Julius Caesar wants power in a city he knows is undermined by rot, intrigue, alienation. The motto for plot development is the terrible annoyance that Caesar’s power and influence create in his fellow politicians. After all, everyone wants their fair share. To resolve the issue a coup d’etat is organized. The text rests in the justifications for the murder and its consequences. The path to this murder is made of speeches that point to the values of political life, judgments and about what one wants to establish. After the death of Caesar the figures of power are armed with speeches to manipulate the population. A Tragédia de Júlio César –  title of this play’s first edition – speaks of the blindness and volatility of the people and their rulers, the bloody struggles for power, private life and public responsibility, and the enormous tension between politics and morals. It is also about the illusion that we are deciding for ourselves. It is the tragedy of one who takes power and who judges that someone ruling an unfair world cannot be fair, and thus condemns himself to death by the hand of his own people. Ambition, as honest people say? Not knowing how to listen? It doesn’t matter. Whoever wants to reign in an unfair world will have to be a tyrant. And for being a tyrant he will be put down. And by being put down he will give rise to a new tyranny, more unfair than his, in a City that will have put him down less to purify itself than to ward off a guilt it is unable to recognize. More than the tragedy of a man or the tragedy of power, Julius Caesar is the tragedy of the City itself, of the very life of all its citizens. Julius Caesar is the tragedy of Rome. And Rome is our life in common.