ALL NOVEL Chapter 6
“Oh ho! Julius Caesar, is it? Is that the title of your next work?”
“That’s right, Renoir.”
“Quite a unique title. I take it the ancient figure is the protagonist?”
“Sort of, yes.”
From a medieval perspective, Rome is a truly distant ancient era. Caesar, the one who established the foundation of the Roman Empire, is even more of an ancient figure. Fortunately, this world also has a legendary ancient civilization that flourished like Rome, allowing Renoir to understand the world of the script for [Julius Caesar] without much difficulty.
“Oh ho, hmm! Ooh! This part is the best! No, scratch that! This part is the greatest! No, no, scratch that! Every scene is a masterpiece!”
Quickly reading through the script while drumming and clapping, Renoir was naturally excited as he would be playing the role of Caesar.
“…My goodness, Phantom! This work rivals Admiral Lee’s masterpiece!”
Thud! As he finished reading the script, Renoir exclaimed, stroking his bearded chin with a serious voice.
“No, in some ways, it surpasses Admiral Lee’s masterpiece! The growth of the protagonist Caesar, his exploits, crises, successes, and fateful demise—all these elements harmoniously combine to form a perfect story! The hero’s tragic death connects everything seamlessly!”
It was a sentiment that could be understood. After realizing that the audience in this world was more tolerant of sad endings than expected, the story was intentionally written to be a typical ‘tragedy’.
Tragedy has a deeply rooted history, often referred to as the origin of art itself. The tragedies that adorned the golden age of ancient Greek culture centered around the epic narratives of mythological heroes.
The great philosopher Aristotle of Athens defined tragedy in his Poetics as a poetic form where humans inevitably face doom due to fate or through inner struggles with themselves or others.
In that sense, there was no more fitting figure for the tragedy than Julius Caesar. The literary giant, Shakespeare, even used him as a motif to write his tragedy [Julius Caesar].
“Thank you for the compliments. Now, let’s get started on the stage setting. It’s a work that even His Majesty the Emperor will attend, so we need to prepare everything perfectly.”
Theater is a comprehensive art. Beyond scripts and acting, it requires meticulous effort in directing, costumes, props, makeup, and more to complete a single piece.
Moreover, [Julius Caesar] is a play set against the backdrop of Rome, often considered the lifeblood of European civilization. To give it the respect it deserves, there was a lot to prepare—from everyday toga and tunic to the lorica armor of the legionnaires.
‘The costs will be quite high, but the royal family provided the funding, so it shouldn’t be a problem.’
After all, the funding is not just pocketed but given as seed money to create an even better work. With such a vast amount granted, preparing one play wouldn’t be a tight squeeze.
In the high-end costume shop in the capital, where they had signed an exclusive contract with the Killgrewber Theater Company, Renoir was deep in thought about the designs he would send there.
“Hmm, but you know, everything else is great, but right here.”
Opening a page that belonged to the mid-section of the play, Renoir asked with a dissatisfied tone, “About the characters in the part named ‘Gallia Expedition’… Do we really have to cast Orcs as this ‘Vercingetorix’ villain and his subordinates?”
“Yes. At least for that part, I insist you follow my vision thoroughly.”
One of the most important factors in constructing a theater stage is realism. The audience must be able to recall actual reality while watching the performance on stage to immerse themselves in the story fully.
In a world where elves, dwarves, and dragons exist, the appearance of unfamiliar races also plays a crucial role in the sense of reality.
In this world, the Orcs are the ones that match the Celtic tribes of Gallia 1:1. They are the very tribe that the Romans both scorned and feared as a savage warring people.
Considering the reflection of reality, there was no one more fitting for the role of the villain during the Gallia expedition than Orcs.
Of course, Renoir still didn’t seem convinced.
“But, but Your Majesty the Emperor is personally attending the performance! Why would a lowly and rough Orc come up on stage? They’d fit better in a labor site or a betting arena, why must they be on the stage…”
“Trust me. Casting Orcs as Vercingetorix and the Celtic extras will be the best choice.”
“Ugh, mmm… I see. I’ll trust your aesthetic judgment. The success of Admiral Lee was solely due to your talent.”
“Thank you.”
By nature, Orcs live in small tribal units outside the bounds of civilization.
However, there are indeed some who stay in the capital to earn money or acquire imperial citizenship.
So, they would select Orcs through a formal audition that matched the character of Vercingetorix directly.
‘A villain must shine to make the protagonist sparkle even more.’
If the supporting character falters, it just drags the protagonist down with it.
Vercingetorix was an extraordinary hero who nearly thwarted Caesar’s expedition to Gallia. So, it wouldn’t make sense to let just any random Orc play the part.
<<<<< A little later, on the stage of the Killgrewber Theater Company. "Next!" "Uh, oh, Gallian brothers! For freedom, come with me..." "Thank you, next!" "I-I will surrender! Just spare my brothers! Please?" "Next!" Orc laborers were auditioning after being selected from the nearby port through the cooperation of the city council, with the playwright Phantom under the royal family’s patronage. To find the actor for the role of Vercingetorix, who would appear in Phantom's upcoming work. To create a masterpiece that would satisfy the imperial family without any faults. And the ones overseeing this audition were Renoir, the theater company's head, and I, the playwright. After an hour or so of auditions had passed. "Phantom, do you still intend to continue? There were some decent enough candidates already, can't we just choose one of them or even switch to casting human actors now…" Seemingly bored, Renoir asked with a lackadaisical tone, displaying he still didn’t understand why they were going through this with the Orcs. Of course, it was understandable to have his frustrations. Most Orcs staying in the imperial capital were laborers seeking jobs. To equate them to sweaty workers at a construction site in Korea, expecting any artistic talent from them would indeed be difficult, hence why Renoir viewed the audition as a waste of time. However, I stood firm in my opinion. "It can't be helped. To match my vision, we must have Orc actors take on this role." With the Emperor's family officially attending, I had to pour all my efforts into it. So, there couldn’t be even a single detail that was skimped on. To perfectly reflect the rough feel of the Gallia expedition, a wild, macho species like Orcs were indeed necessary. Additionally, Vercingetorix, who plays the main antagonist role in the crucial Gallia expedition part, requires a character that exudes charm and personality, if not stellar acting skills. ‘No matter how much they're laborers, I’m sure at least one of them is good enough.’ To achieve a satisfactory result, we must not shy away from street casting, right? So, next, and then next. As auditions continued in order. "Hmm?" Thud thud. A muscular young Orc appeared, striding confidently towards us.
With a gaze that was anything but ordinary, he snorted as he looked down at me and Renoir.
“Uh, participant number 28. Your name is Bokio, right?”
“That’s correct. I’ve been summoned to assist in the theatrical performance of the Killgrewber Theater Company.”
Contrary to his rugged appearance, he spoke politely and smoothly.
I momentarily lost my words while taking in his rock-solid muscular build that was as wide as his frame, along with his impressive posture and imposing presence.
Unlike typical Orcs, he was quite handsome.
If I had to describe him, I’d say he was a strong-man type with a mix of intense wildness and charm—definitely winning on looks.
We hadn’t even started the audition yet, yet he had already scored at least 50 points just for his appearance.
“Alright. Let’s cut to the chase and start the audition.”
No matter what, the essential thing on stage is realistic acting.
I directed him, eager to see how well he would interpret the role.
“Please read the scene where Vercingetorix addresses his fellow countrymen. It’s right before the protagonist Caesar’s expedition, where everyone gathers at the altar to pledge their resolve.”
“Understood.”
Clears throat, cough cough. Bokio briefly cleared his throat, preparing for the role.
As he paused to gather himself, he fiercely widened his eyes, preparing to immerse himself.
“My Gallian brothers! Let us fight against the invader, Caesar!”
…Gasp.
Bokio’s thunderous voice echoed like a clap of thunder.
I found myself momentarily holding my breath, wide-eyed.
The distinct, robust vocalization typical of Orcs, combined with an unteachable charisma, was absolutely breathtaking.
“Rome may take our lives, but it shall not take our freedom!”
He raised his fist dramatically as he shouted, just as indicated in the script.
“We will fight the invaders as free men, and we shall die as free men! Rise, my precious brothers! Caesar will come to regret stepping foot in Gallia—!!”
His powerful roar resonated throughout the entire theater.
Once that moment passed, only the faint sounds of breath remained between Renoir and me.
“…What do you think, Renoir?”
With his mouth agape, Renoir blinked in disbelief.
I swallowed dryly as I glanced at him.
“God Almighty.”
Then, Renoir took a deep breath and exclaimed with an awestruck expression.
He turned to me, beaming with satisfaction.
“I think we’ve just found the Vercingetorix we can both agree on, Phantom.”
<<<<< "Alright, everyone! Line up! The play is about to start!" "The talk of the town, Phantom's next work after [Admiral Lee]! He is magnificently back with [Julius Caesar]!”
“A performance that His Majesty the Emperor is scheduled to watch! The Princess and the Prince will also attend!”
The fateful day when the curtain for [Julius Caesar] was to rise. The front of the Killgrewber Theater was bustling with a crowd that had gathered in droves.
From the distinguished patrons who had formally purchased tickets to mere bystanders hoping to catch a glimpse of the imperial family.
Countless citizens gathered at the theater entrance, where a struggle for position turned into a battle of the masses without regard for status.
“Hey, don’t shove! We’ve seen plays before!”
“This play is being attended by the Emperor! I must snag a seat that makes a great impression!”
“Sir Cherny! For God’s sake, maintain some decorum! A noble trying to cut in line—how utterly shameful!”
“Ugh, shut it! You think I didn’t see you sneak in and buy tickets from a scalper? I knew it from the moment you whined about missing [Admiral Lee]!”
The clamor of people gathered, each one chattering away.
The sheer scale indicates the fervor that the play [Julius Caesar] has ignited in the capital.
And on the day when the Killgrewber Theater was set to premiere [Julius Caesar] for the first time, I too was idly pacing outside the theater, dressed for conquest.
“Balthazar! Over here, here!”
“Wenford-senpai!”
A red-haired woman waved cheerfully from afar.
I smiled as I approached her with measured steps.
Wearing a flowing outing dress, white gloves in her hands, and a necklace around her neck, the beautiful Rosalyn Wenford was none other than the daughter of Sir Wenford—the noble who had soared to prominence.