Student’s Workbook 3A
three fold shakespeare
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Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
This educational resource was created for Shakespeare WA, as part of the 2012 ―Shakespeare in the Park‖ season of The Comedy of Errors
and The Tempest. This workbook provides various teaching materials to support senior secondary education programming.
This is a free resource which has been created with the sole purpose of providing accessible materials and ideas to increase (and encourage)
the value and importance of Shakespearean education. Material collated within this package has been sourced from online websites.
ALL information and worksheets copied have been acknowledged and duly referenced. At the time of going to print, the websites mentioned
were accessible and accurate. The material has been collated for practical usage within the classroom environment, not for financial gain.
We would sincerely appreciate any comments, feedback or suggestions for improving this document. Please contact us if you wish to use any of
the material located in the package <[email protected]>
This material was collated and published by Shakespeare WA LTD. 38 St Georges Terrace, Perth, Western Australia, 6000.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Acknowledgements
Artistic Director Paige Newmark
General Manager Katie Kent
Education Liaison Elisa Dumitru
Editors
Andrew Kocsis Tiffany Wendt
With additional assistance from
Jenny de Reuck
Cover Design
Karen Smart
Illustrations
Karen Smart Allison Bell
Thanks to
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Introduction to Three Fold Shakespeare
When approaching this workbook, each ‗scene‘ provides a three ‗fold‘ (or three step) approach to completing the student objectives. In each ‗scene‘, three different descriptions are used to provide a bridge to the next ‗scene‘. The six individual ‗scenes‘ have been scaffolded towards a final performance piece. ‗Folds‘ focus predominantly upon the following concepts...
– Suggest websites or videos of interest to engage and focus the learning. – Provide improvisational tasks or theatre games to explore subject themes. – Encourage class discussion as a means to examine the text, characters or other areas of interest. – Create opportunities for investigation into the historical aspects of the text and themes – Allow the reading and comprehension of textual examples of the subject and its influences – Offer scope for creative writing and drawing as a means of communicating personal ideas
– Provide an arena for staging (in front of the class) a progression or final assessment piece.
The individual ‗Scenes‘ follow the Department of Education‘s Scope and Sequence descriptors. This enables the workbook to support the principles of an effective Drama program and the assessment requirements of each course. Please note there are direct references to indicate the source of the various student worksheets. Some worksheets and activities have been altered to fit the requirement of this package and to link more appropriately with the scope of the program.
The activities and worksheets included in this package have been chosen to support the differentiation of learning and the development of individual learning styles in order to make the program more accessible and inclusive. Warm up and vocal exercises have not been included in this package as these aspects are a reflection of the style and preference of the individual teacher. Please feel free to make use of the resources provided in a manner which best suits the requirements of your students and your personal teaching approach.
View
Play
Discuss
Research
Read
Write
Perform
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
View
Locate YouTube clips of the staging of Shakespeare’s The Tempest, then discuss the language shown...
Starring Pete Postlethwaite http://www.youtube.com/watch?v=WiLWIZgN8uo&feature=related
Michael Hordern and David Dixon
http://www.youtube.com/watch?v=QgSRBKnkU_c
Christopher Plummer
http://www.youtube.com/watch?v=38N1QcUarTE&feature=related
Play
In small groups, improvise a short piece based on the ‘title’ of a Shakespearean play (regardless of whether you have heard of the play or not) and try to sound ‘Shakespearean’ by using the provided Elizabethan terms...
Try acting out titles like ‘Measure for Measure’,
‘Much Ado about Nothing’, ‘All’s Well that Ends Well’
‘As You Like It’ etc.
See Pages 6 and 7
Obtained from http://www.readwritethink.org/ files/resources/lesson_images/lesson1031/terms.pdf
Write
Discuss and record you expectations of Shakespearean language...
See page 8
Obtained from
http://www.swshakespeare.org/phocadownload/Tempest_teacherguide.pdf
“What are thou doing?” “Not of much... What
are thou doing?”
“O’ Much of nothing!”
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Before seeing or reading the play The Tempest, rate the following statements. Compare your answers with a partner and discuss your reasons for how you rated each statement. After you have seen or finished reading the play, revisit the statements and see if your ratings have changed. Discuss with your partner why you did or did not change your ratings for each statement.
1 (Disagree Strongly) 2 (Disagree) 3 (Agree) 4 (Strongly Agree)
Rating (BEFORE seeing/reading The Tempest)
Statement
Rating (After seeing/reading The Tempest)
It is human nature to be good; most people want to do the right thing.
Revenge is sometimes the only way to resolve a problem.
Parents understand more about love and relationships than their children.
It is all right to manipulate people into doing what you want them to do.
It is a good idea to be open and honest with feelings of love.
Most people would take advantage of others if they could benefit from it and not get caught.
When you have nothing to lose, your true personality will reveal itself.
You will always regret hurting another person.
Nature has to be sacrificed in order for civilization to progress.
People should be forgiven no matter what they do.
All of life is an illusion; our “reality” is made up of what we think is “real.”
After seeing/reading the play: Did most of your ratings change or stay the same? Why do you think that is? What did you learn about yourself by completing the anticipation and reaction guide?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Write
After viewing a production, create a ‘front page’ newspaper review for an Elizabethan audience. Create a title, weather report, and anything else the reader might require...
Be creative with this project, but
still maintain the focus; which is to inform the reader about the Shakespearean play
See Page 10
Obtained from http://www.sirbacon.org/graphics/litdigest.gif
Play
Working with a script, workshop a small speech. Then, use the text from No fear Shakespeare (a modernisation of Shakespeare’s text) to make comparisons ...
Try presenting the script in two different ways...
Firstly... emotionless read aloud Secondly... Try adding emotion
See Page 11
Perform
Perform both texts, and discuss the differences with them. Discuss the value of traditional languages, and compare the differences and possibilities in the structure and form of both texts...
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Elizabethan Newspaper Examples
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Original text Prospero – Original Text My brother and thy uncle, called Antonio— I pray thee, mark me (that a brother should Be so perfidious!)—he whom next thyself Of all the world I loved and to him put The manage of my state, as at that time Through all the signories it was the first, And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel. Those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle
Prospero - No Fear Shakespeare My brother, your uncle Antonio—just listen to this (I still can‘t believe a brother could be so disloyal!)—My brother whom—aside from you—I loved more than anyone else in the world, I trusted to run my state, which at that time was the strongest in the land, and Prospero the number one duke, famous for my dignity and my education. Since I was so drawn to studying things like logic, grammar, geometry, and astronomy, I let my control of the government slide a bit, being too wrapped up in my occult books. Your disloyal uncle
What is different about the texts? Do your emotions change?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Read
Read Sonnet 19 out aloud. Discuss some of the possible themes in this text...
See Page 13
Obtained from http://www.enotes.com /sonnet-19/text-poem
Write
While still looking at Sonnet 19, try to identify some of the symbolism and metaphors located in the text ...
See Pages 14, 15 and 16
Based on http://www.curriculumsupport. education.nsw.gov.au/secondary/english/stages4_5/teachlearn/eng_esl/eng_esl.htm
Perform
Create a group performance of Sonnet 19. Be inventive and creative with how you communicate meaning from the text...
Try improvising to begin with, with one person reading the lines
and the rest of the group attempting to act it out
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Sonnet 19
Devouring Time, blunt thou the lion’s paws,
And make the earth devour her own sweet brood;
Pluck the keen teeth from the fierce tiger’s jaws,
And burn the long-lived phoenix in her blood;
Make glad and sorry seasons as thou fleets,
And do whate’er thou wilt, swift-footed Time,
To the wide world and all her fading sweets;
But I forbid thee one most heinous crime:
O, carve not with thy hours my love’s fair brow,
Nor draw no lines there with thine antique pen;
Him in thy course untainted do allow
For beauty’s pattern to succeeding men.
Yet, do thy worst, old Time: despite thy wrong,
My love shall in my verse ever live young.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Symbolism
A symbol is a sign that holds special meaning for a group of people. Symbols can be physical objects, such as the white dove which symbolises peace. Colours and actions can also be symbolic or have special meaning attached to them. A composer of a text, such as a film, uses symbols carefully to suggest different ideas, atmosphere and feelings to the responder. For example, colour choices for costume, setting and lighting can suggest qualities such as evil, goodness, purity, love and anger.
Match up the colour and symbolic meaning
Colour Symbolic or common meaning in Western European culture
red
innocence, goodness, peace
blue
old times or the past, memories
black
love, passion, excitement, danger, hate
white
nature, hope, wisdom, jealousy
green
feminine, playful, romantic
sepia/black and white
calm, clean, cool
pink
evil, mystery, danger, fear
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Animal Symbolism or meanings Symbolism or animal with the same meaning in your culture
lion
pure and gentle
dog
clever and crafty; not to be trusted
mouse
wise
deer
the king: brave and powerful
snake
foolish and a time-waster
rabbit‘s foot
faithful, brave, loyal and a good friend
fox
evil and not to be trusted
owl
lucky
monkey
quiet, unattractive; also can be brave or courageous
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Symbolism in Sonnet 19
Possible symbolic meaning
Devouring time
Lion
Earth
Tiger
phoenix
Swift-footed time
Draw no lines
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Read
In small groups, and working with the text provided, read through Act 2, Scene 2, and discuss how it could be performed...
See pages 18 and 19
Discuss
Investigate the changing aspects of the English language, and try to create some minor changes to the particular lines from your text...
See page 20
Obtained from http://ellen-wilson.suite101.com/ the-language-of-shakespeare-a107104
Play
Working with the lines provided, begin to add dramatic emphasis to Shakespeare’s language, thus strengthening the possible intent...
How could you successfully
perform these lines to clearly and creatively
communicate a definition
See pages 21 and 22
Obtained from http://www.bard.org/ images/eduimages/pdfs/TempestGuide.pdf
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
CALIBAN All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease! His spirits hear me And yet I needs must curse. But they'll nor pinch, Fright me with urchin--shows, pitch me i' the mire, Nor lead me, like a firebrand, in the dark Out of my way, unless he bid 'em; but For every trifle are they set upon me; Sometime like apes that mow and chatter at me And after bite me, then like hedgehogs which Lie tumbling in my barefoot way and mount Their pricks at my footfall; sometime am I All wound with adders who with cloven tongues Do hiss me into madness. Enter TRINCULO Lo, now, lo! Here comes a spirit of his, and to torment me For bringing wood in slowly. I'll fall flat; Perchance he will not mind me. TRINCULO Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i' the wind: yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish- like smell; a kind of not of the newest Poor- John. A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make a
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
man; any strange beast there makes a man: when they will not give a doit to relieve a lame beggar, they will lazy out ten to see a dead Indian. Legged like a man and his fins like arms! Warm o' my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt. Thunder Alas, the storm is come again! my best way is to creep under his gaberdine; there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. Enter STEPHANO, singing: a bottle in his hand STEPHANO I shall no more to sea, to sea, Here shall I die ashore-- This is a very scurvy tune to sing at a man's funeral: well, here's my comfort. Drinks Sings The master, the swabber, the boatswain and I, The gunner and his mate Loved Mall, Meg and Marian and Margery, But none of us cared for Kate; For she had a tongue with a tang, Would cry to a sailor, Go hang! She loved not the savour of tar nor of pitch, Yet a tailor might scratch her where'er she did itch: Then to sea, boys, and let her go hang! This is a scurvy tune too: but here's my comfort.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Elizabethan Pronunciation
Because of the difference in vowel sounds during the 16th century, the accents of Elizabethan England were radically different from the accents of modern British English speakers. There were also regional differences in dialect during this era. This is why many words made rhyming sense back in this time period, such as love and prove, which make no rhyming sense today.
The Difference in Syntax
Students of Shakespeare often have trouble understanding the sentence structure in the plays. Shakespeare quite frequently wrote sentences in inverted, or backwards, order:
Shakespeare: Break off thy song, and haste thee quick away. Measure for Measure Act (4.1.7)
Translation: Stop singing and leave quickly. Shakespeare: How like a fawning publican he looks. The Merchant of Venice
(1.3.38) Translation: He looks like an overly flattering tavern keeper. Shakespeare: The clock struck nine when I did send the nurse; In half an hour
she promised to return. Romeo and Juliet (2.5.1-2) Translation: I sent the nurse at nine o'clock; she promised to return in a half
an hour.
This object before verb structure is found in Germanic languages, and the inverted sentence structure reflects the English language's Germanic roots.
Create your own. Original
New
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Shakespeare’s Words Since The Tempest was written, many words in English have changed their meaning, and some are no longer used. If you remember the slang you used a few years ago, it seems dated. Who now uses the word ―groovy‖? Shakespeare used the rich vocabulary of his day within his plays. When reading Shakespeare read the line in context of the scene. Try translating the lines into your own words, use today‘s vernacular. Yarely: briskly, nimby Good; speak to th‘ mariners; fall to‘t, yarely, or we run ourselves aground. — Master of a Ship (1.1.3–4) Warrant him for: stand securely that he will not drown I‘ll warrant him for drowning, though the ship were no stronger than a nutshell, and as leaky as an unstanch‘d wench. — Gonzalo (1.1.46–48) Wide-chopp’d: wide-jawed; i.e., big-mouthed The washing of ten tides: a reference to the manner of execution of pirates, who were hanged at the low-tide line and allowed to remain through several tides/This wide-chopp‘d rascal - would thou mighst lie drowning The washing of ten tides! — Antonio (1.1.57–58) Welkin: sky The sky it seems would pour down stinking pitch, But that the sea, mounting to th‘ welkin‘s cheek, Dashes the fire out. — Miranda (1.2.3–5) Perdition: loss Betid: befallen No, not so much perdition as an hair Betid to any creature in the vessel Which thou heardst cry, which thou saw‘st sink. — Prospero (1.2.30–32) No worse issued: born of no worse parentage Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan, and his only heir And princess no worse issued. — Prospero (1.2.56–59) Stripes: lashes with a whip Thou most lying slave, Whom stripes may move, not kindness! — Prospero (1.2.344–345)
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Throes thee much: causes great pain The setting of thine eye and cheek proclaim A matter from thee; and a birth, indeed, Which throes thee much to yield. — Sebastian (2.1.229–231) Inch-meal: inch by inch All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall, and make him By inch-meal a disease! — Caliban (2.2.1–3) Chaps: mouth Open your chaps again. — Stephano (2.2.86) Withal: by it So glad of this as they I cannot be, Who are surpris‘d withal; but my rejoicing At nothing can be more. — Prospero (3.1.92–94) Kind keepers: guardian angels Give us kind keepers, heavens! — Alonso (3.3.20) Ecstasy: fit of madness I do beseech you (That are of suppler joints) follow them swiftly, And hinder them from what this ecstasy May now provoke them to. — Gonzalo (3.3.106–109) Country footing: dancing Make holiday; you rye-straw hats put on, And these fresh nymphs encounter every one In country footing. — Iris (4.1.136–138) Fipperey: old clothes shop O, ho, monster! we know what belongs to a fippery. — Trinculo (4.1.225–226) Mushrumps: mushrooms Whereof the ewe not bites; and you whose pastime Is to make midnight mushrumps, that rejoice To hear the solemn curfew: — Prospero (5.1.38–40)
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Rehearse
Add shape and pace to your piece through this rehearsal process...
Discuss
Discuss the design of technologies for your piece. Focus on the importance of such elements as a means to enhance the overall mood and intent...
As this is a ‘traditional’ focused performance, how might you go
about staying ‘accurate’ to Shakespeare’s work.
Write
Design the technologies for your performance. Discuss your intended mood, and how this will be achieved...
As mood is important, you must be very clear
of your intent in this planning stage
See page 24
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Designing technologies Discuss the technologies in your scene, and how it will add to the overall effect
Technology (e.g. single spot light)
Created mood (e.g. loneliness)
How? (e.g. controls the actors performance space)
Lighting
Music
Costume
Set
Backdrop
Props
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Play
Lead the warm-up with an activity to create focus and develop character. Design a quick yet effective approach to achieving your developed persona...
Perform
Perform your piece from The Tempest. Always maintain a consistent focus with your role, which should be a complex and layered character...
Be thoughtful about how the mood of your
piece is created and maintained throughout
the performance
See page 26
Write
Develop a final character reflection on your opinion of each characters position. How would they be perceived within their own society, or how would they be perceived in a modern day setting...
Use direct quotes from your piece as
evidence to support your opinions
See page 27
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Performance reflection Discuss and comment on your process Where is your scene set? Why?
How have you recreated this environment?
What is the mood? How is this communicated?
How have you employed technologies?
What aspects of the rehearsal process worked?
What aspects of the rehearsal process required focus?
What steps are you employing to improve these issues?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Character Reflection In The Tempest, there are several characters whose actions and personalities affect the plot
In the table below, three characters from The Tempest are listed. Find direct quotes from the play that tell us about these characters and then write how they affected the action, plot, or characters in The Tempest.
STEPHANO
TRINCULO
CALIBAN
Quotes from the play:
Quotes from the play:
Quotes from the play:
Influence on play:
Influence on play:
Influence on play:
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Images
The Bridge Project‘s The Tempest http://www.timeoutsingapore.com/performance/theatre/the-bridge-project-the-tempest-by-william-shakespeare Renaissance Theatre‘s The Tempest http://huntsville.about.com/library/bltempest.htm Georgia Shakespeare's The Tempest http://insathope.blogspot.com/2011/06/georgia-shakespeares-tempest.html The Crimson Eye http://thecrimsoneye.glogster.com/sonnet-19/ Poems and Prose‘s Sonnet 19 http://poemsandprose.blog.co.uk/2009/09/29/do-thy-worst-old-time-7059560/ Tygres Heart Shakespeare Company's The Tempest http://www.artinfo.com/news/story/38414/was-shakespeares-the-tempest-a-musical-new-evidence-says-perchance/ Jonesborough Repertory Theatre‘s The Tempest http://www.jonesboroughtheatre.com/shakespeare-the-tempest.htm Jonesborough Repertory Theatre‘s The Tempest http://www.jonesboroughtheatre.com/shakespeare-the-tempest.htm South Africa's Baxter Theatre‘s The Tempest http://www.guardian.co.uk/stage/2009/mar/01/theatre-tempest-rsc-baxter-shakespeare Target Margin Theater‘s The Tempest http://calitreview.com/16648 Arden Shakespeare Gild's The Tempest http://stagepartners.org/2011/06/arden-shakespeare-gild%E2%80%99s-the-tempest-the-stuff-that-dreams-are-made-of/