文章来源:07073新游频道   发布时间:2019-11-19 08:33:24|凤凰天机四不像中特图  【字号:      】  


  A Shakespeare play is like a Hallmark card. There is one for every occasion. When you have an audience embroiled in problems of governance — and since no one has thought to release the Mueller report in iambic pentameter — might as well pluck “Julius Caesar” off the shelf.

  A political nail-gnawer about a self-absorbed populist and the men who conspire to impeach him one knife wound at a time, “Julius Caesar” is practically bespoke for 2019 America. Surely someone has already fantasy-cast it with Democratic hopefuls. Elizabeth Warren as Metellus Cimber? Discuss. But Shana Cooper’s revival at Theater for a New Audience — busy and butch — is so deep in conversation with itself and its dance battles that it nearly forgets to speak to us today.

  Ms. Cooper’s production originated at the Oregon Shakespeare Festival in 2017, just before the Public Theater’s Breitbart-baiting staging, which featured a cigar-puffing combed-over Gregg Henry as Caesar. Here, the analogues are fuzzier, nearly opaque. We don’t seem to be in Rome, or necessarily in America either, but in some half-made city-state of the mind. The set, by Sibyl Wickersheimer, is a loose scaffold of plastic sheeting, plywood pallets and splintered Sheetrock. (Has anyone ever blamed Rome’s decline and fall on bad contractors?) This is a house already divided against itself. Anyone in the first few rows should probably be issued a hard hat.

  The play, here titled “The Tragedy of Julius Caesar,” begins with a crew of plebes dressed in gray masks, white dreads and jean shorts. Apparently, they’re celebrating Lupercalia, though their frolic looks a lot more like heavy metal night on the Westside piers. (Despite the casting of women in a few small male roles, this is a homosocial world and potentially a homoerotic one — a lot of the pants are too tight.) A ceiling cradle spills confetti, and here comes Caesar (Rocco Sisto), smug and smiling, cruising through the crowd like some conquering schooner. Already a hero, Caesar, we are told, wants to be a king, a tyrant, maybe even a god. For the Roman Republic to live, and because obstruction charges aren’t really an option, Caesar has to die.

  The ethical brain teaser that activates the play is the question of whether it’s O.K. to do terrible things for not so terrible reasons, that old means-and-ends riddle. Short answer: No. So if anyone out there is hatching extrajudicial plans to remove controversial world leaders, Shakespeare has some words and a creepy dream sequence for you. Let’s just say that to go into the marketplace chanting “Peace, freedom, liberty” is rarely a good look when your hands are still bloody.

  The horns of that dilemma often fail to jab here. Ms. Cooper’s staging is virile — under Christopher Akerlind’s lighting, it is also occasionally sculptural. She seems more interested in moving bodies around rather than showing us what the minds inside those bodies might be thinking. Once in a while her work is electric, like the murder of Cinna the Poet at the hands and feet of a Caesar-supporting mob. But the scene in the marketplace is probably the production’s best, because it cools the spectacle and trusts the language and the men who speak it.

  Shakespeare spikes his play with enigmas (is Caesar really so ruthless, is Brutus really so upright), and we look to a director to help us puzzle them out. Instead, Ms. Cooper supplies a lot of stage blood and a lot of stage business and dance numbers that look like an especially savage Zumba class.

  Mr. Sisto’s Caesar, confident and fatuous, doesn’t suggest his ambition or its lack. Jordan Barbour’s Mark Antony, first discovered with the Lupercalia ravers, remains a cipher. As Brutus, Brandon J. Dirden — an actor of intrinsic warmth and gravitas — communicates Brutus’s nobility, though to sell it he often falls into the rhythms of a sermon, and even this characterization feels thin.

  Matthew Amendt’s Cassius is appropriately lean, and Stephen Michael Spencer’s Caska seems like the kind of guy who joins a vicious assassination scheme just for the hell of it. Barret O’Brien’s Decius Brutus has some neatly weaselly moments. The other conspirators mostly just glom together. The women in the play have perilously little to do, so Ms. Cooper puts Tiffany Rachelle Stewart’s Calphurnia and Merritt Janson’s Portia into scenes where they don’t belong, which helps a little. (Ms. Janson, a spiky and willowy performer, is always worth watching.) Mostly, the actors have enough comfort with the language to put across its essential meaning, but not the ease either to play with it or against it.

  Sitting in the theater as blood splashed and walls fell, I couldn’t tell what had attracted Ms. Cooper to the play beyond its violence. The lines from 1599 and the world as it is today must have formed a kind of couplet in her mind. But that rhyme refused to scan. I could admire the pictures on the stage and the stamina of the actors who made them, but the story and its themes kept eluding me. I’d wanted to think about tyranny and justice and the danger of radical action and what any of us can and should do, even when, or especially because, I’m feeling my own resistance fatigue and deleting most calls to action unread. I didn’t think about those things. I thought about the dance routines.

  And still, I was struck, maybe for the first time, by one of the play’s most slippery ironies. Assuming best motives, Brutus and the other conspirators kill Caesar to preserve the Roman Republic. But the Republic dies anyway, and representative government stays dead. For centuries. “Julius Caesar” is a reminder, unneeded, of what a very fragile thing a democracy can be. Et tu, Will?



  凤凰天机四不像中特图【裴】【有】【幸】【从】【来】【没】【有】【遇】【到】【过】【这】【种】【情】【况】,【一】【股】【寒】【意】【从】【心】【里】【蔓】【延】【了】【出】【去】,【全】【身】【上】【下】【的】【血】【液】【似】【乎】【都】【凉】【了】【下】【来】,【她】【感】【觉】【自】【己】【的】【身】【体】【有】【些】【不】【听】【使】【唤】,【抬】【起】【的】【那】【根】【手】【指】【怎】【么】【都】【放】【不】【下】【来】。 【墨】【妈】【妈】【惊】【愕】【的】【瞪】【大】【了】【眼】【睛】,【担】【心】【的】【看】【向】【裴】【有】【幸】,“【小】【幸】【你】……【你】【还】【好】【吧】……” 【裴】【有】【幸】【有】【些】【不】【知】【道】【该】【用】【什】【么】【表】【情】【来】【面】【对】【妈】【妈】,【只】【能】【对】【她】【笑】【了】


  【一】【天】【之】【后】,【安】【格】【尔】【刚】【刚】【送】【走】【布】【隆】·【贾】【格】【尔】【派】【来】【的】【特】【使】【一】【行】【人】,【正】【准】【备】【回】【自】【己】【的】【卧】【室】【美】【美】【地】【补】【一】【个】【回】【笼】【觉】【的】【时】【候】。【从】【不】【远】【的】【地】【方】,【一】【个】【传】【信】【兵】【急】【匆】【匆】【地】【朝】【自】【己】【这】【边】【赶】【了】【过】【来】。 “【安】【格】【尔】【大】【人】,【不】【好】【了】,【这】【是】【从】【文】【森】【岛】【传】【来】【的】【紧】【急】【传】【信】!” 【看】【到】【这】【个】【浑】【身】【冒】【汗】【的】【传】【信】【兵】,【虽】【然】【此】【时】【的】【安】【格】【尔】【非】【常】【感】【激】【他】【的】【尽】【职】【尽】【责】。

  【电】【话】【那】【头】【是】【长】【久】【的】【沉】【默】,【只】【有】【战】【雷】【悠】【长】【又】【沉】【重】【的】【呼】【吸】【声】。 【太】【久】【的】【沉】【默】【让】【简】【一】【逐】【渐】【冷】【了】【心】【思】,【是】【啊】,【说】【出】【口】【的】【话】【哪】【里】【还】【有】【后】【悔】【的】【机】【会】! “【罢】【了】……”“【桃】【儿】,【你】【听】【我】【说】” 【战】【雷】【仓】【促】【的】【打】【断】【了】【简】【一】【放】【弃】【的】【话】。 “【之】【前】【的】【事】【情】【要】【是】【你】【能】【过】【的】【去】,【我】【一】【直】【在】,【帮】【派】【我】【也】【会】【保】【护】【的】【很】【好】,【我】【们】【的】【婚】【戒】【也】【保】【留】【着】…【给】

  【月】【子】【坐】【完】【了】【会】【继】【续】【更】【新】凤凰天机四不像中特图【中】【姝】【仙】【子】【从】【摩】【卡】【仙】【王】【的】【话】【意】【中】,【揣】【测】【出】【他】【对】【于】【诸】【天】【神】【王】【非】【常】【的】【有】【信】【心】,【而】【且】【还】【要】【将】【这】【种】【必】【然】【的】【信】【息】【传】【递】【给】【她】。 【中】【姝】【仙】【子】【不】【由】【生】【出】【了】【一】【个】【感】【觉】,【师】【祖】【他】【好】【像】【很】【了】【解】【诸】【天】【神】【王】,【不】,【应】【该】【说】【是】【师】【祖】【非】【常】【熟】【悉】【诸】【天】【神】【王】【一】【样】。 【果】【然】,【在】【摩】【卡】【仙】【王】【对】【中】【姝】【仙】【子】【说】【出】【他】【的】【预】【测】【不】【到】【半】【个】【小】【时】,【化】【青】【城】【结】【界】【外】【的】【魔】【人】【很】【突】【然】【的】

  【洛】【玄】【和】【沐】【冰】【晴】【的】【这】【场】【婚】【礼】,【当】【真】【成】【为】【了】【轰】【动】【世】【界】【的】【世】【纪】【性】【婚】【礼】! 【来】【参】【加】【婚】【礼】,【进】【行】【祝】【福】【的】【人】,【涉】【猎】【了】【各】【大】【圈】【子】,【尤】【其】【是】【天】【山】【上】【的】【人】,【都】【对】【洛】【玄】【那】【般】【的】【卑】【躬】【屈】【膝】,【足】【以】【想】【象】【会】【造】【成】【怎】【样】【的】【轰】【动】! 【而】【看】【着】【面】【前】【的】【这】【一】【幕】,【白】【景】【阳】【的】【心】【中】【在】【复】【杂】【之】【余】,【也】【终】【于】【是】【轻】【轻】【的】【叹】【了】【一】【口】【气】。 【面】【对】【着】【如】【此】【瞬】【间】【将】【这】【李】【家】【青】【年】

  “【怎】【么】?【凤】【主】【打】【算】【出】【尔】【反】【尔】?”【天】【剑】【老】【人】【脸】【色】【一】【沉】,【不】【悦】【道】。 【陶】【弃】【也】【皱】【起】【了】【眉】【头】,【他】【可】【不】【希】【望】【自】【己】【被】【人】【贴】【上】【小】【人】【的】【标】【签】,【而】【且】,【他】【是】【个】【非】【常】【骄】【傲】【的】【人】,【最】【看】【不】【起】【的】【就】【是】【出】【尔】【反】【尔】,【言】【而】【无】【信】【的】【行】【为】【了】。 【他】【以】【为】【凤】【主】【身】【为】【凤】【族】【的】【族】【长】,【理】【应】【也】【是】【一】【个】【骄】【傲】【之】【人】,【可】【她】【现】【在】【如】【果】【毁】【约】【的】【话】,【那】【就】【会】【让】【他】【对】【凤】【主】【的】【印】【象】【大】【为】

  【虚】【空】【之】【中】【突】【然】【之】【间】【却】【是】【有】【着】【一】【道】【紫】【雷】【劈】【落】,【这】【不】【是】【普】【通】【的】【紫】【雷】,【它】【身】【上】【蕴】【含】【着】【鸿】【蒙】【混】【沌】【的】【气】【息】,【带】【着】【足】【以】【将】【一】【切】【都】【从】【根】【本】【之】【上】【抹】【杀】【湮】【灭】【的】【威】【势】,【这】【是】【属】【于】【天】【道】【掌】【握】【着】【的】【最】【强】【神】【雷】,【是】【为】【鸿】【蒙】【神】【雷】。 【它】【一】【出】【现】,【便】【是】【直】【接】【跨】【越】【了】【时】【间】,【穿】【透】【了】【命】【运】,【在】【乾】【坤】【还】【来】【不】【及】【反】【应】【的】【情】【况】【之】【下】,【直】【接】【便】【是】【突】【破】【了】【他】【的】【防】【线】,【直】【接】

  117【合】【谋】【害】【萧】【适】【意】 【周】【仲】【虽】【说】【混】【上】【昆】【仑】【的】【掌】【门】【是】【他】【运】【气】【好】,【但】【是】【他】【本】【身】【也】【是】【有】【点】【脑】【子】【的】,【一】【听】**【说】【完】【就】【直】【指】【漏】【洞】【所】【在】 “【你】【说】【那】【个】【女】【人】【说】【萧】【上】【仙】【是】【萧】【煜】?【有】【何】【证】【明】【她】【可】【有】【告】【诉】【你】,【别】【被】【她】【利】【用】【了】。” **【听】【他】【这】【样】【一】【说】【也】【起】【了】【怀】【疑】,【那】【个】【云】【蔓】【从】【头】【到】【尾】【都】【没】【证】【明】【萧】【适】【意】【是】【萧】【煜】,【难】【道】【就】【因】【为】【他】【们】【都】【姓】【萧】?




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