orkbook 3athree fold shakespeare€¦ · created by shakespeare wa, murdoch university and...

Student’s Workbook 3A

three fold shakespeare

In partnership with:Presented by:

Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12

This educational resource was created for Shakespeare WA, as part of the 2012 ―Shakespeare in the Park‖ season of The Comedy of Errors

and The Tempest. This workbook provides various teaching materials to support senior secondary education programming.

This is a free resource which has been created with the sole purpose of providing accessible materials and ideas to increase (and encourage)

the value and importance of Shakespearean education. Material collated within this package has been sourced from online websites.

ALL information and worksheets copied have been acknowledged and duly referenced. At the time of going to print, the websites mentioned

were accessible and accurate. The material has been collated for practical usage within the classroom environment, not for financial gain.

We would sincerely appreciate any comments, feedback or suggestions for improving this document. Please contact us if you wish to use any of

the material located in the package <[email protected]>

This material was collated and published by Shakespeare WA LTD. 38 St Georges Terrace, Perth, Western Australia, 6000.

mailto:[email protected]


Acknowledgements

Artistic Director Paige Newmark

General Manager Katie Kent

Education Liaison Elisa Dumitru

Editors

Andrew Kocsis Tiffany Wendt

With additional assistance from

Jenny de Reuck

Cover Design

Karen Smart

Illustrations

Karen Smart Allison Bell

Thanks to


Introduction to Three Fold Shakespeare

When approaching this workbook, each ‗scene‘ provides a three ‗fold‘ (or three step) approach to completing the student objectives. In each ‗scene‘, three different descriptions are used to provide a bridge to the next ‗scene‘. The six individual ‗scenes‘ have been scaffolded towards a final performance piece. ‗Folds‘ focus predominantly upon the following concepts...

– Suggest websites or videos of interest to engage and focus the learning. – Provide improvisational tasks or theatre games to explore subject themes. – Encourage class discussion as a means to examine the text, characters or other areas of interest. – Create opportunities for investigation into the historical aspects of the text and themes – Allow the reading and comprehension of textual examples of the subject and its influences – Offer scope for creative writing and drawing as a means of communicating personal ideas

– Provide an arena for staging (in front of the class) a progression or final assessment piece.

The individual ‗Scenes‘ follow the Department of Education‘s Scope and Sequence descriptors. This enables the workbook to support the principles of an effective Drama program and the assessment requirements of each course. Please note there are direct references to indicate the source of the various student worksheets. Some worksheets and activities have been altered to fit the requirement of this package and to link more appropriately with the scope of the program.

The activities and worksheets included in this package have been chosen to support the differentiation of learning and the development of individual learning styles in order to make the program more accessible and inclusive. Warm up and vocal exercises have not been included in this package as these aspects are a reflection of the style and preference of the individual teacher. Please feel free to make use of the resources provided in a manner which best suits the requirements of your students and your personal teaching approach.

View

Play

Discuss

Research

Read

Write

Perform


View

Locate YouTube clips of the staging of Shakespeare’s The Tempest, then discuss the language shown...

Starring Pete Postlethwaite http://www.youtube.com/watch?v=WiLWIZgN8uo&feature=related

Michael Hordern and David Dixon

http://www.youtube.com/watch?v=QgSRBKnkU_c

Christopher Plummer

http://www.youtube.com/watch?v=38N1QcUarTE&feature=related

Play

In small groups, improvise a short piece based on the ‘title’ of a Shakespearean play (regardless of whether you have heard of the play or not) and try to sound ‘Shakespearean’ by using the provided Elizabethan terms...

Try acting out titles like ‘Measure for Measure’,

‘Much Ado about Nothing’, ‘All’s Well that Ends Well’

‘As You Like It’ etc.

See Pages 6 and 7

Obtained from http://www.readwritethink.org/ files/resources/lesson_images/lesson1031/terms.pdf

Write

Discuss and record you expectations of Shakespearean language...

See page 8

Obtained from

http://www.swshakespeare.org/phocadownload/Tempest_teacherguide.pdf

“What are thou doing?” “Not of much... What

are thou doing?”

“O’ Much of nothing!”

http://www.youtube.com/watch?v=WiLWIZgN8uo&feature=related

http://www.youtube.com/watch?v=QgSRBKnkU_c

http://www.youtube.com/watch?v=38N1QcUarTE&feature=related

http://www.readwritethink.org/%20files/resources/lesson_images/lesson1031/terms.pdf

http://www.readwritethink.org/%20files/resources/lesson_images/lesson1031/terms.pdf

http://www.swshakespeare.org/phocadownload/Tempest_teacherguide.pdf


Before seeing or reading the play The Tempest, rate the following statements. Compare your answers with a partner and discuss your reasons for how you rated each statement. After you have seen or finished reading the play, revisit the statements and see if your ratings have changed. Discuss with your partner why you did or did not change your ratings for each statement.

1 (Disagree Strongly) 2 (Disagree) 3 (Agree) 4 (Strongly Agree)

Rating (BEFORE seeing/reading The Tempest)

Statement

Rating (After seeing/reading The Tempest)

It is human nature to be good; most people want to do the right thing.

Revenge is sometimes the only way to resolve a problem.

Parents understand more about love and relationships than their children.

It is all right to manipulate people into doing what you want them to do.

It is a good idea to be open and honest with feelings of love.

Most people would take advantage of others if they could benefit from it and not get caught.

When you have nothing to lose, your true personality will reveal itself.

You will always regret hurting another person.

Nature has to be sacrificed in order for civilization to progress.

People should be forgiven no matter what they do.

All of life is an illusion; our “reality” is made up of what we think is “real.”

After seeing/reading the play: Did most of your ratings change or stay the same? Why do you think that is? What did you learn about yourself by completing the anticipation and reaction guide?


Write

After viewing a production, create a ‘front page’ newspaper review for an Elizabethan audience. Create a title, weather report, and anything else the reader might require...

Be creative with this project, but

still maintain the focus; which is to inform the reader about the Shakespearean play

See Page 10

Obtained from http://www.sirbacon.org/graphics/litdigest.gif

Play

Working with a script, workshop a small speech. Then, use the text from No fear Shakespeare (a modernisation of Shakespeare’s text) to make comparisons ...

Try presenting the script in two different ways...

Firstly... emotionless read aloud Secondly... Try adding emotion

See Page 11

Perform

Perform both texts, and discuss the differences with them. Discuss the value of traditional languages, and compare the differences and possibilities in the structure and form of both texts...

http://www.sirbacon.org/graphics/litdigest.gif


Elizabethan Newspaper Examples


Original text Prospero – Original Text My brother and thy uncle, called Antonio— I pray thee, mark me (that a brother should Be so perfidious!)—he whom next thyself Of all the world I loved and to him put The manage of my state, as at that time Through all the signories it was the first, And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel. Those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle

Prospero - No Fear Shakespeare My brother, your uncle Antonio—just listen to this (I still can‘t believe a brother could be so disloyal!)—My brother whom—aside from you—I loved more than anyone else in the world, I trusted to run my state, which at that time was the strongest in the land, and Prospero the number one duke, famous for my dignity and my education. Since I was so drawn to studying things like logic, grammar, geometry, and astronomy, I let my control of the government slide a bit, being too wrapped up in my occult books. Your disloyal uncle

What is different about the texts? Do your emotions change?


Read

Read Sonnet 19 out aloud. Discuss some of the possible themes in this text...

See Page 13

Obtained from http://www.enotes.com /sonnet-19/text-poem

Write

While still looking at Sonnet 19, try to identify some of the symbolism and metaphors located in the text ...

See Pages 14, 15 and 16

Based on http://www.curriculumsupport. education.nsw.gov.au/secondary/english/stages4_5/teachlearn/eng_esl/eng_esl.htm

Perform

Create a group performance of Sonnet 19. Be inventive and creative with how you communicate meaning from the text...

Try improvising to begin with, with one person reading the lines

and the rest of the group attempting to act it out


Sonnet 19

Devouring Time, blunt thou the lion’s paws,

And make the earth devour her own sweet brood;

Pluck the keen teeth from the fierce tiger’s jaws,

And burn the long-lived phoenix in her blood;

Make glad and sorry seasons as thou fleets,

And do whate’er thou wilt, swift-footed Time,

To the wide world and all her fading sweets;

But I forbid thee one most heinous crime:

O, carve not with thy hours my love’s fair brow,

Nor draw no lines there with thine antique pen;

Him in thy course untainted do allow

For beauty’s pattern to succeeding men.

Yet, do thy worst, old Time: despite thy wrong,

My love shall in my verse ever live young.


Symbolism

A symbol is a sign that holds special meaning for a group of people. Symbols can be physical objects, such as the white dove which symbolises peace. Colours and actions can also be symbolic or have special meaning attached to them. A composer of a text, such as a film, uses symbols carefully to suggest different ideas, atmosphere and feelings to the responder. For example, colour choices for costume, setting and lighting can suggest qualities such as evil, goodness, purity, love and anger.

Match up the colour and symbolic meaning

Colour Symbolic or common meaning in Western European culture

red

innocence, goodness, peace

blue

old times or the past, memories

black

love, passion, excitement, danger, hate

white

nature, hope, wisdom, jealousy

green

feminine, playful, romantic

sepia/black and white

calm, clean, cool

pink

evil, mystery, danger, fear


Animal Symbolism or meanings Symbolism or animal with the same meaning in your culture

lion

pure and gentle

dog

clever and crafty; not to be trusted

mouse

wise

deer

the king: brave and powerful

snake

foolish and a time-waster

rabbit‘s foot

faithful, brave, loyal and a good friend

fox

evil and not to be trusted

owl

lucky

monkey

quiet, unattractive; also can be brave or courageous


Symbolism in Sonnet 19

Possible symbolic meaning

Devouring time

Lion

Earth

Tiger

phoenix

Swift-footed time

Draw no lines


Read

In small groups, and working with the text provided, read through Act 2, Scene 2, and discuss how it could be performed...

See pages 18 and 19

Discuss

Investigate the changing aspects of the English language, and try to create some minor changes to the particular lines from your text...

See page 20

Obtained from http://ellen-wilson.suite101.com/ the-language-of-shakespeare-a107104

Play

Working with the lines provided, begin to add dramatic emphasis to Shakespeare’s language, thus strengthening the possible intent...

How could you successfully

perform these lines to clearly and creatively

communicate a definition

See pages 21 and 22

Obtained from http://www.bard.org/ images/eduimages/pdfs/TempestGuide.pdf

http://ellen-wilson.suite101.com/%20the-language-of-shakespeare-a107104

http://ellen-wilson.suite101.com/%20the-language-of-shakespeare-a107104

http://www.bard.org/%20images/eduimages/pdfs/TempestGuide.pdf

http://www.bard.org/%20images/eduimages/pdfs/TempestGuide.pdf


CALIBAN All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease! His spirits hear me And yet I needs must curse. But they'll nor pinch, Fright me with urchin--shows, pitch me i' the mire, Nor lead me, like a firebrand, in the dark Out of my way, unless he bid 'em; but For every trifle are they set upon me; Sometime like apes that mow and chatter at me And after bite me, then like hedgehogs which Lie tumbling in my barefoot way and mount Their pricks at my footfall; sometime am I All wound with adders who with cloven tongues Do hiss me into madness. Enter TRINCULO Lo, now, lo! Here comes a spirit of his, and to torment me For bringing wood in slowly. I'll fall flat; Perchance he will not mind me. TRINCULO Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i' the wind: yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish- like smell; a kind of not of the newest Poor- John. A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make a


man; any strange beast there makes a man: when they will not give a doit to relieve a lame beggar, they will lazy out ten to see a dead Indian. Legged like a man and his fins like arms! Warm o' my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt. Thunder Alas, the storm is come again! my best way is to creep under his gaberdine; there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. Enter STEPHANO, singing: a bottle in his hand STEPHANO I shall no more to sea, to sea, Here shall I die ashore-- This is a very scurvy tune to sing at a man's funeral: well, here's my comfort. Drinks Sings The master, the swabber, the boatswain and I, The gunner and his mate Loved Mall, Meg and Marian and Margery, But none of us cared for Kate; For she had a tongue with a tang, Would cry to a sailor, Go hang! She loved not the savour of tar nor of pitch, Yet a tailor might scratch her where'er she did itch: Then to sea, boys, and let her go hang! This is a scurvy tune too: but here's my comfort.


Elizabethan Pronunciation

Because of the difference in vowel sounds during the 16th century, the accents of Elizabethan England were radically different from the accents of modern British English speakers. There were also regional differences in dialect during this era. This is why many words made rhyming sense back in this time period, such as love and prove, which make no rhyming sense today.

The Difference in Syntax

Students of Shakespeare often have trouble understanding the sentence structure in the plays. Shakespeare quite frequently wrote sentences in inverted, or backwards, order:

Shakespeare: Break off thy song, and haste thee quick away. Measure for Measure Act (4.1.7)

Translation: Stop singing and leave quickly. Shakespeare: How like a fawning publican he looks. The Merchant of Venice

(1.3.38) Translation: He looks like an overly flattering tavern keeper. Shakespeare: The clock struck nine when I did send the nurse; In half an hour

she promised to return. Romeo and Juliet (2.5.1-2) Translation: I sent the nurse at nine o'clock; she promised to return in a half

an hour.

This object before verb structure is found in Germanic languages, and the inverted sentence structure reflects the English language's Germanic roots.

Create your own. Original

New


Shakespeare’s Words Since The Tempest was written, many words in English have changed their meaning, and some are no longer used. If you remember the slang you used a few years ago, it seems dated. Who now uses the word ―groovy‖? Shakespeare used the rich vocabulary of his day within his plays. When reading Shakespeare read the line in context of the scene. Try translating the lines into your own words, use today‘s vernacular. Yarely: briskly, nimby Good; speak to th‘ mariners; fall to‘t, yarely, or we run ourselves aground. — Master of a Ship (1.1.3–4) Warrant him for: stand securely that he will not drown I‘ll warrant him for drowning, though the ship were no stronger than a nutshell, and as leaky as an unstanch‘d wench. — Gonzalo (1.1.46–48) Wide-chopp’d: wide-jawed; i.e., big-mouthed The washing of ten tides: a reference to the manner of execution of pirates, who were hanged at the low-tide line and allowed to remain through several tides/This wide-chopp‘d rascal - would thou mighst lie drowning The washing of ten tides! — Antonio (1.1.57–58) Welkin: sky The sky it seems would pour down stinking pitch, But that the sea, mounting to th‘ welkin‘s cheek, Dashes the fire out. — Miranda (1.2.3–5) Perdition: loss Betid: befallen No, not so much perdition as an hair Betid to any creature in the vessel Which thou heardst cry, which thou saw‘st sink. — Prospero (1.2.30–32) No worse issued: born of no worse parentage Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan, and his only heir And princess no worse issued. — Prospero (1.2.56–59) Stripes: lashes with a whip Thou most lying slave, Whom stripes may move, not kindness! — Prospero (1.2.344–345)


Throes thee much: causes great pain The setting of thine eye and cheek proclaim A matter from thee; and a birth, indeed, Which throes thee much to yield. — Sebastian (2.1.229–231) Inch-meal: inch by inch All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall, and make him By inch-meal a disease! — Caliban (2.2.1–3) Chaps: mouth Open your chaps again. — Stephano (2.2.86) Withal: by it So glad of this as they I cannot be, Who are surpris‘d withal; but my rejoicing At nothing can be more. — Prospero (3.1.92–94) Kind keepers: guardian angels Give us kind keepers, heavens! — Alonso (3.3.20) Ecstasy: fit of madness I do beseech you (That are of suppler joints) follow them swiftly, And hinder them from what this ecstasy May now provoke them to. — Gonzalo (3.3.106–109) Country footing: dancing Make holiday; you rye-straw hats put on, And these fresh nymphs encounter every one In country footing. — Iris (4.1.136–138) Fipperey: old clothes shop O, ho, monster! we know what belongs to a fippery. — Trinculo (4.1.225–226) Mushrumps: mushrooms Whereof the ewe not bites; and you whose pastime Is to make midnight mushrumps, that rejoice To hear the solemn curfew: — Prospero (5.1.38–40)


Rehearse

Add shape and pace to your piece through this rehearsal process...

Discuss

Discuss the design of technologies for your piece. Focus on the importance of such elements as a means to enhance the overall mood and intent...

As this is a ‘traditional’ focused performance, how might you go

about staying ‘accurate’ to Shakespeare’s work.

Write

Design the technologies for your performance. Discuss your intended mood, and how this will be achieved...

As mood is important, you must be very clear

of your intent in this planning stage

See page 24


Designing technologies Discuss the technologies in your scene, and how it will add to the overall effect

Technology (e.g. single spot light)

Created mood (e.g. loneliness)

How? (e.g. controls the actors performance space)

Lighting

Music

Costume

Set

Backdrop

Props


Play

Lead the warm-up with an activity to create focus and develop character. Design a quick yet effective approach to achieving your developed persona...

Perform

Perform your piece from The Tempest. Always maintain a consistent focus with your role, which should be a complex and layered character...

Be thoughtful about how the mood of your

piece is created and maintained throughout

the performance

See page 26

Write

Develop a final character reflection on your opinion of each characters position. How would they be perceived within their own society, or how would they be perceived in a modern day setting...

Use direct quotes from your piece as

evidence to support your opinions

See page 27


Performance reflection Discuss and comment on your process Where is your scene set? Why?

How have you recreated this environment?

What is the mood? How is this communicated?

How have you employed technologies?

What aspects of the rehearsal process worked?

What aspects of the rehearsal process required focus?

What steps are you employing to improve these issues?


Character Reflection In The Tempest, there are several characters whose actions and personalities affect the plot

In the table below, three characters from The Tempest are listed. Find direct quotes from the play that tell us about these characters and then write how they affected the action, plot, or characters in The Tempest.

STEPHANO

TRINCULO

CALIBAN

Quotes from the play:



Influence on play:

Influence on play:

Influence on play:


Images

The Bridge Project‘s The Tempest http://www.timeoutsingapore.com/performance/theatre/the-bridge-project-the-tempest-by-william-shakespeare Renaissance Theatre‘s The Tempest http://huntsville.about.com/library/bltempest.htm Georgia Shakespeare's The Tempest http://insathope.blogspot.com/2011/06/georgia-shakespeares-tempest.html The Crimson Eye http://thecrimsoneye.glogster.com/sonnet-19/ Poems and Prose‘s Sonnet 19 http://poemsandprose.blog.co.uk/2009/09/29/do-thy-worst-old-time-7059560/ Tygres Heart Shakespeare Company's The Tempest http://www.artinfo.com/news/story/38414/was-shakespeares-the-tempest-a-musical-new-evidence-says-perchance/ Jonesborough Repertory Theatre‘s The Tempest http://www.jonesboroughtheatre.com/shakespeare-the-tempest.htm Jonesborough Repertory Theatre‘s The Tempest http://www.jonesboroughtheatre.com/shakespeare-the-tempest.htm South Africa's Baxter Theatre‘s The Tempest http://www.guardian.co.uk/stage/2009/mar/01/theatre-tempest-rsc-baxter-shakespeare Target Margin Theater‘s The Tempest http://calitreview.com/16648 Arden Shakespeare Gild's The Tempest http://stagepartners.org/2011/06/arden-shakespeare-gild%E2%80%99s-the-tempest-the-stuff-that-dreams-are-made-of/

http://www.timeoutsingapore.com/performance/theatre/the-bridge-project-the-tempest-by-william-shakespeare

http://www.timeoutsingapore.com/performance/theatre/the-bridge-project-the-tempest-by-william-shakespeare

http://huntsville.about.com/library/bltempest.htm

http://insathope.blogspot.com/2011/06/georgia-shakespeares-tempest.html

http://thecrimsoneye.glogster.com/sonnet-19/

http://poemsandprose.blog.co.uk/2009/09/29/do-thy-worst-old-time-7059560/

http://www.artinfo.com/news/story/38414/was-shakespeares-the-tempest-a-musical-new-evidence-says-perchance/

http://www.artinfo.com/news/story/38414/was-shakespeares-the-tempest-a-musical-new-evidence-says-perchance/

http://www.jonesboroughtheatre.com/shakespeare-the-tempest.htm

http://www.jonesboroughtheatre.com/shakespeare-the-tempest.htm

http://www.guardian.co.uk/stage/2009/mar/01/theatre-tempest-rsc-baxter-shakespeare

http://www.guardian.co.uk/stage/2009/mar/01/theatre-tempest-rsc-baxter-shakespeare

http://calitreview.com/16648

http://stagepartners.org/2011/06/arden-shakespeare-gild%E2%80%99s-the-tempest-the-stuff-that-dreams-are-made-of/

http://stagepartners.org/2011/06/arden-shakespeare-gild%E2%80%99s-the-tempest-the-stuff-that-dreams-are-made-of/

orkbook 3athree fold shakespeare€¦ · created by shakespeare wa, murdoch university and...

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