by Emme Corbett, dramaturg
As a senior student studying history at BYU. One of the first concepts you learn as a history major is that when you study history, it is vital that you do not bring your modern-day biases with you. As strange as some past behaviors or occurrences may be to our modern eyes, understanding the reality of what life was like in historical societies allows for a more authentic and rich study of the past. It also becomes evident fairly quickly that no matter what point in time you’re studying or where you are in the world, there will be commonalities across many cultures. The shared similarity of the human experience allows these connections to occur, so it is no surprise that researching various time periods could be related back to Caesar in Ancient Rome.It was necessary in our dramaturgical research to explore three major time periods that are encompassed within this play in one way or another. These time periods are first, 49 B.C. Rome, when Julius Caesar first became a dictator of Ancient Rome, and the setting for the original script. Second, 1599 England, when William Shakespeare’s Julius Caesar was first performed, most likely at the Globe Theatre. And third, 1919 Italy, when Italy was recovering from participating in the First World War, and the setting for our performance at BYU. This weakened state created a situation where authoritarianism could ensue.It was an interesting experience to be able to connect the culture of Ancient Rome to that of Italy in the early 20th century. The reason for choosing this production of Julius Caesar to take place in 1919 Italy is not random. The significance of that time period is to draw upon the reality that history repeats itself. An aspect of history that is repeatedly detrimental to countless societies is when a group of people finds itself weak and vulnerable--whether that is due to lack of resources, a change in leadership, exiting a war, or simply evolving generations--and a power vacuum is created. This moment in time when desperation allows for someone to assume leadership (based purely on the need to rely on anybody) and provide temporary relief is often too quickly turned into an authoritarian government. The third time period that we also had to account for in this production was the time of Shakespeare in 1599 England. Some of the questions we had to ask ourselves were: Why Julius Caesar? What elements from the story of Caesar’s assassination did Shakespeare feel would resonate with his audience? From these questions and further research on the Elizabethan period, we discovered that, like in 1919 Italy, there was a concern with the succession to the Crown. Queen Elizabeth I was on the throne at the time and created conflict among the people beyond her just being a woman in power. Queen Elizabeth never married and subsequently never bore any children, thus failing to secure a successor who was in her direct line. Another element of the play that related to Shakespeare’s audience was the role of the plebeians. Their behavior in the play could symbolize how the lower class in the Elizabethan Era, while uneducated and changeable, contribute largely to the success of their society.
Before a show opens its doors to audiences, before there are costumes and props, before sets are built and actors are cast, it starts simply as an idea. This idea is known as the ‘director’s concept,’ which a director presents to the designers at the show’s first production meeting. After that, it is the designers’ job to transform that concept from an abstract idea to a physical manifestation that can be seen onstage.
One of the great things about working as a production dramaturg is the time spent in rehearsal working with the actors. For this production of 12 Angry Jurors, we spent quite a bit of time exploring the world of the play. To help the actors interact with the courtroom drama world of Boston in 1953, we created a dramaturgical website for the actors. We put a link to this website on QR codes that were printed and hung throughout the rehearsal space, so that the actors could have access to the website at any time.
One of the first things many people think of when they hear the word Christmas is gifts. Gifts and Christmas have been interchangeable for a very long time in our world’s history. But over time, what people think of as gifts has shifted. Each new era or generation defines it differently. There were monetary gifts such as gold, frankincense, and myrrh in the days of Christ, when all things were handcrafted and only the wealthiest of people could have precious ore or spices from distant lands. Or perhaps, during the great wars of the twentieth century, a gift of war bonds was precious when patriotism and the survival of the world made things like toys seem trivial to many. Now, everyone wants the latest iPhone or the newest technology. Throughout our lives, what we want also changes. Gifts shift from toys, games, and candy to technology or clothes–all inconsequential things that provide short-term entertainment. However, all of these things fade and have less impact on our true joy. Joy can really be found in the simple things of life.
