Oskar Eustis as the “artistic director” of the controversial Julius Ceaser play at the Shakespeare in the Park in New York City doesn’t even understand what kind of country America is, let alone have a proper commentary on translating the 400 year old play to contemporary subject matter. He’s the guy who thought it smart to dress up Julius Ceaser as a modern-day Donald Trump and have the character murdered on stage by a “diverse” senate filled with women, people of color and many others stabbed to death by a mob. We are a republic Oskar, not a stupid, mind numb democracy. This play has nothing to do with America—in fact our mode of government was an invention to step away from this kind of mob driven drivel. Shakespeare’s Julius Ceaser play is about revenge, murder and political conspiracy—and all that plot driven nonsense—but its relevancy to Donald Trump for which you made him the lead character in this modern rendition—with Trump Tower leering on the skyline in full view of the audience is an attempt to taint the waters of the ignorant into poking their unsophisticated asses into open insurrection—and it isn’t forgivable.
I feel like I say this all the time about way too many subjects but I know something about William Shakespeare. My favorite of his plays is Titus Andronicus which is a character I understand completely. I love the way it reads and to date Julie Taymor has done the best job of taking the play to film with Anthony Hopkins doing a phenomenal job as Titus. Many creative people have applied their hand to Shakespeare and for good reason, the material is rich and it forces actors to really dig deep in understanding theater from a long ago time in a language that is almost completely foreign to us now. So it was an insult to me to hear how this latest New York modern rendition of Julius Ceaser was abusing its artistic power and trying to explain it away once Bank of America pulled out as a sponsor for wistfully putting Donald Trump into the contemporary role of “protagonist” brutally murdered by a bunch of conniving senators. You don’t have to look too far to understand that the play’s director in this case is rooting for the Chuck Schumers of the world to plot the same kind of assassination in modern politics and that his grasp on this modern history is as shallow as a dry lake bed in Nevada.
When Oskar Eustis said in his remarks on his play that “democracy depends on the conflict of different points of view, nobody owns the truth, we all own the culture,” he displayed a predilection toward insanity that I found quite alarming. People clapped because they figured he was an art guy who knows more than they do about these matters, but honestly the lack of understanding displayed by Eustis of this material is shocking. It is because democracy is unreliable that we even have a republic in America—and the analysis that William Shakespeare was constantly obsessed with about the Roman republic failures in his plays are explorations in mob violence for the sake of theater and the compelling subject matter it evokes. The Donald Trump presidency is actually an evolution beyond this kind of animalistic chaos. Trump is not power-hungry in the way that Julius Ceaser was and he is not a person who would ever be in a position to allow a mob of conniving senators access to him in a way they could commit murder. Trump is much more strategic, and a lot smarter than people think he is. I would warn people not to assume that they can “outthink” the Trump—which is one of the appealing aspects of his presidency for which people like me voted for him. I don’t want a Shakespearian White House for a change. I want an evolution beyond it—and I have found it in Trump.
We are not all equal in a democratic America. Some of us work a lot harder than others and thus we need the representation of a republic to prevent the mob from running the show—because the lazy, the drug obsessed, and the sexually manipulative need to be kept at a distance from the legislative process as much as possible—and the hardest working among us should be the ones running things. We can only determine value through merit so as far as owning the truth—it doesn’t all belong to us equally. And regarding the political left, democracy has already defeated the progressive offerings philosophically and they don’t like it and have turned toward these violent threats to stay relevant in the world. Oskar Eustis can play word gymnastics all he wants in an attempt to take the edge off what he did—which was an open plea for the modern senate to assassinate Donald Trump. Eustis knew that most people wouldn’t understand the words spoken in the play and that most people haven’t worked hard to gain the meanings of Shakespeare’s language. But dress up Ceaser in Donald Trump looking suits and make his wife sound just like Melania Trump and even the dumbest people in the audience will understand and that will be what they remember. And at the pot parties before and after the big show—which always go on with creative people the stoned losers hope that out there in the audience is a James Hodgkinson who might be a committed enough leftist with nothing to lose in life who might sacrifice themselves for the cause of “democracy” otherwise known as “mob rule.” Don’t kid yourself in thinking that this kind of talk is not happening. Listen to what leftists say in public—what they say when the cameras are not on is much worse.
I found it particularly insulting that Oskar Eustis on the front page of their website actually said “Act Three, Scene One of Shakespeare’s JULIUS CAESAR takes place on the Ides of March, 44 B.C. By the time that scene is over, democracy will have vanished from the face of the earth for almost two millennia, until some English colonists on the eastern seaboard of North America start throwing tea into Boston Harbor.” This open appeal toward the conservative movement to connect his play with the efforts of the American Revolution were disgusting—and again it’s not democracy that we’re analyzing, it’s a republic—a representative republic that requires the participation of the engaged and wise and allows the fools and addicts to beg for money on the sidewalk as “unequal” participants in history. There is quite a difference between the players on the field of a sporting event and those who just sit in the stands and watch. Those who participate in our republic are on the field whether they vote, or become part of the mechanisms of government. The mob is in the stands cheering or booing depending on how things go—but they are not equal participants. People who smoke dope and study 400-year old plays about violence and the darkest of human emotions are not equal to the law student who spends 18 hours a day preparing their mind for a big case and will eventually become a senator perhaps after a successful career over many years. They are not equal people.
Additionally I would offer that Donald Trump is a superior offering to anything that William Shakespeare ever conceived in his plays. Understanding Donald Trump’s White House is beyond the grasp of people like Oskar Eustis and his thin understanding of history. We are looking at an evolutionary design for which history will record and will be thankful for over the coming millennia. To put Trump into the shoes of Julius Caesar is to try to take a full-grown adult and put baby shoes on them—Trump is far more evolved than anything Rome ever created as an emperor. The very stupid of our society may not understand how or why yet because history is being written with each moment that we breathe—but Trump is an idea that will change history for the better. All Eustis could see as a director of a play was a way to try to hold those animalistic concepts of human nature to a White House that is moving well beyond the reach of the political left and their failed ideas. All they have is the threat of violence to attempt to stay relevant in this tragedy of modern politics. They are not equal in this American republic because their liberal concepts for our reality have been rejected in the theater of debate and all they have left is to attempt to redefine the definitions of fairness and the recollections of history to suit their current crises—and to hope that by calling our American system a democracy that enough dumb people will believe them in an effort to get out the vote and ignite their base for the 2018 midterms between the haze of marijuana smoke and a drug induced orgy of dirty, smelly, tattooed covered liberals laced with body piercings and a lack of deodorant forgotten due to their spending the day bitching about Donald Trump instead of getting a job and jumping on the many opportunities this administration has created for them to be more successful. They like most liberals would rather complain, and plot murder so that they could keep their welfare checks and government jobs intact hoping beyond hope that Karl Marx will find his way into the philosophy of American politics before all the old hippies die off. But in America its Adam Smith who set the stage and it’s not Julius Ceaser who runs our Republic—its Donald Trump, and he is a creation beyond the reach of classic literature. That book is being written before our eyes for the first time in history—and it’s much more exciting than anything the human race has ever created before.
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