgud at the Royal National Theatre in London.
Yet the unique setting of an Italian language Shakespeare production in Rome proves Julius Ceasar is one of Shakespeare’s most universal plays.
Caesar’s Forum is a symbol of absolute political power, where he once ruled before his assassination by his own senate.
It is here where Caesar ordered the Temple of Venus Genetrix be built as he claimed to be a descendant from the gods.
Via Dei Fori Imperiali street, separates Caesar’s Forum from the Forum of Augustus, where Caesar’s nephew and adopted son received the title of emperor.
It is usually impossible to appreciate these archeological sites in the evening.
But now for the first time in the forum’s history, director Roberto Marafante presented Julius Caesar by William Shakespeare at night.
From July 8 until Aug. 5, Passagi Segreti presented a series of 20 performances in its 11th edition.?
However, this year is the first attempt at a classical play.
Tourists stopped by to watch the actors dress in Roman tunics perform in the illuminated Imperial Forums.
This tragedy, brought to life in five acts, has been translated into Italian by Marafante himself.
The idea is to bring archeology, literature, art and history together.
The director explains that what you see and what you hear is a game between reality and fiction.
“In theatre it is possible to give this form. These are stones. This place is very old and so this has a particular effect for the public,” Marafante said.
The first three acts are dedicated to Caesar. Towards the centre of Caesar’s Forum, Caesar’s house is represented, where the Temple of Venere used to stand.
The last two acts of the second part of the play are dedicated to Brutus, who dies at the steps of the Temple of Mars Ultor at the Forum of Augustus, which was originally constructed to remember the victory over Caesar’s murderers.
What is innovative about this representation is the way the public interacts with the actors and the setting, as it emphasizes the tragedy.
Act III Scene II has Marc Anthony and Brutus directly explaining to the audience the aftermath of the assassination of Caesar.
Originally, Shakespeare had cast actors to play the audience members during the speeches.
In this play, the audience become the citizens of Rome. Sitting on benches facing an open colonnade, the public watches Marc Anthony defend his best friend Caesar, who is accused of being a tyrant. Suddenly, Brutus appears standing at the top of a boulder to justify his actions.
Actor Gabrielle Parillo said the public has to decide if they identify with the citizens of that era.
“I don’t think that they have to applaud me. They are not the people who I was talking to in Rome at that time. I mean they are there, but there is a little distance between the real public-the Roman public of years ago-and themselves,” Parillo said.
“What I would like to see happen is that they could [think], ‘I can use my voice, I can speak.’ And so in this way, I guess each one of us can use our voice to say if something is wrong or not.”
There is no stage in this representation of the play. Actress Patricia Lafonte represents the voice of the people.
She encourages the public to follow her from the forum of Caesar through a path that goes to the Forum of Augustus.
“I liked the way of [moving] around instead of sitting,” said a passing spectator.
How would Shakespeare have reacted to his play, being transported from the Globe Theatre to the actual Roman Imperial Forums?
“Shakespeare would appreciate this because he was very much in favour of close contact with the public.
“I was very curious to see how the people watching the show would be involved in it and I think they managed to do it very well,” said another audience member on her way out.
It seems as though Shakespeare’s magnificent writing has brought the ancient ruins of Rome back to life.