Much Ado

Week 1

· Name Game 1 teacher sheet

· Name Game 1 cards

· Name Game 2 teacher sheet

· Name Game 2 cards

· Image Game Teacher Sheet

· Image Game Student Cards

· Image Game Teacher answers

· Image Game A4 Version

· Quotation Challenge Lesson Instructions

· Quotation Cards

· Character Posters

· Quotation Challenge Plenary

· The story of Much Ado in 8 steps

· 8 Steps Sequencing Cards

· Much Ado OHTs.

Week 2

· Post-it notes

· Image Game Student Cards

· Branagh Video

· Video Notes

· Translation Game Instructions

· Ii Translation Game Cards Original

· Ii Translation Game Cards Modern

· Mini whiteboards

· Beatrice and Benedick OHT

· Beatrice Cloze ICT

· Beatrice Cloze hard Copy

· Beatrice and Benedick Weaknesses

· Beatrice and Benedick Weaknesses Plenary

Week 3

· Love to Hate

· Beatrice Imagery of Benedick sheets flipchart

· ‘Untitled’ by Simon Armitage Beatrice Clues

· Beatrice Differentiated

· Beatrice Clues Card Sort

· Beatrice Clues Plenary

· The Rhubarb Rhubarb Game Instructions

· Stage Directions for Don Pedro and Benedick

· Stage Directions for Don Pedro and Benedick Modern Version

Week 4

· Benedick Ranking Card Sort

· Benedick’s Tirade – You are the director

· Benedick’s Tirade

· Benedick Cloze

· Benedick’s Desperate excuses on OHT

· Contrasting Connectives

· Attitudes to Women Quotations OHT

· Ripple Effect Diagram

· Ripple Effect Teacher’s Guide

· Ripple Effect Model

· Ripple Effect Blank OHT

· Character Pictures Student Set

· Agony Letter OHT Clues

· Agony Letter Teacher’s Notes

· Agony Letter

· Whiteboards

Week 5

· Agree or Disagree OHT

· Website Revision Notes

· Teacher’s own resources to support the following lesson coverage

Week 6

· Prompts for Essay OHT and/or copies for students

Additional Resources

· Reading Paper Tips Mat – www.thegrid.org.uk/learning/english/KS3

· Reading Mark Scheme Shakespeare

· Generic Approaches to teaching Shakespeare at any key stage

· Extending Students Criteria – Levels 6 and 7

KEY TEACHING AND LEARNING OBJECTIVES

Pupils should be taught to:

TEXT LEVEL – READING

Research and study skills

· review and extend their own strategies for locating, appraising and extracting relevant information; (R1)

Reading for meaning

· evaluate their own critical writing about texts; (R5)

Study of literary texts

· analyse the language, form and dramatic impact of scenes and plays by published dramatists. (R14)

TEXT LEVEL - WRITING

Plan, draft and present

· produce formal essays in standard English within a specified time, writing fluently and legibly and maintaining technical accuracy when writing at speed; (Wr3)

Inform, explain, describe

· integrate diverse information into a coherent and comprehensive account; (Wr9)

Persuade, argue, advise

· offer general advice or guidelines for action adopting an impersonal style to suggest impartiality and authority; (Wr15)

Analyse, review, comment

· present a balanced analysis of a situation, text, issue or set of ideas, taking into account a range of evidence and opinions; (Wr16)

· cite specific and relevant textual evidence to justify critical judgements about texts. (Wr17)

SENTENCE LEVEL

Sentence construction and punctuation

· write with differing degrees of formality, relating vocabulary and grammar to context, e.g. using the active or passive voice; (S3)

· integrate speech, reference and quotation effectively into what they write; (S4)

Paragraphing and cohesion

· evaluate their ability to shape ideas rapidly into cohesive paragraphs; (S5)

Standard English and language variation

· write sustained standard English with the formality suited to reader and purpose; (S9)

WORD LEVEL

Vocabulary

· recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning, different types or multiple meanings; (W7)

· recognise how lines of thought are developed and signposted through the use of connectives, e.g. nonetheless, consequently, furthermore. (W8)

TEXT LEVEL – SPEAKING AND LISTENING

Group discussion and interaction

· discuss and evaluate conflicting evidence to arrive at a considered viewpoint; (Sp&L9)

Drama

· use a range of drama techniques, including work in role, to explore issues, ideas and meanings e.g. by playing out hypotheses, by changing perspectives; (Sp&L12)

· develop and compare different interpretations of scenes or plays by Shakespeare or other dramatists; (Sp&L13)

· convey action, character, atmosphere and tension when scripting and performing plays; (Sp&L14)

POSSIBLE TEACHING SEQUENCE

Week 1:

Objectives:

· (Sp&L12) use a range of drama techniques, including work in role, to explore issues, ideas and meanings e.g. by playing out hypotheses, by changing perspectives;

· (S5)evaluate their ability to shape ideas rapidly into cohesive paragraphs;

· RESOURCES – Name Game 1 teacher sheet/ Name Game 1 cards/Name Game 2 teacher sheet/ Name Game 2 cards/Image Game Teacher Sheet/ Image Game Student Cards/Image Game Teacher answers/Image Game A4 Version/ Quotation Challenge Lesson Instructions/ Quotation Cards/ Character Posters/ Quotation Challenge Plenary /The story of Much Ado in 8 steps/ 8 Steps Sequencing Cards/Much Ado OHTs.

· FOCUS –

· Lesson 1 : Starter: Name Game 1 – See Name Game 1 teacher sheet. Warm up game using students own names then do same game for characters from the play using Name Game 1 cards. This activity helps students to familiarise themselves with the character names. Development: Name Game 2 – See Name Game 2 teacher sheet. Use the Name Game 2 cards. This activity helps students to develop their knowledge of the characters and their relationships and to make some predictions about the nature of the play. Image Game – See Image Game Teacher Sheet. Use the Image Game Student Cards and Image Game Student Answers. Plenary – Groups brainstorm notes on flipchart paper of what they have learned about the characters and their relationships from this lesson. Use Image Game A4 Version as stimulus.

· Lesson 2: Quotation Challenge – See the Quotation Challenge Lesson Instructions and Quotation Cards and Character Posters and Quotation Challenge Plenary. This activity helps students to understand the language of key quotations and from these quotations make inferences about characters. The activity ends with students learning to use Point Evidence and Explanation (PEE).

· Lesson 3:. Starter: Use a drama warm up ‘co-operation’ game. Development: The story of Much Ado about Nothing: Organise students into groups of 4 or 5. Introduce conventions of ‘Freeze frames/Tableaux’. Explain to students that they are going to hear/see OHT(s) of the plot of Much Ado in 8 steps. For each step they are asked to produce a Freeze frame/Tableau’ for the event occurring in that step. Use ‘The story of Much Ado in 8 steps’ (on 1 OHT) or ‘Much Ado OHTs’ (Each step on a separate OHT). Reveal/Show each step one at a time and allow students time to produce tableau then a) show/explain tableaux around the class b) take pictures with digital camera for future storyboard display or PowerPoint presentation c) select best tableau and class members give a director’s critique of the tableau and the group then agree/disagree d) tap students on shoulder and they vocalise their character’s thoughts and feelings. Plenary: Sequencing activity card sort - the story of Much Ado about Nothing in 8 steps. See 8 Steps Sequencing Cards.

Circle time

1. Name –

· Point to another person and say your name

· Ensure your voice is strong and clear and project down your arm.

· Establish eye contact

· Next person does same

· Try to get round everyone asap

[Can add moving places:

once you have said your name and pointed move to the place of the person you have pointed to, sit down once they have moved]

NB

· you must say your name – not the name of the person you are looking at

· try not to point at someone who has already been included

· if you are doing the moving game: the pupils must not move until they have said their name

2. Character’s name -

· Give out the character names randomly round the circle

· Pupils say their character name as they point to someone else

· If that person has a character name they say that and continue

· If that person does not have a character name, they repeat the name that has just been said to them

· Continue until everyone has been involved, all character names should have been said and echoed a number of times

1. Organise the students so that they are standing in a circle.

2. Allocate each student a character card, (cards with character’s name plus a piece of information about them). You could allocate the cards so that all the cards about one character are together or you could shuffle them to mix up the characters.

3. Ask students to go round the circle and read out their card – name plus information.

4. The second time round, each student has to introduce themselves and the character/s that have gone before them, (a game based on the childhood memory game ‘I went to the shops and bought…’ / ‘I went on holiday and in my suitcase I packed…’). So, the first person in the circle just has to introduce themselves and give one piece of information, the second person has to introduce themselves and give their information and then introduce the first person and repeat their information and so it continues round the circle. It obviously becomes tougher the more the students have to remember but they enjoy this game and it really develops their knowledge of the characters and their relationships.

5. Ask the students how much they can remember about each character – they could tell a partner what they have remembered or you could ask students to volunteer to tell the rest of the class what they have learnt about any of the characters.

6. Collect in the character cards. Allocate each of the seven characters to seven students. Ask the rest of the class how these characters could be grouped e.g. men and women, good and evil etc. As students offer suggestions ask the students who have been allocated a character to group themselves accordingly in the middle of the circle.

7. Ask the students what they have learnt about the relationships between the characters and about the plot – what do they think might happen? What do the themes seem to be? Ask what type of play they think it might be – comedy, tragedy? Ask if they have spotted any similarities with any other Shakespeare plays they know.

Image Game Teacher Sheet

Much Ado About Nothing

1. Organise students into pairs or groups of three.

2. Give out sets of images explaining to students that these images represent 7 characters from Much Ado.

3. Ask students to decide which image represents which character:

Flower

Hero

Ear

Claudio

Red Megaphone

Beatrice

Blue Megaphone

Benedick

Crown

Don Pedro

Red Eyes

Don John

Castle

Leonato

4. Ask students to annotate ideas about the images which might explain why these images are suitable for the characters. Model one so students can understand the process:

Flower

Like the flower, Hero is beautiful, delicate, innocent

Ear

Like the ear Claudio listens to others and wants to know the opinions of others

Red Megaphone

Like a Megaphone Beatrice is unafraid of her voice being heard and she has a lot to say

Blue Megaphone

Like a Megaphone Benedick is loud and talkative and very similar to Beatrice!

Crown

Like a crown, Don Pedro is regal and wealthy

Red Eyes

Like red eyes, Don John has an evil eye and has a malicious streak in him

Castle

Like a castle, Leonato is the host of the events of Much Ado and he will try to protect his daughter as far as possible.

5. Ask students to pair up the images and talk about the possible relationships between the characters and points of friction and ideas to predict what might happen.

6. Feedback as a whole class ideas about the images and the characters.

7. Play pellmanism (pairs) with the cards to help students get used to the names and relationships.

8. Using the Image Game A4 cards, demonstrate the relationships between Beatrice and Benedick by asking student what the relationship might be like if the megaphones were facing away or towards each other.

Ripple Effect

Blank

Starter

Organise students into seven groups and allocate each group a character. Give each group the ‘character poster’ for their allocated character. Students have three or four minutes to write down on their poster between three and six points that they can remember about their character from the previous lesson. Give students an example - the group with Benedick might write the point, ‘He does not trust women.’ After the students have added their points, collect the posters in for use later in the lesson when they will be displayed around the room.

Introduction and Development = Circle time

1. Give each pupil a quotation – ask them to read it to themselves and check with you if there are any words they can not pronounce or do not understand.

There are 33 quotations

[approx 4 or 5 on each character: Beatrice, Benedick, Claudio, Hero, Leonato, Don Pedro, Don John]

– if you have a smaller class you will need to select fewer quotations, remembering to keeping at least 1 or 2 on each character

2. Tell the class that they now have to think carefully about the words and pick one they think is really important: not and or the

E.G.

Say my Q is ‘I did never think that lady would have loved any man.’

I think ‘loved’ is a key word.

3. Go round checking what they’ve picked and helping if they’re stuck

[N.B. You can underline a key word for the less able and just check they can say it and know what it means.]

4. Do Listening Game with key words

· Sit with eyes closed or look at floor and listen for silence.

· Say your key word – see where you can get to without 2 people filling the silence at the same time.

· The teacher does not tell anyone to start – it’s up to them.

· If 2 speak at same time – begin again.

· If this is too hard – do the name game but with key words.

5. Discuss what you think these words show you about:plot, themes, characters etc

6. Go round the room saying the whole quotation to as many people as possible.

7. Get into pairs – 1 stand in front of the other [could form 2 lines down the room].

1 is A

1 is B

A say your line as if you really hate B.

B say your line in shock.

How did that feel? Were these the right emotions?

B say your line to A as if you’re telling a secret.

A say your line as if you’re crying.

B say your line in shock.

How did that feel? Were these the right emotions?

What do the pupils think the right emotions would be? Why? Give it a go.

Any volunteers to show the class?

Add gestures now if they haven’t done this already.

8. Who do they think the quotation is about?

Beatrice, Benedick, Claudio, Hero, Leonato, Don Pedro, Don John

Have character posters displayed around the room from the starter.

a. Go to the poster you think your quotation is about – any problems ask the teacher for help.

b. Check where they’ve gone and why – read round each group [to the class]:

· Tell me who your character is and read the quotations.

· Do we agree with these? Why? Why not?

· Does any one want to move groups now?

c. Look at the poster – does your quotation prove any point from earlier? Place the quotation next to the point if there are any that correspond. If not, can you add a point that the quotation shows us about your character?

Try to keep these posters up on the wall for students to refer to during the scheme. You may want to make photocopies for display so the quotation cards can be used elsewhere.

Plenary

Hand out a ‘Quotation Challenge Plenary’ sheet to each group. The group must select their favourite point about their character and complete the table accordingly. The teacher could first model how to go about completing the table with an example if necessary. Give time for students to complete with at least one developed point. Ask each group to read their work aloud to the rest of the class. The plenary sheets to not need to be retained.

Week 2:

Objectives:

· (W7) recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning, different types or multiple meanings;

· (Wr17) cite specific and relevant textual evidence to justify critical judgements about texts.

· (R1)review and extend their own strategies for locating, appraising and extracting relevant information;

· (R14) analyse the language, form and dramatic impact of scenes and plays by published dramatists.

RESOURCES – Post-it notes/Image Game Student Cards/Branagh Video/Video Notes/ Translation Game Instructions/ IiTranslation Game Cards Original/ Ii Translation Game Cards Modern/ mini whiteboards/ Beatrice and Benedick OHT/ Beatrice Cloze ICT / Beatrice Cloze hard Copy/ Beatrice and Benedick Weaknesses/ Beatrice and Benedick Weaknesses Plenary

· Lesson 1: Starter: Who am I game? Put a post it note (with a character’s name from the play) on each student’s forehead and they must ask yes/no questions to try to find out who they. Development: Organise students into groups of 7 – their ‘Home’ group. Give each group an envelope containing the seven images of the characters from the Image Game. Students choose one image. Explain that they are going to watch the opening of the video of Much Ado. As they watch the video students should focus on their character whilst making notes about the director’s interpretation of the characters and how they are introduced to us. Use the Video Notes frame. Students then leave their Home group and jigsaw group themselves into groups of students who have notes on the same character. In their jigsaw groups they should compare notes – adding in extra detail from each other. Plenary: Jigsaw groups return to Home groups and report on what students have found out about all their characters. Whole class feeds back what the director has done well in introducing their character.

· Lesson 2: Starter: Acrostics for the words Beatrice and Benedick using words which are suitable for their personalities. Development: Play the translation game (see Translation Game Instructions) with Act 1 Scene 1 (Lines 1-123). Watch the video of the scene where Beatrice and Benedick are arguing with each other – the video question should be – what does this kind of arguing tell us about these two characters? Allow students two minutes talking time then take some feedback. Then, students write Beatrice on one side of whiteboard and Benedick on the other. Reveal each statement from the Beatrice and Benedick OHT and ask students to guess which character each statement refers to. Plenary: Take the first statement and model how to turn this statement into PEEL: Beatrice likes to be the centre of attention even if it is at Benedick’s expense. She says ‘He is no less than a stuffed man’ when Benedick isn’t even in the room so he can’t defend himself. This could be her way of starting the argument before Benedick even arrives and allows the audience to learn her opinion of him. Students complete PEELs for the other statements on the OHT (for Homework if necessary)

· Lesson 3: Starter: Beatrice Cloze Activity. Development: Give out copies of Act 1 Scene 1 (Ln1-123) and a copy of B and B Weaknesses. Students should re-read the text and complete the grid with the names, quotations and explanations. Teacher may model the first one. B and B Weaknesses answers can be differentiated into a card sort/match up for weaker students by the teacher. Take feedback and see if any student has used the word ‘says’ – the characters tend to insult each other through implied language as opposed to explicit obvious insults. Students should then be each given their own copy of B and B Weaknesses Plenary to complete so that each student has their own copy to take away with them. Plenary: In this first acerbic encounter, who wins this argument, Beatrice or Benedick? Why?

Starter: Mingle activity – Organise students into pairs. Randomly (although in mixed ability groups you may allocate specific easy/difficult cards) pairs a card with the original text on. Using the line numbers as a guide, the students must order themselves correctly. Read through the scene.

1. Divide the class into two halves and ask them to stand in two lines facing each other.

2. Give each student on one half a card with a piece of original text on it – this must be kept in the correct order so the pupils must stand in the sequence of the text.

3. Having shuffled the other set of cards [i.e. the modern translation], give each student on the other line a card with a modern translation.

4. Explain the rules below (5 & 6) to the students.

5. The student with the first piece of original text will read their section aloud. The students with translations must concentrate hard to see if they have the translation. The student who thinks they have it must read it aloud. Class decide if he/she is right. When the correct translation has been read, the second person with original text reads their section and so it continues.

6. Tell students that they will be doing the activity twice through with the aim of doing it faster the second time. The second time round those who have had translated text will have original text and vice versa – and they will have a different part of the scene! This means that the students must listen carefully to the whole scene the first time round because they don’t know what part of the scene they might get the second time and if they have paid attention the first time, they’ll find it easier the second time!

7. Run through the activity once as in no.5.

8. Collect in the cards being careful to keep the original text cards in the correct order.

9. Re-organise the students within their lines.

10. Re-issue the cards, giving original text to those who had translation the first time and vice versa.

11. Re-run the activity, timing the students to see how quickly they can complete it.

Likes to poke fun at a person when they are not even in the room!

Speaks very quickly and with a cruel tongue

Ignores the other person until directly spoken to

Thinks that all members of the opposite sex love them!

Tells the other person they are ugly

Wishes their own horse was as fast as the other person’s tongue

Thinks that the other person talks as much a parrot

Beatrice is the niece of,

a wealthy governor of Messina. Though she is close friends with her

Hero, Leonato’s

, the two could not be

alike. Whereas Hero is

,

, respectful, and gentle, Beatrice is feisty,

, witty, and

. Beatrice keeps up a “merry war” of wits with

, a lord and soldier from Padua. The play suggests that she was once in love with Benedick but that he led her on and their

ended. Now when they meet, the two constantly compete to outdo one another with clever

.

Although she appears hardened and sharp, Beatrice is really

. Once she

Hero describing that Benedick is in love with her (Beatrice), she opens herself to the sensitivities and

of love. Beatrice is a prime example of one of Shakespeare’s

female characters. She refuses to marry because she has not discovered the perfect, equal partner and because she is unwilling to eschew her liberty and submit to the will of a

husband. When Hero has been

and accused of violating her chastity, Beatrice

with fury at Claudio for mistreating her cousin. In her

and rage about Hero’s mistreatment, Beatrice rebels against the

status of women in Renaissance society. “O that I were a man for his sake! Or that I had any friend would be a man for my sake!” she passionately exclaims. “I cannot be a man with wishing, therefore I will die a woman with grieving” (IV.i.312–318).

controlling

quiet

frustration

Benedick

sharp

polite

vulnerable

daughter

less

overhears

cynical

relationship

unequal

Leonato

cousin

insults

humiliated

strong

weaknesses

explodes

Beatrice or Benedick?

Implies/

Says

/Suggests

Beatrice or

Benedick?

is

because s/he says

Quotation and Explanation

Circle Yes or No for each statement

Give your reason and if ‘yes’, find evidence to support this view:

Benedick

suggests

Beatrice

scornful

(lines 99-123)

‘What, my Lady Disdain! Are you yet living?’ which means that Benedick is giving Beatrice this pompous title to try to put her in her place.

Do you agree that Beatrice is actually scornful?

Yes

No

Beatrice

implies

Benedick

a philanderer

(lines 99-123)

‘A dear happiness to women: they would else have been troubled with a pernicious suitor!’ The word pernicious shows that Beatrice thinks Benedick is a womaniser.

Do you agree that Benedick is actually a philanderer?

Yes

No

Beatrice

implies

Benedick

a hanger on

(lines 99-123)

‘I wonder that you will still be talking, Signor Benedick. Nobody marks you.’ Beatrice is trying to point out that no is interested in what Benedick has to say.

Do you think that Benedick is actually a hanger on?

Yes

No

Benedick

suggests

Beatrice

verbose

(lines 99-123)

‘Well you are a rare parrot teacher’. Benedick is suggesting that Beatrice talks so much that she could teach a parrot how to talk a lot!

Do you think that Beatrice is actually a parrot teacher?

Yes

No

Benedick

implies

Beatrice

argumentative

(lines 99-123)

‘So some gentleman or other shall ‘scape a predestinate scratched face’ Benedick is explaining that if Beatrice were in a relationship she would surely end up in a fight with her man and scratch his face.

Do you think that Beatrice is actually argumentative?

Yes

No

Week 3:

Objectives:

· (S4)integrate speech, reference and quotation effectively into what they write;

· (W7) recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning, different types or multiple meanings;

· cite specific and relevant textual evidence to justify critical judgements about texts. (Wr17)

· (Sp&L12) use a range of drama techniques, including work in role, to explore issues, ideas and meanings e.g. by playing out hypotheses, by changing perspectives;

· (S5)evaluate their ability to shape ideas rapidly into cohesive paragraphs;

· (Sp&L9)discuss and evaluate conflicting evidence to arrive at a considered viewpoint;

RESOURCES – Love - Hate/ Beatrice Imagery of Benedick sheets/ flipchart/ ‘Untitled’ by Simon Armitage/ Beatrice Clues/ Beatrice Differentiated/Beatrice Clues Card Sort Beatrice Clues Plenary/ The Rhubarb Rhubarb Game Instructions/ Stage Directions for Don Pedro and Benedick/ Stage Directions for Don Pedro and Benedick Modern Version/

FOCUS – Teacher provides structure for lessons in terms of Starter/Development/Plenary:

· Lesson 1: Starter: Change Hate to Love in 4 moves. Development: One of the things that makes Shakespeare’s language quite tricky is that it can be quite ‘flowery’ and characters often say things in a roundabout way. Beatrice is no different and the way she insults Benedick often involves the use of imagery – like metaphors. Sometimes you can pick out secret messages hidden in the language but sometimes the images are just meant to be funny. Using the Beatrice Imagery of Benedick sheets, students should complete the sheets in groups or in pairs (teacher to model the first one if necessary) and feedback on the flipchart (using Beatrice Imagery of Benedick A4) paper placed around the classroom. Plenary: Do you think insults are less hurtful/personal if they are hidden behind imagery?

· Lesson 2: Starter: Tell students you are going to read them a poem and you want them to make the connection between the poem’s content and Beatrice and Benedick. Read Simon Armitage’s poem ‘Untitled’ and then put the OHT up for students to look at. Give them thinking time and pair discussion to formulate their answers before taking feedback. Development: If we accept the possibility that sometimes people are mean to each other when, in actual fact, they really like each other, can we find evidence in this first scene that shows that Beatrice may be giving us clues about how she really feels about Benedick? Students take part in appropriate differentiated version of Beatrice Clues activity. In pairs, students can re-enact the argument between the two characters and then join with another pair who can use the Beatrice clues sheet to stop the action and ‘Thought Track’ Beatrice’s character at set points. One group to show the whole class their re-enactment. Plenary: Display answers on whiteboard in Beatrice Clues Plenary – notice how the observations about Beatrice’s language are all written as questions. Giving students thinking/discussion time (you could assign one question to each group depending on time available) ask students to give their answers to the questions. Feedback whole class. Homework: Is the insulting nature of the relationship between Beatrice and Benedick over-compensating for their true feelings? (Answer in a full paragraph.)

Lesson 3: Starter: Drama Activity - See The Rhubarb Rhubarb Game Instructions Development: Teacher explains what has happened since the end of the 1st set scene: As Act 2 Scene 1 opens, the masked ball has happened and Don Pedro has spent the dance, as a masked guest, wooing Hero on behalf of Claudio. Students are going to be given the lines from the scene where Don Pedro is eager to give Claudio the feedback from the wooing but Benedick and Claudio have been misled and think that Don Pedro was wooing Hero all for himself. Give each pair of students a copy of Stage Directions for Don Pedro and Benedick and follow the instructions on the sheet. Teacher uses questioning strategies and explanations to draw out key learning from this section of the play – especially about imagery and about who holds the power in this exchange. Extension task: Use Stage Directions for Don Pedro and Benedick Modern Version. One pair to act out this exchange for the class to show the power and, if possible, the images in the play. If some students have done the extension task, they could perform it for the class. Teacher could take a guided group for the extension task provide a modern. Plenary: Does the modern version lose its impact? Homework: Read the section again and illustrate the images used by the characters.

Can you change hate into love in 4 moves?

Hate

love

Change one letter at each step to make a new word.

Untitled Poem by Simon Armitage

I am very bothered when I think

of the bad things I have done in my life.

Not least that time in the chemistry lab

when I held a pair of scissors by the blades

and played the handles

in the naked lilac flame of the Bunsen burner;

then called your name, and handed them over.

O the unrivalled stench of branded skin

as you slipped your thumb and middle finger in,

then couldn’t shake off the two burning rings. Marked,

the doctor said, for eternity.

Don’t believe me, please, if I say

that was just my butterfingered way, at thirteen,

of asking you if you would marry me.

Tasks:

1. Find a quotation to match the comment.

Quotation

Comment

I pray you, is Signior Mountanto returned from the wars, or no?

Who is his companion now? He hath every month a new sworn brother… He wears his faith but as the fashion of his hat.

I wonder that you will still be talking, Signior Benedick. Nobody marks you.

I thank God and my cold blood, I am of your humour for that.

I know you of old.

2. Is the insulting nature of the relationship between Beatrice and Benedick over-compensating for their true feelings? (Answer in a full paragraph.)

Tasks:

3. Find a quotation to match the comment.

Quotation

Comment

I pray you, is Signior Mountanto returned from the wars, or no?

The very first words that Beatrice utters in this play are an enquiry after Benedick’s wellbeing. Even though she’s making fun of him is she surreptitiously concerned about his safety after the war?

Who is his companion now? He hath every month a new sworn brother… He wears his faith but as the fashion of his hat.

Is Beatrice’s comment here fuelled with jealousy? Contempt? Resentment? Bitterness?

I wonder that you will still be talking, Signior Benedick. Nobody marks you.

In making this comment, is Beatrice trying to get Benedick’s attention?

I thank God and my cold blood, I am of your humour for that

Is Beatrice trying to make an emotional connection between the two of them by saying that they are actually quite similar?

I know you of old

Is there a history between Beatrice and Benedick? What might it be?

4. Is the insulting nature of the relationship between Beatrice and Benedick over-compensating for their true feelings? (Answer in a full paragraph.)

1. Explain the name of the game: When you are an extra in a play or a movie sometimes you are in the background and you have to look like you are talking to another person even though you don’t have anything to say. Actors often say rhubarb over and over again because when repeated, this word makes it look as if you are having a conversation!

2. You are going to try this as a drama warm up activity as if you are an extra in the play Much Ado about Nothing. Get into pairs and label yourselves A and B. Your director has told you you are in the background of the Masked Ball scene so everyone is mingling and greeting each other. Your job is to greet as many students in the class as possible by shaking their hands as if you are meeting them for the first time whilst saying rhubarb rhubarb over and over again.

3. Do this activity for 30 seconds to allow the students to get used to repeating rhubarb whilst shaking hands with students. First As are the greeters and Bs are the greeted and then swap.

4. Then stop the activity and start to give more direction: e.g. ‘Now I want you to greet the next few people, still only using the word rhubarb, whilst doing the following:

As - Be very excited but looking over their shoulder to see if you can see someone more important to talk to!

As - Sighing. Shaking your head.

A - Shocked. Wide eyed.

As - Nodding your head knowingly whilst raising an eyebrow in a slightly suspicious way

Bs - Puzzled and with narrowed eyes

Bs -Stretch out your arms and open your palms. Shrug your shoulders to show confusion.

Bs - Reassuringly pat the person on the shoulder and smile

Bs - Head on one side looking intently at the person

Both - Pointing and wagging your finger in a light hearted manner

5. Explain to students that they have just been acting using the stage directions for the next scene of the play so when they come to act it out, they can make use of all these expressions, except this time they will be using real words, not just the word ‘Rhubarb’!.

As Act 2 Scene 1 opens, the masked ball has happened and Don Pedro has spent the dance, as a masked guest, wooing Hero on behalf of Claudio.

Here are the lines from the scene where Don Pedro is eager to give Claudio the feedback from the wooing but Benedick and Claudio have been misled and think that Don Pedro was wooing Hero all for himself.

In Pairs, look at the stage directions and try to read the lines with the correct tone of voice and intonation – don’t worry if you don’t understand everything, we’ll talk about it after everyone has had a go at acting out the scene!

Don Pedro

(To Benedick)

Excited, looking over Benedick’s shoulder to see if you can see Claudio.

Now, signior, where’s the Count? Did you see him?

Benedick

Sighing. Shaking your head and ending these lines showing surprise.

Troth, my lord, I have played the part of Lady Fame. I found him here as melancholy as a lodge in a warren. I told him, and I think I told him true, that your Grace had got the good will of this young lady; and I offered him my company to a willow-tree, either to make him a garland, as being forsaken, or to bind him up a rod, as being worthy to be whipped.

Don Pedro

Shocked. Wide eyed.

To be whipped! What’s his fault?

Benedick

Nodding your head knowingly whilst raising an eyebrow in a slightly accusatory way

The flat transgression of a schoolboy – who being overjoyed with finding a bird’s nest, shows it his companion, and he steals it.

Don Pedro

Puzzled and with narrowed eyes

Wilt thou make a trust a transgression? The transgression is in the stealer.

Benedick

Stretch out your arms and open your palms. Shrug your shoulders to show confusion.

Yet it had not been amiss the rod had been made, and the garland too: for the garland he might have worn himself, and the rod he might have bestowed on you, who, as I take it, have stolen his bird’s nest.

Don Pedro

Reassuringly pat Benedick on the shoulder and smile

I will but teach them to sing, and restore them to the owner.

Benedick

Head on one side looking intently into Don Pedro’s face

If their singing answer your saying, but my faith you say honestly

Don Pedro

Pointing and wagging your finger in a light hearted manner at Benedick

The Lady Beatrice hath a quarrel to you: the gentleman that danced with her told her she is much wronged by you

*In the 16th Century it was inappropriate for upper class gentlemen to approach a young lady directly so wooing was often done by older generations who would speak up for the couple.

(A bit like when people say ‘My friend fancies you!’ but more subtle than that)

Week 4:

Objectives:

RESOURCES - Benedick Ranking Card Sort/ Benedick’s Tirade – You are the director/ Benedick’s Tirade/ Benedick Cloze/ Benedick’s Desperate excuses on OHT/ Contrasting Connectives / Attitudes to Women Quotations OHT / Ripple Effect Diagram/ Ripple Effect Teacher’s Guide/ Ripple Effect Model/ Effect Blank OHT / Character Pictures Student Set/Agony Letter OHT Clues/ Agony Letter Teacher’s Notes/ Agony Letter/Whiteboards

FOCUS - Teacher provides structure for lessons in terms of Starter/Development/Plenary:

· Teacher explains that Benedick is incensed that Beatrice feels so ‘wronged’ by Benedick and he is about to unleash a tirade of anger about Beatrice. Give out Angry Benedick Ranking Card Sort to groups of 2/3 students. Tell the students that these cards are some of the modern versions of insults which Benedick will say about Beatrice in his tirade. Groups should read the cards and rank them on a scale of ‘Most to Least Insulting’. Teacher models the first one for the students.

· Teacher then reads Act 2 Scene 1 Lines 209-229 to the class and, as they listen, they should pick up the modern version cards as they hear the original insults and lay the cards down in the new order as the teacher reads. Two or three readings may be necessary.

· Give out copies of Benedick’s Tirade – You are the director to show them the correct order of the insults. Students then fill in the middle boxes with director’s notes and explanations for the actor playing Benedick – teacher to differentiate as appropriate and model one quotation as an example. Students can then swap director’s notes and practice acting out this speech following the notes and then give feedback. Watch video of Kenneth Branagh acting out this speech and compare own notes with how Branagh acts. Complete the task at the end of Benedick’s Tirade – You are the director. Another version of Benedick’s Tirade is available for student’s to draw images and give explanations for each of Benedick’s insults which may be used for an ICT lesson and/or if you have a class with a high number of visual learners. Give out Benedick Cloze activity for Homework task.

· Teacher explains to students that almost as soon as Benedick’s tirade ends, Beatrice enters the scene. Ask them to predict what Benedick might say to Don Pedro just before Beatrice is within earshot. Teacher to use Benedick’s Desperate excuses on OHT to show what is about to happen. A student should take the part of Don Pedro with the brief that they should read their lines with ‘delight at watching Benedick squirm’ and the teacher should read the role of Benedick with as much expression and gestures of desperation as possible (teacher can show that ‘hamming up’ the lines can sometimes really help our understanding even if we don’t understand every word/phrase spoken). Teacher uses questioning to elicit an understanding of Benedick’s desperate excuses. Students can then spend a couple of moments coming up with subtle modern day excuses to share with the class.

· Class/Group reading of Act 2 Scene 1 Ln 230-300. Teacher uses questioning to draw out understanding. Attitudes to Women Quotations OHT: Reveal each quotation and students to use inference and deduction to decide what these quotations reveal about attitudes to women at that time. In particular, students to discuss the difference between Hero and Beatrice so far by creating lists of differences using Contrasting Connectives.

· Ripple Effect Diagram – throwing a pebble into a pond creates a ripple effect on the water. If the pebble were one of the characters, use the ripples to show where the other characters might be in relation to that central character. See Ripple Effect Teacher’s Guide. See Ripple Effect Model. You will need Ripple Effect Blank OHT and Character Pictures Student Set (on OHT if required). Suggest putting Claudio in the middle and take suggestions as to where the other characters might be. Plenary: Each group puts Beatrice in the centre of the ripple effect diagram – teacher takes feedback from groups asking for an explanation of their placing of ONE of the characters and his/her relationship to Beatrice.

Opportunity for Writing Practice: Starter: Show students the Agony Letter OHT Clues and use Agony Letter Teacher’s Notes to play the Guess the text type Game. Development: Show the Agony Letter from Bea to the students. Tell students they must write the reply to Bea (as if they are Lizzie). Ask students to do a quick revision of the features of an Advice text by getting them to draw a six point star on their whiteboards and writing a feature at each point of the star. Prompts could include: Tone? Vocabulary choice? Person 1st? Second? Level of formality? Etc. Feedback and teacher reminds of essential feature: Modal Verbs ‘Should’ ‘Could’ ‘May’ ‘Might’ etc. Students write replies and then judge each others’ letters. Plenary: Students can make changes to their letters where necessary then peer assess according to their success criteria from the 6 point star. *Teacher can make a link to the writing paper at this point.*

I am so hard done by her that even a block of wood could not have coped with such a woman!

Even a tree which is almost dead would have argued back with her!

Even the mask I was wearing at the ball came to life in order to argue with her – such are the powers of her provocation

I was in disguise so she told me that she thought I, ‘Benedick’ was just a jester and like a ‘thaw’ – the dull wet weather that comes after snow. She hurls insults one after the other with amazing cunning!

I stood there like a target with Beatrice shooting insults at me.

Her words come out like daggers and stick in me.

If her breath were as bad as her words it would be impossible to live near her even if I were living on the north star!

I couldn’t marry Beatrice even if she had what the Son of God, Adam used to have – all of Paradise! I couldn’t even live in paradise with her!

She has such scorn for people that she would even make someone as strong as Hercules do menial tasks like turning a roasting spit.

She is like a Greek God of disruption and thoughtless behaviour!

I wish someone would charm the evil spirits out of her.

Life in Hell would be delightful and safe compared to life on earth with Beatrice! So, people will deliberately sin in order to go to hell to get away from her!

Everything bad follows her wherever she goes!

DON PEDRO:

Look, here she comes.

BENEDICK:

Will your Grace command me any service to the world’s end? I will go on the slightest errand now to the Antipodes that you can devise to send me on. I will fetch you a tooth-picker now from the furthest inch of Asia; bring you the length of Prester John’s foot; fetch you a hair off the great Cham’s beard; do you any embassage to the Pigmies – rather than hold three words’ conference with this harpy. You have no employment for me?

DON PEDRO:

None, but to desire your good company.

BENEDICK:

Oh God, sir, here’s a dish I love not. I cannot endure my lady tongue

Modern Day Desperate Excuses!

I will go on the slightest errand now to the…

I will fetch you a…

I will…

whereas

alternatively

instead of

otherwise

unlike

on the other hand

‘A professed tyrant to their sex.’

‘Would you buy her, that you inquire after her?

‘I hope you have no intent to turn husband.’

‘Because I will not do them the wrong to mistrust any, I will do myself the right to trust none…I will live a bachelor.’

‘In time the savage bull doth bear the yoke.’

‘Well, niece, I trust you will be ruled by your father.’

‘It is my cousin’s duty to make curtsey and say ‘father, as it please you.’

a. Teacher model

b. Activity

1. Give students a whiteboard (or paper) and pen.

2. Explain that they are going to play a game where they have to guess a text type by looking at clues they have been given.

3. Reveal the title on the OHP.

4. Reveal the first clue. Students write down their guess and after 5 seconds, they hold up their answer.

5. Teacher looks around the class and says ‘X number of people are correct’ but does not say who the correct answers belong to.

6. Explain to students that they can change their guess at any time.

7. After each clue, when the students hold up their answers, the teacher tells the class the number of correct answers.

8. Finally the last clue is revealed and students must hold up their ‘Final’ – unchangeable – answers.

9. Most students will probably have written Agony Letter.

10. Teacher tells students correct answer and discusses the clues.

driving me mad

perfect for each other

out of my mind

I’ve got no idea

help me

What can I do

Dear Lizzie

I wonder if you can help me, I’m going out of my mind with frustration! I have two friends who are clearly perfect for each other but they spend most of their time putting their energies into winding each other up and pretending to hate each other. It’s driving me mad, as I know that they could be so happy together! What can I do to set them up? And to bring us all a bit of peace! I’ve got no idea how to go about this. Please help!

Yours in frustration,

Donnie Peddrow

Week 5:

Objectives:

· (Sp&L13) develop and compare different interpretations of scenes or plays by Shakespeare or other dramatists;

· (R14) analyse the language, form and dramatic impact of scenes and plays by published dramatists.

· (S3) write with differing degrees of formality, relating vocabulary and grammar to context, e.g. using the active or passive voice;

· (W8) recognise how lines of thought are developed and signposted through the use of connectives, e.g. nonetheless, consequently, furthermore.

· discuss and evaluate conflicting evidence to arrive at a considered viewpoint; (Sp&L9)

RESOURCES – Agree or Disagree OHT / Website Revision Notes/ Teacher’s own resources to support the following lesson coverage

FOCUS

· In groups of 3, students read Lines 300 – end. Teacher displays Agree or Disagree OHT and reveals each statement and gives students thinking time before asking all students to hold up their whiteboards with their answer. Take feedback for each statement.

· Students predict the plot which the characters in Lines 300 – end might come up with. Teacher to choose own way of abridging the rest of the play according to time available using teacher summary, extracts from key moments in the play and parts of the video. Were students correct in their prediction? Ensure that students are aware of how harmonious Claudio and Hero’s relationship seems until it turns to acrimony and how Beatrice and Benedick’s is the exact opposite thus Shakespeare has provided his audience with a dual narrative containing introduction, exposition, climax and resolution. Teacher could use these 4 ideas to create mood graphs for the two couples through the play.

· Students need personal revision notes: What links these 2 scenes? How are they alike?

· In percentage terms, how much of each scene is Benedick slinging insults and how much is Beatrice slinging insults. Who is worse? Are these two characters being typically male and female? Discuss.

· Just a minute/No more than 5 sentences, explain how these two set scenes set up the action and relationships for the rest of the play.

· Opportunity for Writing Practice: Starter: Covering up the words ‘Taken from a revision website for Year 6 students’ show top half of Website Revision Notes about Beatrice – ask students what type of text it could be (Hint: the underlines are a clue) and what Year group this text might be aimed at? (NB. Because this is from a website, the underlined names signal hyperlinks to other character revision windows) Development: Read and discuss this text deciding on what features are missing for this text to be useful to Year 9 students. Reveal missing features in bottom half of OHT and students start to write their website revision notes for Claudio – no more than 150 words. *Explain to students that they are preparing for an essay next week*

1. Don Pedro genuinely likes Beatrice and wants to see her happy

2. Beatrice is always happy

3. Benedick would be a good husband for Beatrice

4. Claudio is unhappy about match making for Beatrice and Benedick

5. Hero does not express an opinion

6. Hero will always do what she is told

7. Don Pedro thinks he is a better match-maker than Cupid

Beatrice - Leonato’s niece and Hero’s cousin. Beatrice is “a pleasant-spirited lady” with a very sharp tongue. She is generous and loving, but, like Benedick, continually mocks other people with elaborately tooled jokes and puns. She wages a war of wits against Benedick and often wins the battles. At the outset of the play, she appears content never to marry. However, as a result of overhearing her friends’ trumped up conversations, Beatrice’s heart is eventually conquered.

At the outset of the play, Benedick…

· Use evidence from the play

· Use quotations from the play

· Refer to events in the set scene

· Use the connective ‘However’

Week 6:

Objectives:

· (R5)evaluate their own critical writing about texts;

· (Wr9) integrate diverse information into a coherent and comprehensive account;

· (Wr16)present a balanced analysis of a situation, text, issue or set of ideas, taking into account a range of evidence and opinions;

· (Wr17)cite specific and relevant textual evidence to justify critical judgements about texts.

· (R14) analyse the language, form and dramatic impact of scenes and plays by published dramatists.

· write sustained standard English with the formality suited to reader and purpose; (S9)

· (S3)write with differing degrees of formality, relating vocabulary and grammar to context, e.g. using the active or passive voice;

· (S4)integrate speech, reference and quotation effectively into what they write;

RESOURCES – Essay Question OHT/ Prompts for Essay OHT and/or copies for students

FOCUS

· Introduce focus for the week. Production of essay. Starter: Share title with students (use Essay Question OHT) and ask them to suggest the key words from the essay and be ready to explain their choices. ‘How do Beatrice and Benedick use language to jest with and insult each other?’ Development: Use the Prompts for Essay OHT to get students talking about what they might include in their essay. Teacher may need to differentiate this sheet for different groups.

Pick out key quotations to help you answer this – 3-5 from each scene.

Explain why you would justify which are the best quotations to use. Possible balloon debate.

Write the essay using PEEL. Teacher provides model and scaffold approaches as appropriate to the class.

Teachers should use this week to cover: Test Practice.

· how to open up the question

· choosing 3 – 4 key quotations from each extract of the set scenes to help answer the questions

· building an answer round PEEL

Plus

· knowing that an extract of each set scene [approx 50 lines] will be

chosen that best fits the question set

i.e. they will not be examined on the whole of each scene

· they must answer on both scenes

This question was given to students preparing for their Shakespeare paper.

Below are the notes that a Level 7 student jotted down before he started to write his answer to the question.

Talk to your partner about his notes and, for each bullet point, decide what you thought he probably wrote about. In particular try to think about his ideas in terms of PEE (Point, Evidence and Explanation).

You do not have to write anything down.

Just TALK about your ideas.

Jamie’s Ideas:

· What Beatrice says when Benedick isn’t around – 1st scene before the soldiers arrive at Leonato’s castle. In particular, her comical imagery.

· What Benedick says when Beatrice isn’t around – to Don Pedro. His unintentional ‘comical’ insults.

· How Beatrice and Benedick speak with each other – in the first scene, Beatrice starts off with an insult and the argument quickly picks up the theme of love and opinions of each other in relation to each other’s love lives

· Conclusion – how all the evidence points to these two characters unknowingly hiding their true feelings for the other. Love imagery is ironic

Further Ideas:

· Organise students into groups for them to act out the set scenes for each other. Use their director’s ideas from their essays.

· Compare class presentation with the Branagh video.

· Share exemplar student responses from the English Test Mark scheme – try to grade using the Shakespeare Mark scheme

· Students investigate how the play fulfils the conventions of comedy.

· Students brainstorm other essay questions that cover the 4 areas of study: 1. Character and Motivation 2. Ideas, themes and issues 3. Language of the Text 4. The text in performance

Suggested Essay Questions:

· Give advice to the actress playing Beatrice in these two scenes.

· Why is the audience surprised by the different reactions of Hero and Beatrice in these two scenes?

· How does Shakespeare show us the very different relationships between the two couples?

· In both these two scenes Beatrice and Benedick show they dislike each other. How do we know this?

· Why would a Shakespearian audience find Beatrice an unusual woman?

· Does Shakespeare intend his audience to sympathise with Beatrice?

· What do these scenes show us about attitudes to love?

· PLUS any other essay questions which cover the 4 areas of study: 1. Character and Motivation 2. Ideas, themes and issues 3. Language of the Text 4. The text in performance

Additional Resources

· Reading Paper Tips Mat – www.thegrid.org.uk/learning/english/KS3

· Reading Mark Scheme Shakespeare

· Generic Approaches to teaching Shakespeare at any Key Stage

Band

Reading Criteria

Marks Available

1

A few simple facts and opinions about what characters say or do in these extracts, though some misunderstanding may be evident. Parts of the extracts are retold or copied and answers may be only partly relevant.

1,2,3

2

A little explanation showing some awareness. Comments relevant, but mainly at the level of plot. Some broad references to how the characters speak. A few words or phrases are mentioned although the selection is not always appropriate.

4,5,6

3

Some general understanding, although points may be undeveloped. Some limited awareness of the language used, with points illustrated by relevant references to the text.

7,8,9

4

Some discussion though the same quality may not be evident throughout. Awareness of characters’ use of language and its effects, with ideas developed by relevant references to the text.

10,11,12

5

Clear focus on the given question. An understanding of use of language. Well-chosen references to the text justify comments as part of overall argument.

13,14,15

6

Coherent analysis. Appreciation of the effects of language to explore ideas. Comments and precisely selected references to the text integrated into well-developed argument.

16,17,18

Characteristics which contribute to gaining a Level 6 – Reading:

· Select succinct and relevant quotations and use textual reference to support and develop ideas

· Select, analyse and comment on words and phrases e.g. how they reveal character and motive, develop plot and themes and the effects of language on the audience

· Relate characters’ feelings, motives and attitudes to the dramatic actions and plot development. E.g. writer’s purpose and intention

· Well chosen references to the text justify comments as part of the overall argument

Characteristics which contribute to gaining a Level 7 – Reading

· Use apt and precise quotations and textual references to expand and explore ideas and advance an argument

· Explore and reflect on the effects of words and phrases in relation to their specific dramatic contexts and the writer’s intention

· Develop a detailed analysis of character and action that is firmly grounded in an understanding of the overall dramatic significance of the extracts. E.g. writer’s purpose and intention

· Integration of comments and precisely selected references into a well developed argument

(Sp&L9)discuss and evaluate conflicting evidence to arrive at a considered viewpoint;

(Sp&L12)use a range of drama techniques, including work in role, to explore issues, ideas and meanings e.g. by playing out hypotheses, by changing perspectives;

(Sp&L13)develop and compare different interpretations of scenes or plays by Shakespeare or other dramatists;

(Sp&L14)convey action, character, atmosphere and tension when scripting and performing plays;

(W7)recognise layers of meaning in the writer’s choice of words, e.g. connotation, implied meaning, different types or multiple meanings;

Much Ado About Nothing

6 Week Scheme of Work

Preparation for Year 9 Tests

Set Scenes for 2007

18 lessons’ worth of ideas

All supporting resources

Scheme moves from tightly detailed towards a more flexible structure to allow teachers to tailor towards the needs of their groups. All resources are available from

www.thegrid.org.uk/learning/KS3

Much Ado About Nothing Year 9 SoW

Checklist for Resources

Resources available at www.thegrid.org.uk/learning

Rules of the Name Game 1 – Teacher sheet

Rules of the Name Game 2 – Teacher sheet

Image Game – Teacher sheet

Quotation Challenge – Lesson Instructions

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Ripple Effect Model

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Place a blank ripple with Hero at the centre:

How do the others relate to her?

Who should be close to her or distant? Why?

What does this show you about these characters and how they relate to each other?

2. Repeat with Hero and or Don John in the centre.

Explain to the class you’re going to examine how some of the characters in Much Ado relate to each other by doing a ‘Ripple Effect’ diagram

You’re going to look at Benedick – place him in the centre of the diagram.

Take each character one at a time and ask how close the class feel they are to Benedick:

e.g.Where would we put Beatrice? Why?

I’d place her further away because they say they hate each other and they are always arguing

Any one disagree? You’d put her right in the centre because they know each other well and he likes her.

Place her on the diagram and continue with the rest.

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Ripple Effect – Teacher Guide

Act 3, Scene 2 Translation Game – Instructions

On your whiteboards!

Beatrice or Benedick?

Agony Letter

Teacher’s Notes

Write a revision guide for Year 9 students preparing for year 9 Tests:

Benedick

Taken from a Year 6 revision website for students:

Beatrice

Read Act 2 Sc 1 Lines 301 - end

Agree or Disagree?

Can you guess the text type from these phrases?

What kind of text type is this?

Benedick’s Desperate Excuses

Shakespeare Reading Mark Scheme

What are the clues Beatrice gives away about her true feelings for Benedick?

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What do these quotations reveal about attitudes to women?

Contrasting

‘How do Beatrice and Benedick use language to jest with - and insult - each other?’

Beatrice – what do we know about her?

What’s the link between this poem

and Beatrice and Benedick?

What are the clues Beatrice gives

away about her true feelings for Benedick?

Beatrice and Benedick’s Weaknesses

Do you agree? Act 1 Scene 1

The Rhubarb Rhubarb Game Instructions

‘Hey Hero! My Friend Fancies you!’ – Don Pedro

‘So, does she fancy me back?’ – Claudio*

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