WELCOME TO OUR 2014-2015 SEASON

Dear Teachers,

Thank you for your interest in Seattle Shakespeare Company! As you no doubt know, there are many fantastic online resources to help you teach Shakespeare to your students as effectively as possible. In this age of online media, there are videos, teaching tutorials, shared curriculum guides, and more available to teachers.

However, it is as true now as it ever was that Shakespeare is best experienced by watching live performance. Videos can help students understand his plays, but we here at Seattle Shakespeare Company feel that they fall just a little bit short of the live theatrical experience that Shakespeare had in mind when writing his works. This is where Seattle Shakespeare Company comes in!

As a local, Puget Sound-area nonprofit theater company, we can help you to connect your students to a live, in-person experience of Shakespeare. We can send professional teaching artists to your school to help students get up on their feet and act out some Shakespeare. We provide discounted student matinee tickets for schools to bring their students to our productions. And we can send our 6-actor touring performances to your schools, all across the state of Washington, from Greys Harbor to Spokane and everywhere in between.

This guide is intended to supplement your teaching of Shakespeare with a little about why we at Seattle Shakespeare Company think Shakespeare is relevant today, and includes a few of our favorite in-class activities to do with students at the beginning of their Shakespeare unit. We’ve also included information about this season’s upcoming productions, so you can get a taste of what we do here at Seattle Shakespeare Company, and consider bringing your students to see a live performance of Shakespeare. Finally, we have included some play-specific information as an example of the sort of articles we include in our study guides when you book a student matinee with us. We hope you enjoy this free guide, and that you’ll get a feel for what Seattle Shakespeare Company can do for you!

Thank you for all you do for your students, and for connecting your classroom with live Shakespeare performance. We couldn’t do it without you!

Best,Michelle BurceEducation Director

www.seattleshakespeare.org/education206-733-8228 ext. 251 or education@seattleshakespeare.org

STUDY GUIDE CONTENTS

PLOT SYNOPSISES

Waiting for Godot . . . . . . . . . . . . . . . . . . . . . . 1

Twelfth Night . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Measure for Measure . . . . . . . . . . . . . . . . . . . 3

Tartuffe . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Macbeth (tour) . . . . . . . . . . . . . . . . . . . . . . . . 5

Romeo and Juliet (tour) . . . . . . . . . . . . . . . . . . . 6

Othello . . . . . . . . . . . . . . . . . . . . . . . . . . 7

REFERENCEMacbeth Glossary . . . . . . . . . . . . . . . . . . . . . . 8

REFLECTION & DISCUSSION QUESTIONSRomeo and Juliet (tour) . . . . . . . . . . . . . . . . . . . 9

Othello . . . . . . . . . . . . . . . . . . . . . . . . . . 10

ACTIVITIESThe Art of Tableaux . . . . . . . . . . . . . . . . . . . 11

Themes: Twelfth Night . . . . . . . . . . . . . . . . . . 12

Shakespearean Compliments and Insults . . . . . . . . . 12

Cross the Line: Themes and Quotations . . . . . . . . . . . 12

ACTIVITY WORKSHEETSThemes: Twelfth Night . . . . . . . . . . . . . . . . . . 13

Shakespearean Compliments and Insults . . . . . . . . . 14

Cross the Line: Themes and Quotations . . . . . . . . . . . 15

PLOT SYNOPSIS

1

Waiting for GodotSeptember, 2014Best for: 10th grade and upCurriculum Connections: Existentialism, Theatre of the

Absurd

Two friends, Vladimir (Didi) and Estragon (Gogo), meet near a tree. They talk and soon it is revealed that they are meeting someone named Godot at that very spot. Didi and Gogo try to amuse themselves to pass the time, bantering, bickering, trying to recall old jokes. Gogo often wants to leave, but Didi always says they must wait for Godot.

Their conversation is interrupted by Pozzo, a merchant, and his silent servant, Lucky. The arrogant Pozzo talks to Didi and Gogo about his travels while he eats lunch, which is torture for the hungry Gogo. Wanting to entertain his new friends, Pozzo commands Lucky to dance, which Lucky does awkwardly. Pozzo then tells Lucky to think. Lucky begins to speak, but his words quickly turn into mindless nonsense and he is only interrupted wheh Didi removes Lucky’s hat. Pozzo and Lucky leave, as Didi and Gogo wonder if they have met them before.

A boy comes in with a message from Godot, who says he will come tomorrow. Didi asks the boy questions before releasing him. Didi and Gogo resolve to leave the tree and find shelter, yet make no attempt to do so.

The next day, Didi and Gogo are at the same spot. Gogo says he slept in a ditch and was beaten, yet seems to be uninjured. Didi tries to talk to Gogo about the previous day’s events, but he can’t recall them at first. As they wait for Godot, they play games and even pretend to be Pozzo and Lucky.

Suddenly Pozzo and Lucky appear. Pozzo is blind and cannot remember meeting them yesterday. His arrogance is gone and he seems to be in utter despair. Lucky eventually leads him away and Gogo goes to sleep. The same boy from the day before enters and informs Didi that Godot will not come today, but will tomorrow. Desperate, Didi begs the boy for more, but the boy has no memory of talking to him before. He exits and Didi and Gogo sit at the tree to wait. They mull over the idea of killing themselves and resolve to bring some rope tomorrow in case Godot doesn’t appear. They keep on waiting.

Sir Patrick Steward and Sir Ian McKellen in a 2013 Broadway production of Waiting for Godot.

Playwright Samuel Beckett (second from left) poses with the cast of the original 1953 production of Waiting for Godot.

PLOT SYNOPSIS

2

Twelfth NightOctober–November, 2014Best for: All AgesCurriculum Connections: The Shakespearean Fool, Classic

Shakespeare Comedies, Twins in Literature

Twelfth Night begins on the shore of Illyria, where Viola has survived a shipwreck but fears that her twin brother, Sebastian, has drowned. After learning about her new surroundings from the ship’s captain, Viola disguises herself as a young man and sets out to find employment from Duke Orsino.

Orsino has been sending messengers to court the Lady Olivia. He is convinced, from what he hears, that she is his ideal match. After Viola (disguised as ‘Cesario’) arrives at his court, it only takes a few days to become a favorite of Duke Orsino. The Duke imagines that ‘Cesario’s’ youthful face will appeal to Olivia and sends ‘him’ to woo her on his behalf. Viola dutifully takes on the task, even though she has fallen in love with Orsino herself!

Meanwhile in Olivia’s house, Olivia refuses to see any suitors because she has dedicated herself to seven years of mourning for her recently deceased brother. Her uncle Sir Toby Belch thinks that his niece is being foolish and brings his friend Sir Andrew Aguecheek, a foolish knight, to woo Olivia. They are reprimanded by the maid, Maria, for drinking late into the night and making merry in a house of mourning. Only the fool, Feste, can lift Olivia’s spirits.

They are interrupted by news that a messenger from Orsino is waiting at the gate. ‘Cesario’ enters and is granted private audience with Olivia. It becomes clear, as ‘Cesario’ tries to convince Olivia of Orsino’s worthy love, that Olivia is instead falling for ‘Cesario.’ When Viola leaves, Olivia sends her melancholy steward Malvolio to bring a ring to the youth and say it was left behind.

Malvolio intercepts Viola on her way back to Orsino’s and presents the ‘forgotten’ ring, telling her only to return to tell Olivia of how Orsino takes the news of her rejection. Viola accepts the ring in confusion, but realizes to her dismay that this is a sign that Olivia has fallen in love with ‘Cesario’ instead of Orsino!

Elsewhere in Illyria, Viola’s twin brother, Sebastian, has survived the shipwreck but believes that Viola has perished. He too sets off for Duke Orsino’s court. Sebastian’s friend, the sea captain Antonio, has enemies in Orsino’s court, but pledges to accompany Sebastian to keep him safe.

At Olivia’s house, more late night merrymaking is interrupted by the disapproving Malvolio. After he leaves, Maria concocts an elaborate trick to be played on him. Forging a love letter from Olivia, she will encourage Malvolio to take on a series of ridiculous behaviors --- all carefully planned to put him out of Olivia’s favor. Sir Toby, Sir Andrew, and Feste all agree to help with the trick, which leads to Malvolio falling for it entirely and being confined as a madman.

Sir Andrew is discouraged by Olivia’s continued favor toward ‘Cesario,” so Sir Toby convinces Sir Andrew to challenge the youth to a duel. Just as they are about to fight, Antonio happens upon the scene and, believing Viola to be her brother Sebastian, intervenes and is arrested. Later Sir Andrew encounters the real Sebastian on the street and re-issues his challenge, but Sebastian soundly beats him. Olivia arrives and mistakes Sebastian for ‘Cesario,’ asking him to marry her. He is immediately smitten by her beauty and agrees.

The appearance of Sebastian in town sends everyone into confusion. Antonio accuses ‘Cesario’ of not repaying the money he lent to Sebastian. Olivia embraces ‘Cesario’ saying they have been married, much to Viola’s shock. Sir Toby and Sir Andrew accuse ‘Cesario’ of assaulting them in the street. In the midst of all Viola’s denials, Sebastian arrives. The twins recognize each other, Viola is revealed as a woman, and they clear up the confusion.

In the end, Viola marries Orsino, Sebastian and Olivia remain happily wed, and Sir Toby offers to marry Maria to make up for all the trouble he has given her. It is only vengeful Malvolio who does not live happily ever after.

Orsino, Cesario (Viola), and Feste in Seattle Shakespeare Company’s 2012 free outdoor production of Twelfth Night.

3

Measure for MeasureJanuary, 2015Best for: 10th grade and upCurriculum Connections: Shakespeare’s problem plays, morality

and hypocrisy

In Vienna, Duke Vicentio lets it be known that he is departing the city for a time due to a diplomatic mission. He gives care of the city to Angelo, a strict judge. Angelo’s first decree is to enforce a rule that sex outside of marriage is punishable by death. A nobleman, Claudio, is thus arrested due to his relationship with Juliet, to whom he is not married, who has become pregnant. Despite the fact that the relationship is consensual, Angelo intends to use Claudio as an example and sentences him to die.

Claudio’s friend Lucio tells Claudio’s sister Isabella the news. Isabella, who is a novice nun, goes to Angelo to plead for his life. Angelo becomes consumed with lust for her and says he will release her brother if she sleeps with him. Shocked, Isabella refuses. She goes to her brother to share what’s happened and tells him to be resigned to his fate. Claudio pleads with her to change her mind, but she refuses.

PLOT SYNOPSIS

Isabella then meets a Friar Lodwick. This is, in fact, the Duke in disguise who wanted to keep an eye on Angelo. He befriends Isabella and presents a plan to help her. He proposes that Isabella should give in to Angelo’s demand, but another woman should go in her place. The Duke proposes that Mariana, who was once betrothed to Angelo, assume Isabella’s place on the night the rendezvous.

Everything goes according to plan. However, Angelo goes back on his word and demands to see Claudio’s head. The Duke quickly works to find a prisoner to sacrifice to Claudio and manages to learn of a pirate who has died in prison. The pirate’s head is cut off and sent to Angelo. However, the Duke does not tell Isabella that her brother is alive.

The Duke “returns” to Vienna and holds court. Both Isabella and Mariana accuse Angelo of his crimes and Angelo denies everything. It becomes obvious as the truth is slowly revealed that the “Friar” is going to be held responsible for everything. The Duke leaves Angelo to judge the case and returns in his friar disguise. Eventually, he reveals his true identity, condemning Angelo as a liar and sentencing him to death. Mariana pleads for Angelo’s life, even asking Isabella for help. The Duke eventually lifts the death sentence on Angelo, provided he marries Mariana. He then reveals that Claudio is still alive.

The Duke now deals with Claudio’s friend, Lucio, who has been insulting the Duke to the Friar during the course of the story. Like Angelo, he is sentenced to an unwanted marriage. Finally, the Duke proposes marriage to Isabella. She does not answer.

Isabella and Angelo in Seattle Shakespeare Company’s 20o3 production of Measure for Measure.

TartuffeMarch–April, 2015Best for: 6th grade and upCurriculum Connections: French farce theatre, morality and

hypocrisy

The play opens with Madame Pernelle, visiting her son Orgon’s house. She criticizes everyone in the house and compares them unfavorably to their boarder, Tartuffe. She describes Tartuffe as a pious man and praises his holiness and devotion. The others object, saying he is a hypocrite and his piousness is false, but she rejects their claims. As she leaves, she scolds everyone and tells them to be more like Tartuffe.

Cléante and Dorine, the maid, discuss Tartuffe, and agree that both Madame Pernelle and Orgon have been fooled by Tar-tuffe into believing that he is holy and pious. Damis, Orgon’s son, wonders whether Orgon will still allow Mariane, Orgon’s daughter, to marry her love Valère. Damis wants to marry Valère’s sister, so he prods Cléante into asking Orgon about Mariane’s marriage.

Orgon arrives home, and instead of asking about his wife’s illness, he asks about Tartuffe’s wellbeing. Cléante tries to speak with Orgon about Tartuffe, but Orgon can only sing Tartuffe’s praises. When Cléante asks about the wedding between Mariane and Valère, Orgon dodges the question. Mariane herself arrives, and Orgon tells her that he would like for her to marry Tartuffe, to ally him to their house forever. Mariane is shocked, but does not outright refuse because she wants to be an obedient daughter.

Dorine scolds Mariane for not refusing to marry Tartuffe. When Valère arrives, he angrily accuses Mariane of being false and consenting to marry Tartuffe. Dorine steps in to reconcile them, and they come up with a plan to expose Tartuffe’s hypocrisy.

Damis is also determined to expose Tartuffe to Orgon. He hides in a closet to overhear Tartuffe profess his love to Elmire, Orgon’s wife. Tartuffe suggests that they become lovers behind Orgon’s back, saying it is not a sin if they are not discovered. Damis reveals himself and threatens to tattle on Tartuffe to Orgon. When Orgon arrives, he will not believe anything ill about Tartuffe, and instead thinks that his son is trying to defame Tartuffe’s good name. He disinherits his son, and plans to make Tartuffe his only heir.

Cléante tries to confront Tartuffe, but he only receives trite religious sayings as responses before Tartuffe hastily departs. Orgon and Elmire arrive, and Orgon tells his wife of his plans to ally Tartuffe to their house. Elmire begs Orgon to hide and ob-serve Tartuffe’s actions before he goes through with Mariane’s marriage and Tartuffe’s inheriting of all of Orgon’s property. Or-gon agrees and hides in a closet, while Elmire sends for Tartuffe. When he arrives, he attempts to seduce Elmire once again, and at the same time makes insulting comments about Orgon.

4

PLOT SYNOPSIS

Finally convinced that Tartuffe is not as good as he appears, Orgon reveals himself and orders Tartuffe to depart. But Tar-tuffe reveals that he now owns Orgon’s house according to the papers that they both signed, so Tartuffe orders Orgon to depart. When Madame Parnell arrives, she is finally convinced of Tartuffe’s wickedness, but it is too late.

An officer of the king arrives, but instead of evicting Orgon and his family, he brings news that the king has wisely seen through Tartuffe’s hypocrisy, and orders Tartuffe arrested and imprisoned for his crimes. The king restores all of Orgon’s property to him.

Seattle Shakespeare Company’s 20o8 production of Moliere’s The Miser.

5

PLOT SYNOPSIS

Macbeth (tour)Tours March–May, 2015Best for: Well-prepared 5th graders and upCurriculum Connections: Scottish history, magic and

witchcraft

As the play opens we hear of Macbeth’s bravery in a recent battle. The Thane of Cawdor is arrested and King Duncan gives his title to Macbeth. Macbeth and his friend Banquo go to meet three witches, who prophesize Macbeth’s new title and say that he will be king. Finding the first prophecy to be true, Macbeth wonders how he will become king while Duncan and his sons still live. Informed in a letter of the witches’ prophecy, Lady Macbeth prepares for the arrival of King Duncan, convinced that she and Macbeth should kill him. When Macbeth arrives, Lady Macbeth tells him her plan: they will kill Duncan while his drunken servants sleep, and then plant the incriminating evidence on the servants.

Macbeth has a vision of a bloody dagger that leads him to Duncan’s room, where he carries out the murder. Macbeth returns with the bloody daggers. Lady Macbeth scolds him for keeping the daggers and goes to place the weasons with the servants, framing them for the murder. Macbeth fears that he is now cursed, but Lady Macbeth assures him that they will get away with it. The other nobles arrive to join the king, and Macduff discovers Duncan murdered in his bed. Macbeth kills the two servants in a fit of rage when they are discovered with the bloody daggers. Duncan’s sons Malcolm and Donalbain, fearing for their lives, flee the kingdom. They are now suspects for the murder, and Macbeth is crowned king of Scotland.

Macbeth’s friend Banquo is suspicious of Macbeth, and Macbeth is jealous that Banquo was prophesied to be the father of a line of kings. Macbeth arranges the murder of Banquo and his son Fleance to prevent the prophecy. Banquo is killed, but Fleance escapes. Macbeth prepares a feast for the nobles, but the ghost of Banquo appears to Macbeth and sends him into a frenzy of terror. Lady Macbeth tries to hide his odd behavior, but the party ends as the nobles begin to question Macbeth’s sanity. Macbeth leaves to hear more prophecy from the three witches. Macduff and Malcolm meet in England to prepare an army to march on Scotland.

The three witches tell Macbeth to fear no man “of woman born” and that Macbeth will only fall when Birnam Wood comes to Dunsinane Castle. Macbeth takes comfort in this prophecy, assuming that he is invincible. When he asks if the prophecy about Banquo will come true, they show him a procession of kings, all of whom are Banquo’s descendants.

Lady Macbeth has gone mad and reveals her guilt while sleepwalking and trying to wash Duncan’s blood from her hands. Macbeth is too occupied with battle preparations to pay attention to her, and is angry with when the doctor cannot cure her. As the castle is attacked, Lady Macbeth dies, perhaps by her own hand. Macbeth is shaken, but reminds himself of the prophecy that he can only be killed when impossible things happen.

The English army reaches Birnam Wood and the soldiers disguise themselves by each cutting a tree branch to hold in front of them-selves as they march on Dunsinane castle. Seeing this, a servant tells Macbeth that Birnam Wood seems to be moving. Macbeth is furious and goes out to fight. Macduff challenges Macbeth, and as they fight Macduff reveals that he was not “of woman born” but was “untimely ripped” from his mothers womb. Macbeth is stunned but refuses to yield to Macduff. Macbeth is killed and his head is cut off. Macduff is proclaimed the new king of Scotland.

Macbeth and Macduff battle in Seattle Shakespeare Company’s 2011 free outdoor production of Macbeth.

6

PLOT SYNOPSIS

Romeo and Juliet (tour)Tours March–May, 2015Best for: 5th grade and upCurriculum Connections: Shakespeare’s tragedies,

Renaissance Italy

The play opens with a brawl between servants of the feuding Capulet and Montague families. The Prince of Verona breaks up the fight and threatens death for anyone “who disturbs our streets” again.

A great celebration is being planned by the Capulets to which everyone in the town is invited except the Montagues. During the party they introduce their young daughter Juliet to Count Paris in the hopes that they will marry. Romeo, Benvolio (both Montagues), and Mercutio decide to attend this party in disguise so that Romeo will get his mind off of Rosaline, an unattainable girl whom he loves.

Romeo is enchanted the moment he sees Juliet from across the room, and forgets all about Rosaline. He talks with her and she becomes as entranced as he is. Juliet’s cousin Tybalt notices that Romeo and his kinsmen are trespassing at the party, but at Lady Capulet’s command he restrains himself from starting a fight. Romeo sneaks back into the garden, where he hears Juliet talking to herself about the danger of loving an enemy. He shows himself and speaks to Juliet. They exchange vows of love and plan to marry in secret the next day.

Romeo begs Friar Lawrence to marry him and Juliet. Friar Lawrence agrees, hoping that the marriage might end the feud between the families and bring peace to the town. The

two lovers are married and part, planning to meet secretly that night. That afternoon Tybalt attempts to pick a fight with Romeo. Romeo refuses, but Mercutio takes up his sword to return Tybalt’s insult. As Romeo tries to break up the fight, he restrains Mercutio, who is fatally stabbed. Romeo, enraged at the death of his friend, kills Tybalt and is banished by the prince.

The Nurse tells Juliet that Romeo has been sentenced to banishment for killing Tybalt. Romeo and Juliet have only one night together after they are married before Romeo must leave the city or be killed.

Unaware that Juliet has already married Romeo, the Capulets plan for her to marry Paris. Juliet goes to Friar Lawrence for help. He gives her a sleeping potion that will make her appear dead for two days, and tells her to take it the night before her wedding to Paris. The Friar says he will send a message to Romeo letting him know of the plan so that Romeo can find her in the tomb and they will be reunited when she awakens.

Romeo hears about Juliet’s death — not through the Friar’s messenger but from his servant. In grief, Romeo returns to the city determined to be with Juliet in death. He goes to the apothecary and buys poison, then goes to Juliet’s tomb. There he find Paris and they fight. Romeo kills Paris, then takes the poison and kills himself. Juliet wakes too late to stop him and finds her love dead beside her. Friar Lawrence arrives but is unable to divert further tragedy. Using Romeo’s dagger, Juliet takes her own life.

The two families find Romeo and Juliet dead together in the tomb, and realize that they need to put their feud behind them.

The cast of Romeo and Juliet host a free post-play Q&A with students,

Seattle Shakespeare Company’s 2014 statewide tour of Romeo and Juliet.

7

PLOT SYNOPSIS

OthelloApril–May, 2015Best for: 7th grade and upCurriculum Connections: Racism and prejudice

On a dark night in Venice Iago speaks with Roderigo who is angry about the swift and secret marriage ceremony between Othello, a high-ranking soldier, and Desdemona. Roderigo is in love with Desdemona, and Iago is upset because Othello over-looked him for a promotion that was given to a young officer named Cassio instead. The pair run to Brabantio, Desdemona’s father, and inform him of the marriage. Brabantio is furious.

Meanwhile, news arrives in Venice that the Turks are going to at-tack Cyprus. Othello is summoned by the State to give council. Brabantio arrives and accuses Othello of seducing Desdemona. Desdemona rushes to the scene and defends her new husband by explaining that she truly loves him. The Duke of Venice orders Othello to command the military operation against the Turks in Cyprus. Desdemona joins him along with Cassio, Iago, and Iago’s wife Emilia, who is also Desdemona’s maid. Iago persuades Roderigo to travel in secret to Cyprus promising that Desdemona will tire of her new husband.

When the group arrives in Cyprus, they find that the Turkish fleet has been destroyed in a storm and a celebration is planned. Iago schemes to use Cassio as a pawn in his game to ruin Othello. He persuades Roderigo to pick a drunken fight with Cassio. Upon learning of Cassio’s violent involvement, Othello strips him of his title and gives it to Iago. Cassio is distraught over his damaged reputation. Iago encourages Cassio to talk with Desdemona about convincing Othello to reinstate him.

With Cassio stealing private moments with Desdemona, Iago convinces Othello that he should be suspicious of the pair. Desdemona can feel Othello’s unrest and attempts to dote on him with her strawberry embroidered handkerchief, which was his first gift to her. He bats away her gesture and the handker-chief is left in Desdemona’s chamber. Emilia sees the handker-chief and gives it to Iago who has been pestering her to steal it. Iago plants it in Cassio’s room and quickly tells Othello that he spotted Cassio with the handkerchief. Cassio, meanwhile, gave the token to a pretty local girl, Bianca. Othello grows more dis-turbed at the idea of Desdemona cheating on him with Cassio. Iago suggests Othello spy on Iago as he questions Cassio about the handkerchief. As Iago asks Cassio about Bianca, Othello, hearing only part of the conversation, assumes Cassio is talking about Desdemona. To make matters worse, Bianca storms in and throws the handkerchief back at Cassio for she knows it was owned by another woman. Othello demands that Iago kill Cassio while he kills Desdemona.

With all the pieces in place, Iago acts quickly to put the final moves of his twisted game into motion. He reunites with Rod-erigo and convinces him to kill Cassio. Roderigo attacks and wounds Cassio that very night as he leaves Bianca’s house. A struggle ensues and Iago jumps from the shadows appearing to aid Cassio by wrestling Roderigo away. With Cassio injured Iago stabs Roderigo as he no longer has use for him.

At the same time, Othello creeps into the bed chamber where Desdemona lay asleep. Before he can harm her, she wakes and pleads for her life. He does not want to listen and carries out his plan to smother her with a pillow. Emilia knocks at the door and rushes to her lady’s side. When she sees Desdemona’s life-less form she cries for help. Iago, a bandaged Cassio, and other officers run to the chamber. When Othello holds up the hand-kerchief as proof of Desdemona’s infidelity, Emilia is dismayed. She demands that Iago explain. Iago grabs Emilia and stabs her to keep her silent. In her dying breaths, Emilia reveals the truth behind the stolen handkerchief, drags herself to Desdemona’s corpse and dies at her side. Othello cuts Iago and demands to know his reason, but Iago vows to remain silent. Devastated, Othello turns to the crowd, draws his sword and kills himself on the bed wherein Desdemona rests.

Iago, Othello, and Desdemona in Seattle Shakespeare Company’s 2014 statewide tour of Othello.

8

REFERENCE

Glossary: MacbethShakespeare uses a lot of words that are unfamiliar to us today. His vocabulary has been estimated to be over 17,000 words — quadruple that of an average, well-educated conversationalist of today! Here are some words from Macbeth that you may never have heard before, or that have different meanings from today. See how many you recognize!

Avouch (v) assure, guarantee

Beguile (v) cheat, deceive, trick

Bestride (v) stand over, protect, safeguard

Brainsickly (adv) foolishly, in such an addle-headed way

Breach (n) tear, gap, hole

Brinded (adj) streaked, striped, tabby

Chid (past tense of “chide”) (v) scold, rebuke, reprove

Clamour (n) protest, complaint, outcry

Cleave (v) stick, adhere

Clept (past tense of “clepe”) (v) call, name, style

Confound (v) destroy, overthrow, ruin

Doff (v) throw off, get rid of

Dolour (n) sorrow, grief

Dun (adj) dark, murky, gloomy

Equivocator (n) dealer in ambiguities, trader in double-meanings

Franchised (adj) free from evil, upright

Heath (n) a tract of uncultivated land

Hie (v) hasten, hurry, speed

Incarnadine (v) redden, turn blood-red

Jocund (adj) merry, joyful, cheerful

Niggard (n) miser, mean person, skinflint

Pall (v) wrap, cover, drape

Parricide (n) patricide, murder of a father

Seeling (adj) concealing, screening

Shoughs (n) shaggy-haired Icelandic dogs

Suborn’d (v) bribe, corrupt, persuade someone to commit perjury

Swinish (adj) coarse, gross, comparing to pigs

Thane (n) a nobleman

Verity (n) truth, veracity

9

REFLECTION & DISCUSSION QUESTIONS

Romeo and Juliet (tour)Before the Performance: These questions help students to think about some of the big ideas behind the play before watching it.

Who is/are the “villain(s)” of the story? Who is responsible for all of the tragic events?

•ThevillainisTybalt.HeincitesRomeoandMercutiotoviolence.Even after death, he still keeps Romeo and Juliet apart.

•ThevillainisLadyCapulet.Ifshewasn’tsointentongettingJuliet married off, Juliet and Romeo might have ended up all right. Her feud with the Montagues also kept them apart.

•Romeoisresponsibleforthetragicevents.Ifhehadn’tbeenin such a hurry and so hot-headed, they probably could have figured out a way to live happily ever after.

•Friarisresponsiblefortheultimatetragedyanddeaths.He married Romeo and Juliet in secret, then gave Juliet a sleeping drug and failed to let Romeo know what happened.

If Romeo and Juliet had lived, do you think they would have been a happy couple? Why or why not?

•Yes!Theywerebothyoung,kindindividuals.Theywouldhavetried very hard to make each other happy for a long time.

•Yes.Theirfamilieswerebothverywealthy,soiftheirmarriagehad forged a peace they would have lived very comfortably.

•Probablynot.Theirfamilieshatedeachother,sotheywould probably face a lot of challenges around their secret marriage when it was finally revealed. Juliet might have even been disowned for marrying Tybalt’s killer.

•Definitelynot!RomeoandJulietdon’tevenknoweachother! They rushed right into marriage, and that’s a recipe for disaster.

Images of light and darkness are throughout the play. Think about all of the references to night, dawn, sun, moon, torches, and lightning in the play. Why do you think Shakespeare included this motif in the play? How does it add to the story?

•Lightanddarknesscouldrepresentopennessandsecrecy,hiding things in darkness. There is a lot of secrecy in the play, and the light could be “shedding light” on that.

•Lightanddarknesscouldalsobeametaphorforgoodand bad events. Darkness could be Mercutio’s death, Romeo’s banishment, and the ongoing feud. Light could be the young love, marriage, and friendship. Light is seen when there is hope and goodness, while darkness is present when there is death and sadness. In the show, darkness snuffs out the light.

•Lightrepresentsthegood,young,idealisticcharacterslike Romeo and Juliet. They talk about light, and believe that the light will never fade. Darkness represents the bad characters, or those who cause bad things to happen.

Family rivalry is a major theme in Romeo and Juliet. Can you think of a time when you had a rivalry with another person or group of people? What about a rivalry between schools? Between cities? Between countries? What causes these rivalries?

Juliet is the only daughter of the Capulet family and her parents expect her to marry a wealthy, powerful man. Think of a time in your life when your parents had expectations for you, either explicit or implied. Was the expectation reasonable? Was it something you were willing to do?

Have you ever kept a big secret from your friends? Your family? Why did you keep that secret? How did it make you feel to leave your friends or family in the dark?

The Nurse and Mercutio, played by the same actor in our production, are both bad news in the lives of Romeo and Juliet. How do each of them push the story toward its final tragic ending?

•TheNursehelpsJulietgettogetherwithRomeo,butinthefinal test she refuses to help Juliet get out of her engagement to Paris, and won’t stand up to Juliet’s parents.

•MercutiogivesRomeoahardtimeaboutlove,sothathedoesn’t want to talk with his friends about Juliet. Mercutio fights Tybalt when Romeo would not and further widens the divide between the two families with his posturing, insults, and ultimately his death.

After the Performance: These questions help lead a discussion with your class after seeing the play. There are many possible answers and student response will vary. There is no wrong answer, so long as students use examples from the play to back up their opinions. Some possible responses are provided.

10

REFLECTION & DISCUSSION QUESTIONS

OthelloBefore the Performance: These questions help students to think about some of the big ideas behind the play before watching it.

Discuss Emilia’s role in the play. How does she push the action forward? Was she necessary to Iago’s plot, or would he have been just as successful without her? Is she a weak or strong character?

•Emiliawasnecessarytotheplot—withouther,Iagowould never have gotten Desdemona’s handkerchief to convince Othello of Desdemona’s infidelity, and Othello would never have known the full truth about his wife’s innocence in the end.

•Emiliawasnotthatnecessary.Iagohadmanytricksuphis sleeve.

•Emiliaisastrongcharacter,becauseshefinallystandsupto Iago.

•Emiliaisaweakcharacter,becauseshestayedsilentformost of the play and let Iago dominate her.

Do you think Othello started out as an inherently jealous person? What makes a jealous person? Who else in the story could be considered a jealous person, and how are they similar to or different from Othello?

•No,Othellodidnotstartjealous.HewaspushedtherebyIago.

•Yes,Othellowasajealousperson.Youcantellbecausehenever talked to his wife about her affair with Cassio, but instead just assumed she was unfaithful.

•IagowasveryjealousofCassio’spromotion,butwasmuchmore cool and calculating than Othello.

Besides the Renaissance setting of Shakespeare’s Othello, what other time and place settings could be used to highlight the themes and tragic events of the play?

•TheplaycouldbesetduringtheCivilWarandOthellocould be a Union soldier. This would highlight a lot of the racism that he faces.

•Theplaycouldbesetduring1960’sVietnam,withthecivil rights movement as a backdrop.

•Theplaycouldbesetinahighschoolwhereanewkidoran outsider of some sort is disliked by the other kids who have been there for a long time. Othello could be great at football and inspire jealousy from others. Was it possible to stop Iago from carrying out his plan?

What, if anything, could each character have done differently in order to prevent the tragedy?

•Othellocouldhavetrustedhiswife,orcommunicateddirectly with Cassio and Desdemona.

•DesdemonacouldhaveintervenedwithOthelloearlier,orgone to someone she trusted to help her.

•CassiocouldhavecomecleanwithOthello,orleftCyprusand Othello’s service.

•Emiliacouldhavedonealot,sincesheknewIago’sroleinthe tragedy and was never under suspicion from Othello.

•RoderigocouldhavegonetoOthelloassoonashewasbeing taken advantage of by Iago.

How do people behave differently when they are away from home — either on vacation, or traveling for another reason? Why might people act differently when they are out of their normal environment?

How important is it to have a good reputation? Consider both your reputation with people you know, and your online or more public reputation.

When was the last time someone acted outside of your expectations for them? For example, when someone you respect did something bad, or someone you dislike helped you out? Was this a public figure or a close friend? Did your views of this person change because of this?

Have you, or anyone you know, ever been judged based on their race? Take a moment to watch this social experiment online: www.youtube.com/watch?v=ge7i60GuNRg How big of a problem is racism in our society today?

After the Performance: These questions help lead a discussion with your class after seeing the play. There are many possible answers and student response will vary. There is no wrong answer, so long as students use examples from the play to back up their opinions. Some possible responses are provided.

11

ACTIVITIES

The Art of TableauxTime: 30 minutesStudent Skills: Taking direction, listening, working togetherPlay(s): Romeo and Juliet, Othello

What does a scene look like? This activity is about freezing a moment of action to tell a story. We can tell stories through a frozen picture made with our bodies — called a tableau. Our activity has two parts — the first warms students up to the task of using themselves to create these pictures and lets them see how much information can be delivered and understood in a frozen moment. The second part makes scenic pictures from the play, focusing on each character’s need within the scene.

To Prepare: We recommend you do this activity after you have shared the characters and synopsis, and before you see the play. Ask your students to dress for action and be prepared to sit on the floor. Push all the desks to the periphery of the room. Have the students in the center of the room. It is ok for students to lean on desks or even to sit on the ground in front of their desks, but the idea is to create a different learning/play space and to have everyone out from behind desks.

Instructions — Sculpting (Partners):•Dividestudentsintopairs.Havethemallwork(space

permitted) on one side of the room.

•Numberthestudents1and2.Student 1 acts as the sculptor, Student 2 acts as the clay. Student 1 then “sculpts” Student 2 into an image on the theme of LOVE”(Romeo and Juliet / Othello). This should take no more than two minutes.

•Whenall“sculptures”arecompleted,haveallofStudent 1 participants cross to the other side to observe their work as a whole. Student 2 participants stay frozen.

•Askforfeedbackfromthesculptors:Whatdotheysee?Whatdoeseach“statue”thinkaboutthepersontheyaregreeting?Howareyougettingthatinformation?

•Whatcouldmakeastrongerpicture?

•TheStudent 2 participants then have their turn sculpting the Student 1 participants. This time have students create a statue on the theme of DESPAIR (Romeo and Juliet) or JEALOUSY(Othello).

•WhenallStudent 1 participants have been sculpted, have all of Student 2 participants cross to the other side to observe their work as a whole. Student 1 participants stay frozen.

•Againaskthesculptorstoobserveeachothers’workanddiscuss what they see.

Now we are going to relate the tableau experience to the scenes in the play.

Instructions — The Physical Scene (Groups):•Explaintoyourstudentsthattheyarenowgoingtoworkin

larger groups, taking on specific characters and situations found in a specific scene from Romeo and Juliet or Othello. The whole process is collaborative. They will have 5 – 10 minutes to work on their tableaux. Then each tableau will be shared with the class.

•Explaintoyourstudentsthatthetableau’sobjectiveistoclearly tell the main event in the scene. Each character should have his/her own distinct reaction to the situation.

•Assigneachgroupaspecificmomentintheplay.

•Whentheseareshared,besuretodothetableauxinchronological order, as they appear in the play.

Romeo and Juliet Scenes:•The Capulets and Montagues hate each other and are

constantly fighting.

•Romeo meets Juliet at a party, and finds out from the Nurse that she is a Capulet.

•Tybalt challenge Romeo to a fight. When Romeo refuses, Mercutio fights and gets killed.

•While Romeo is banished, Juliet’s family orders her to marry Paris. The Nurse advises her to go through with it.

•Romeo returns to find Juliet in her tomb. He kills Paris, and the Friar and families arrive too late to stop Romeo and Juliet’s deaths.

Othello Scenes:•Desdemona’s father accuses Othello of bewitching

his daughter, after Roderigo and Iago inform him of their marriage.

•Othello discovers Cassio drunk and belligerent, and strips him of his rank.

•Emilia steals Desdemona’s handkerchief, and gives it to Iago.

•Othello sees Cassio talking about his affair with Bianca, but thinks he is talking about Desdemona.

•Othello smothers Desdemona, Emilia confesses her knowledge of Iago’s plot, and Iago kills his own wife out of anger.

12

ACTIVITIES

Themes: Twelfth NightTime: 20 minutesStudent Skills: Determining themes, writing narrativesPlay(s): Twelfth Night

Themes are the overall messages conveyed by a work of literature. They are usually universal ideas that are implied by the story rather than explicitly stated. This activity guides students to explore which themes in Twelfth Night are relevant to them.

Instructions:Cut out the various themes and put them in the order of importance to you from most to least. Write a response to the theme that spoke to you the most. How did it make you think of something in your own life? The questions are there to guide or prompt, not to quiz.

Worksheet: see page 13______________________________________________________

Shakespearean Compliments and InsultsTime: 10 minutesStudent Skills: working in pairs, determining, speaking clearly Play(s): Any

In this activity, students practice speaking Shakespeare by addressing each other with short Shakespearean insults and compliments of their own creation. This will help students to approach Shakespeare as something that is fun and understandable. Help students reason out what each of the insults or compliments mean. For example, what might it mean if I called someone “unmuzzled”? What about “eye-offending”?

Adapted from activities from Folger Shakespeare.

Instructions: Have students pair up and look through the list of insults and compliments. They should work together to decide what they mightmean—aretheyinsultingorcomplimentary?—andchoose their favorite way to address each other. Then go around the room and hear everyone’s lines. Students should stand up to address each other, and use their biggest, broadest acting voices!

Worksheet: see page 14

Cross the Line: Themes and QuotationsTime: 10 minutes eachStudent Skills: Listening, choice-making, observationPlay (Quotations): MultiplePlay (Themes): Romeo and Juliet, Othello

“Themes” introduces students to some of the themes from either Romeo and Juliet or Othello. These two activities can be done one after another.

“Quotations” shows students how much of Shakespeare’s language they already know. This is great as a first activity to warm students up to the language.

To Prepare: Ask your students to dress for action and be pre-pared to sit on the floor. Push all the desks to the periphery of the room. Have the students in the center of the room.

Instructions:•Havestudentscreatetworowsfacingoneanother,with7–10

feet between them.

•Pointoutthatthereisanimaginarylineinthemiddle,between the two rows.

•Tellthestudentsthatthisisagametobeplayedwithouttalking.

•Tellthestudentsthatyouwillbesayingaseriesofquotes/phrasesthat start with the instruction phrase, “Cross the line if . . .”

•Askforobservations.Whatdidthestudentsfindsurprising?

•For younger students: Youcanaltertheexercisebychanging the verb on how they cross the line (slink, hop, run, glide, skip, etc).

•For Cross the Line Themes: Some of these prompts may be difficult, so be sure to give students time to think and cross the line.

•For Cross the Line Quotations: Students do not need to know what play the quote is from, they should just cross if they have ever heard that phrase before.

Worksheet: see page 15

13

ACTIVITY WORKSHEETS

Themes: Twelfth NightActivity instructions on page 12

Search for IdentityWho is looking for their identity in the play? How does

this relate to your life as a student now?

Outsiders Who are the outsiders in Illyria, and how do they

influence the atmosphere in Illyria? Do you have a personal experience about an outsider coming into a

group and changing the dynamics of the group?

Madness Harold Bloom says that “Everyone in the play is mad except for Feste, the clown.” Why would he say that?

Social OrderMalvolio is misused by Sir Tobey and company because he is reaching beyond his place in the social order. Why

is this the English and not the American standard?

TrickeryWho is the character who is tricked in Twelfth Night?

Does he/she deserve it?

DisguiseViola is not the only character who uses a disguise. What

are some of the disguises used in our society?

Fate/Fortune/ChanceWhat is the likelihood of twins surviving the storm and ending up in the same place? Are there other instances

of “meant to be” that you can find?

Misdirected LoveWhich characters are in love with someone who cannot/will never love them back? Can you relate to someone in

your own experience?

14

ACTIVITY WORKSHEETS

Shakespearean Compliments and InsultsActivity instructions on page 12

Opening phrases:

“You are my…”

“Halt! Thou…”

“Never did I see a more…”

“What, ho…?”

Choose one word from each column:

Column A

divine

sweet

fruitful

gentle

sugared

flowering

precious

gallant

delicate

celestial

unmuzzled

greasy

saucy

bawdy

vacant

peevish

impish

Column B

honey-tongued

well-wishing

fair-faced

best-tempered

tender-hearted

tiger-booted

smooth-faced

thunder-darting

sweet-suggesting

young-eyed

angel-haired

eye-offending

dim-witted

onion-eyed

rug-headed

empty-hearted

mad-brained

Column C

cuckoo-bud

toast

nose-herb

wafer-cake

pigeon-egg

welsh cheese

valentine

true-penny

song

dogfish

maypole

hedge-pig

pirate

minimus

egg-shell

buzzard

ruffian

15

WORKSHEETS

Cross the Line: Themes and QuotationsActivity instructions on page 12

QUOTATIONS

Cross the line if you have ever heard . . .To be or not to be, Hamlet

Friends, Romans, countrymen, lend me your ears, Julius Caesar

What the dickens, The Merry Wives of Windsor

A dish fit for the gods, Julius Caesar

As dead as a doornail, Henry VI, pt.2

Beware the ides of March, Julius Caesar

Love is blind, The Merchant of Venice

Fair is foul and foul is fair, Macbeth

All that glistens is not gold, The Merchant of Venice

Foul play, Pericles

I have not slept one wink, Cymbeline

Brave new world! The Tempest

I will wear my heart upon my sleeve, Othello

Parting is such sweet sorrow, Romeo and Juliet

We few, we happy few, we band of brothers, Henry V

Double, double, toil and trouble, Macbeth

It was Greek to me, Julius Caesar

All the world’s a stage, As You Like It

My horse, a horse, my kingdom for a horse, Richard III

Shall I compare thee to a summer’s day? Sonnet 18

There’s a double meaning in that, Much Ado About Nothing

Off with his head, Richard III

For ever and a day, As You Like It

His beard was white as snow, Hamlet

Eaten out of house and home, Henry IV, pt 2

Et tu, Brute, Julius Caesar

Romeo, Romeo, Wherefore art thou Romeo? Romeo and Juliet

Pound of flesh, The Merchant of Venice

To thine own self be true, Hamlet

In a pickle, The Tempest

Neither a borrower or a lender be, Hamlet

As good luck would have it, The Merry Wives of Windsor

Knock, knock, who’s there?, Macbeth

THEMES: Romeo and Juliet

THEMES: Othello

Cross the line if . . .

. . . you have ever been confused at why two groups of people hated each other.

. . . you have ever liked someone you weren’t supposed to like.

. . . you have had friends who fought with each other.

. . . you have gotten conflicting advice from au-thority figures.

. . . you have felt unsupported by the adults in your life.

. . . you have gotten into a situation where there seemed to be no way out.

Cross the line if . . .

. . . someone you know has been judged based on their race or how they looked.

. . . you have been judged based on your race or how you look.

. . . someone you trusted lied to you.

. . . if you thought bad things about someone based only on rumors.

. . . if you have been the victim of people spreading rumors or misunderstandings.

EDUCATION AND YOUTH PROGRAMS

Mission Statement:With the plays of William Shakespeare at our core, Seattle Shakespeare Company engages our audiences, our artists and our community in the universal human experience inherent in classic drama through the

vitality, immediacy and intimacy of live performance and dynamic outreach programs.

About UsSeattle Shakespeare Company is the Puget Sound region’s year-round, professional, classical theatre. The company’s growing success stems from a deep belief in the power and vibrancy of the time-tested words and ideas of Shakespeare and other classical playwrights along with a commitment to artistic excellence on stage. The results have been provocative performances that both challenge and delight audiences while fostering an appreciation for great stage works.

Our combined programs — which include indoor performances, free outdoor productions, regional tours, educator and youth programs — reach across barriers of income, geography, and education to bring classical theatre to Washington State.

EDUCATION PROGRAMS

EDUCATION STAFF CONTACTS

In-School Residencies, Matinees, and Workshops:•In-School Residencies bring active, customized curriculum

into schools across Washington State. Professional teaching artists plan with teachers to tailor each residency to fit the needs and objectives of the classroom. Seattle Shakespeare Company residencies inject vibrant, active exercises into lessons that unlock the text, themes, and actions of a Shakespeare play.

•Student Matinees bring over 3,000 students annually to our mainstage productions in the Seattle Center. Teachers are provided free study guides, and student groups are invited to stay after the show for a free Q&A session with the cast.

•Pre-show and post-show workshops can be booked to accompany mainstage matinees. These workshops include an introduction to the play itself, student activites, and insights into direction and design choices of our specific production.

Touring Productions:•Fresh and accessible 90-minute productions tour across

Washington State each Spring, reaching more than 14,000 students and adults. These nimble productions perform as easily in school gymnasiums as professional theatre facilities. Teachers are provided free study guides and students enjoy free post-show Q&A sessions with the cast.

•Schools have the opportuniy to book accompanying in-school residencies with touring productions, led by members of the touring cast and additional teaching artists.

Camps and Classes:•Our summer “Camp Bill” series in Seattle and Edmonds offers

young actors a variety of camps to choose from or combine. Camps range from a One-Week Introduction to a Three-Week Production Intensive, with many options in between.

•In our Fall and Spring after-school programs, young actors develop their skills and gain hands-on performance and production experience.

•Seattle Shakespeare Company occasionally offers adult classes and workshops to our community featuring guest artists who work on our stage.

In-School Residencies and CampsMichelle Burce, Education Director206-733-8228 ext. 251michelleb@seattleshakespeare.org

Touring ProductionsCasey Brown, Education Associate 206-733-8228 ext. 241caseyb@seattleshakespeare.org

Student MatineesLorri McGinnis, Box Office Manager206-733-8228 ext. 220studentmat@seattleshakespeare.org

GeneralTicket office: 206-733-8222Administrative offices: 206-733-8228Fax: 206-733-8202 Seattle Shakespeare CompanyPO Box 19595Seattle, WA 98109www.seattleshakespeare.org