Email: tea.alagic@mac.com
Phone: 917 539 3928
Address:
1919 Madison Avenue, Apt 309 New York, NY 10025
Marcus Brutus
2006
Yale Repertory Theatre, New Haven CT
An adaptation of Shakespeare’s Julius Caesar
by Tea Alagic and Kristina Mendicino
Directed by Tea Alagic
Featuring: Joe Tapper, Alec Beard, Brad Love, Gilbert Owuor, Charles Semine, Ryan Quinn, Kristen Connolly
About the play
The world of the play is the world of dreams and memories; a kind of purgatory in which everything that happens has already happened. It begins with Brutus on the edge of death, looking backward at the events that led him there-thus Julius Caesar becomes Marcus Brutus.
The piece explores choral rhythms, where the sound of the collective voice gives life to the images of the actor. It asks what we know about collective voices and choral expression-an ancient form that now feels more distant than Caesar’s Rome. In this way, the work, like Brutus’s memory world, takes on a distorted shape, gesturing toward primal and subconscious depths.
To estrange language and emphasize choral voices, portions of the piece draw from Latin texts, including Cicero’s speeches to the Roman Senate and Ovid’s Metamorphoses. Shakespeare’s verse is treated as a given—a gift—circulated throughout the performance. The language becomes a shared pool that characters enter with varying degrees of control.
Ultimately, the piece forms a tightening net, closing in with increasing force upon the inevitable death prescribed by history, Shakespeare, and Brutus himself for the most famous assassin of Julius Caesar: Marcus Brutus.
AUTOR
Tea Alagić
TEA ALAGIĆ is an internationally acclaimed Bosnian director, writer, producer, actor, and educator. Celebrated for her highly visual, physically dynamic approach, Tea draws on circus and trapeze training, the traditions of Jacques Lecoq, and immersive theatrical techniques to transform text into embodied ritual with bold theatricality. Critics have called her work “vivid, vital, and a lot of fun”, with The New York Times noting her ability to create “a vivid, very recognizable world”, and The New Yorker praising her direction in the North American premier of Elfriede Jelinek’s Jackie, highlighting her skill in finding “infinite variety in Jelinek’s long text… make this smashing of an old icon worth a visit.”
