Excerpt from Julius C?sar

The edition of this play embodies all the features of its predecessors, with several additions. Firstly, all movements have been printed in heavy type to enable them to be easily detected from the other matter; secondly, the text has been pointed by means of perpendicular marks to indicate the pauses to be observed either after or before the word thus treated. These pauses may be short or long, and in most cases there is a note provided to indicate their necessary duration; but where this does not occur the reader will be able to judge by the context what form of treatment is required. They do not occur at every obvious point, but only where the difference created by them, though at times slight, enables the line to be governed so as to discharge its proper value. This also applies to the words italicized for emphasis, which in some cases may be light and in others heavy, the slight inflexion sometimes giving the elliptical construction its proper solution. Thirdly, among the innovations comes the detailed description of the costumes. This will, it is hoped, prove of great value in a play which sometimes causes confusion and difficulty in the matter of apportioning the right costume to the right character. Beside the dress is placed its Latin name, so that readers can, if they so wish, continue their investigations in the classical dictionaries and study examples of the clothes that are frequently shown in the articles dealing with them. A glossary of the costumes not fully described in the text, but which are mentioned under their Latin names, is placed at the end of this preface, together with a plate. It contains a short description of the military, civil, male and female costumes, with instructions as to the winding of a full-sized toga. Two plates are also provided showing thirty-seven of the principal properties used in the play, each of which is briefly described in an accompanying commentary. In short, this edition seeks to provide every means to facilitate a proper understanding of the play and its equipment.

A number of diagrams have been supplied to demonstrate the various positions taken up by the characters in the big scenes of the play. Owing to the fact that a name occupies more room than the character itself would occupy, the positions indicated are approximate only and do not always denote the direction in which the person is facing. This will however indicate itself in the production of the scene, and groups should be broken up and the attitudes of their members varied in arrangement.

Cuts are indicated in the text in the event of its being necessary to shorten the play, but as so little of the play can be omitted and its full effectiveness retained, these omissions are suggested mostly as an expedient against time and not for quality.

It is suggested that in the performance of this play, only one interval should be observed, namely, after the Third Act.

The sets have been designed to provide a simple and dignified background to the play, preserving a sense of period and locality and at the same time offering the means of making suitable changes in the easiest and most effective way possible. The general colour is of weathered stone with a blue cyclorama if possible, or, failing that, a straight backcloth. The height of the rostrum is 2" 4", the steps being 7" in height and a foot broad. This width is necessary in order to give them a stately rise as well as enabling the actors to ascend and descend in a dignified way. These steps contain a movable section in the centre so that it can be taken away and replaced by the seat in Act II, Scene I. For purposes of easier handling, the additional rostrum used in Act III, Scene I is made in two sections, whilst all the columns can, if need be, be painted on a profile shape and gives the appearance of being three-dimensional. The lower columns on the forestage should be made solid if possible. They will he. Это и многое другое вы найдете в книге Julius C?sar (Classic Reprint) (William Shakespeare)