power, individual rights, and leadership in julius...

Power, Individual Rights, and Leadership in Julius Caesar

IntroductionThis unit on Power, Individual Rights, and Leadership, which focuses on the play Julius

Caesar by William Shakespeare, would be part of a year-long English 11 course. The central question for this course is: What is our place in society and the world at large, and how do we know this? This unit fits into the larger year-long coursed because it brings up questions of power, leadership, individual rights, and government, all of which address our place in society and the world at large.

The units that would come before this one would be a “Fate versus Free Will” unit that would ask students to consider a variety of texts which address a larger question of “Do I have a destiny or do I make my choices?” In this unit we would explore texts like The Cat in the Hat, The Odyssey, and Mark Twain’s “The Man Who Corrupted Hadleyburg.” This unit would get students thinking about their role in the universe but also whether or not they have responsibility for the course their lives take.

Then, the unit after this Julius Caesar unit would be on “Human Rights,” addressing the larger question: “What rights do all human beings deserve and what happens when others take away those rights?” The texts for this unit would include the United Nations Universal Declaration of Human Rights, Martin Luther King’s “I Have a Dream” speech, and Anne Frank’s Diary of a Young Girl, among others.

My students would be 11th graders in a regular English course. I would have a class consisting of 14 boys and 17 girls, 5 of whom would be ELL students. Demographically, I’d have 15 white students, 6 African-American students, 5 Latino students, and 5 Asian students.

Full Texts:o Julius Caesar by William Shakespeare

Articles/Excerpts of Full Texts:o “Julius Caesar Literary Map” by Mary Ellen Snodgrass in Literary Treks:

Characters on the Moveo “Act 2” of Shakespeare Insideo The Shakespeare Book of Lists by Michael LoMonico

Speeches:o Adolf Hitler’s Speech: Germany’s Declaration of War against the U.S. 1941o Emmeline Pankhurst’s Speech: “I am here as a soldier” Britain, 1913o Mohandas K. Gandhi’s Speech: “I have faith in the righteousness of our cause”

1930o Martin Luther King, Jr’s Speech: “I’ve seen the promised land” 1968o Elie Wiesel’s Speech: “The perils of indifference” 1999o Barack Obama’s Speech: “Yes we can” Illinois 2008o James P. Canon’s “Trotsky Obituary”

Poetry:o “Ask Me” by William Staffordo “I Did it My Way” by Frank Sinatrao “Ozymandias” by Percy Shelleyo “The Road Not Taken” by Robert Frost

Films:o Brave New Voices HBO TV series

o Julius Caesar (1953) directed by Joseph Mankiewicz featuring Marlon Brandoo Julius Caesar (1970) directed by David Bradley featuring Charles Heston

Graphic Novels:o Picture This! Shakespeare: Julius Caesar by Christina Lacie, Michele Earle-

Bridges, and William Shakespeareo Julius Caesar Graphic Shakespeare Set 2 by Vincent Goodwin, Shakespeare, and

Fred Perryo Julius Caesar Graphic Classics by Michael Ford, Shakespeare, and Li Sidong

Paintings:o Vincent Camuccini’s painting: “Death of Caesar”o Jean-Leon Gerome’s painting: “The Death of Caesar”

Internet Interactives:o Google Earth Ancient Rome 3D Tour

I will be teaching students and assessing them through the Colorado Standards for Reading, Writing, and Communication, and the standards designed specifically for Cherry Creek School District:

“11TH and 12TH GRADESSTANDARD 1: Students read and understand a variety of materials.STANDARD 2: Students write and speak for a variety of purposes and audiences.STANDARD 3: Students write and speak using conventional grammar, usage, sentence structure, punctuation, capitalization, and spelling.STANDARD 4: Students apply thinking skills to their reading, writing, speaking, listening, and viewing.STANDARD 5: Students read to locate, select, and make use of relevant information from a variety of media, reference, and technological sources.STANDARD 6: Students read and recognize literature as a record of human experience.”

Cover picture: Camuccini, Vincenzo. Death of Caesar. The Pavellas Perspective. Web. 11 Apr. 2011. <http://pavellas.com/category/leadership-management/>.

Standards from: Cherry Creek School District Teaching and Learning Standards for High School Literacy. http://www.ccsd.k12.co.us/documents/provider/1985RWCurricHS.pdf

http://www.ccsd.k12.co.us/documents/provider/1985RWCurricHS.pdf

Title of Unit Shakespeare – Julius Caesar Grade Level 11

Curriculum Area English Time Frame 8 weeks

Developed By Adrienne Razavi

Identify Desired Results (Stage 1)

Content Standards

1. Oral Expression and Listening 1. Verbal and nonverbal cues impact the intent of communication a. Give informal talks using an appropriate level of formality of verbal language and nonverbal interaction with audienceb. Deliver formal oral presentations for intended purpose and audience, using effective verbal and nonverbal communicationc. Deliver oral talks with clear enunciation, vocabulary, and appropriate organization; nonverbal gestures; and toned. Analyze audience responses to evaluate how effectively the talk or presentation met the purpose2. Validity of a message is determined by its accuracy and relevancea. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. (CCSS: SL.11-12.1)i. Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas. (CCSS: SL.11-12.1a)ii. Critique the accuracy, relevance, and organization of evidence of a presentationiii. Evaluate effectiveness of oral delivery techniquesiv. Listen critically to evaluate the overall effectiveness of the presentation2. Reading for All Purposes1. Complex literary texts require critical reading approaches to effectively interpret and evaluate meaninga. Use Key Ideas and Details to:i. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. (CCSS: RL.11-12.1)ii. Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. (CCSS: RL.11-12.2)iii. Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). (CCSS: RL.11-12.3)b. Use Craft and Structure to:i. Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.) (CCSS: RL.11-12.4)ii. Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). (CCSS: RL.11-12.6)iii. Explain the influence of historical context on the form, style, and point of view of a written workc. Use Integration of Knowledge and Ideas to:i. Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text. (Include at least one play by Shakespeare and one play by an American dramatist.) (CCSS: RL.11-12.7)

3. Knowledge of language, including syntax and grammar, influence the understanding of literary, persuasive, andinformational textsa. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. (CCSS: L.11-12.3)i. Vary syntax for effect, consulting references (e.g., Tufte’s Artful Sentences) for guidance as needed; apply an understanding of syntax to the study of complex texts when reading. (CCSS: L.11-12.3a)b. Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 11–12 reading and content, choosing flexibly from a range of strategies. (CCSS: L.11-12.4)i. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase. (CCSS: L.11-12.4a)ii. Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., conceive, conception, conceivable). (CCSS: L.11-12.4b)iii. Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, its etymology, or its standard usage. (CCSS: L.11-12.4c)iv. Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary). (CCSS: L.11- 12.4d)c. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. (CCSS: L.11-12.5)i. Interpret figures of speech (e.g., hyperbole, paradox) in context and analyze their role in the text. (CCSS: L.11-12.5a)ii. Analyze nuances in the meaning of words with similar denotations. (CCSS: L.11-12.5b)3. Writing and Composition1. Stylistic and thematic elements of literary or narrative texts can be refined to engage orentertain an audiencea. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. (CCSS: W.11-12.3)i. Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events. (CCSS: W.11-12.3a)ii. Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters. (CCSS: W.11-12.3b)iii. Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution). (CCSS: W.11- 12.3c)iv. Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters. (CCSS: W.11-12.3d)v. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative. (CCSS: W.11-12.3e)vi. Use a range of strategies to evaluate whether the writing is presented in a clear and engaging manner (such as reading the text from the perspective of the intended audience, seeking feedback from a reviewer)vii. Evaluate and revise text to eliminate unnecessary details, ineffective stylistic devices, and vague or confusing language

Understandings Essential Questions

Overarching Understanding Overarching

It is difficult to make decisions that affect many people; it takes time and thought

Individuals always have to make choices

How does power affect us when we hold it and when we don’t?

When should an individual take a stand against/for what s/he believes to be

Power has a large affect on us and can come from many situations and many people

Intent and action are not the same Every action, regardless of intent, has a consequence

What are the responsibilities of the individual with regard to government?

poor governance? How do our individual

actions affect others? Does intent excuse action

and alleviate consequences?

What makes a good leader?

What are ways we can make changes in the state besides violence?

Related Misconceptions

Absolute power may not always corrupt absolutely There is not a perfect government; even a democracy is

imperfect Intent does not excuse action

Knowledge

Students will know…

Skills

Students will be able to…

What power is, where it comes from, who has it and in which circumstances

When it is appropriate to wield power and when it is not Qualities that make a good leader and how to evaluate leaders in

their lives now and in the future Their actions, regardless of intent, have consequences Different ways to alter current power structures

Perform parts of a Shakespearean play with clear enunciation, vocabulary, gestures, tone, facial expressions and body movements

Evaluate their peers and themselves on their discussions, performances, and written work

Draw inferences from the text and cite textual evidence to make claims on themes and central ideas within the play

Use syntax to determine unknown vocabulary within the text and explore these terms in reference materials for pronunciation, meaning, etymology and usage

Create fictional, persuasive and performance written work that demonstrates understanding of Shakespearean language and themes

Assessment Evidence (Stage 2)

Performance Task Description

GoalIn a small group, students will extrapolate characteristics of each character, use Shakespearean language, and the plot of the structure/plot of the play to create an alternate ending, beginning either with Brutus’s decision to murder Caesar or a point in the play of their choice

Role Playwrights/actor(ess)

Audience Classmates and teacher acting as a performance audience

Situation Time limit, class time to work, prop accessibility, performance during class period or after school

Product/Performance

A summary of the plot to the point of departure, a written version of the new ending, an active performance of said script, and a written explanation of the cause/effect changes made to the ending based on qualities of the characters

StandardsQuality of language, period-specific vocabulary and syntax, effective performance skills, clear explanation of the alternate ending. All written work will use correct spelling, grammar and punctuation

Other Evidence

Potential options for summative assessment in addition to the one presented above. All options will come with a short essay requirement on one chosen topic.

Modern rendition of an act A collection of sonnets that explore two themes of the play (at least five) Playlist of songs that explain the play with a written explanation A short movie version of the play Children’s book of the story of Julius Caesar A short story that incorporates one of the themes from the play and at least two symbols from the play An ad campaign for Brutus, Cassius, or Antony to be the next leader of Rome, including a political advisement (or interview) on

how to be an effective leader (Folger lesson 23) A photo essay of one character’s emotional and mental changes throughout the play, demonstrated by students’ facial expressions,

with lines from the play and one sentence description of what is happening as captionsLearning Plan (Stage 3)

Where are your students headed? Where have they been? How will you make sure the students know where they are going?

Students will get a tentative schedule of the reading and assignments due for the unit so they know what all they will be accomplishing. Students will also receive handouts and assignment sheets with objectives that make clear what I am expecting them to learn knowledge-wise and skill-wise, and what I will be testing them on. I will use various formative assessments to test students’ understanding on a daily and weekly basis, and then a multi-faceted summative assessment to test their knowledge and skills at the end of the unit.

How will you hook students at the beginning of the unit?

At the beginning of the unit I might come in dressed in Elizabethan clothing and possibly even bring in clothing for students to dress up with over their original clothes. I would also use the lesson on Shakespearean insults and compliments.

What events will help students experience and explore the big idea and questions in the unit? How will you equip them with needed skills and knowledge?

Through various kinesthetic and performing activities, through writing prompts, and by providing a variety of supplemental texts that relate to the questions.

How will you cause students to reflect and rethink? How will you guide them in rehearsing, revising, and refining their work?

Students will have opportunities to edit writing turned in for credit, and to workshop their writing with their peers and me. Students will experiment with acting out the plays and will rehearse different ways of doing so.

How will you help students to exhibit and self-evaluate their growing skills, knowledge, and

Through various forms of formative assessments.

understanding throughout the unit?

How will you tailor and otherwise personalize the learning plan to optimize the engagement and effectiveness of ALL students, without compromising the goals of the unit?

By using different activities throughout the unit that focus specifically on learning styles, and through the use of learning stations specialized for learning styles.

How will you organize and sequence the learning activities to optimize the engagement and achievement of ALL students?

I will sequence my activities to match the sequence of the text, incorporating variety to maintain high interest levels and consistently relating the text to students’ lives.

RationaleThe plays of William Shakespeare have been performed for over four hundred years in

countries around the world. The themes within them have escaped the boundaries of written and oral literature and pervaded Western thought and culture. By teaching Julius Caesar, students will notice and understand many references and allusions made to its lines, events, characters, and metaphors; will tackle a text of considerable literary significance and difficulty, which is a triumph in itself; and will be able to better think critically about and perhaps answer for themselves larger questions about society, the individual, government, power, and leadership which Julius Caesar raises and which we will examine at length in our unit.

You can find, upon quick internet search, at least three bands, two movies, and one TV show that reference the phrase “The Ides of March.” Novels, comedy sketches, movies, and other mediums make many references to the line “The evil that men do…” from Antony’s speech. Hundreds of published articles from around the world reference these and other pieces of Julius Caesar, all of which would be missed if students who read these texts had never read Julius Caesar. What harm does it do to miss a reference? In this age of intertextuality, being unable to draw upon prior knowledge or make inferences to understand why another text might be using lines like “Beware the Ides of March,” or “E tu Brute?” or “The evil that men do,” among many others would be a serious hindrance to students’ abilities to communicate in the real world, make connections about the world, or contemplate the social issues raised in the play. As Marjorie Garber, Professor of English and American Literature and Language at Harvard University, writes in Shakespeare and Modern Culture, “Shakespeare makes modern culture and modern culture makes Shakespeare.”

Shakespeare is a canonical author, and Julius Caesar is one of his most literarily and conceptually significant pieces. Because of his rich and difficult language, complex themes, layers of plots and subplots, and dynamic characters, Shakespeare’s texts are immortal. Because of all these things, also, Shakespeare is one of the most challenging texts to understand literally, let alone thematically or performatively. With hard work and excellent guidance, though, Shakespeare can be mastered on all these levels, and with that comes first and foremost the pride of accomplishment, a pride that Jean Trounstine discusses in Shakespeare Behind Bars: “I believed that if my students tackled Shakespeare, a writer they thought was beyond reach, they would also be learning to take on what was most difficult in life” (1). On their own, few students can read a Shakespeare text and grasp not only a basic understanding of the events and characters of the play, but also how these events and characters reveal deeper questions about individuals and society, how and why Shakespeare’s complex language unfolds these events and characters, and how to move and speak when performing, all of which are required to fully comprehend Shakespeare. With guided instruction and discussion, students can accomplish all this, and perhaps more, and will not likely get another chance to do this kind of “unpacking” of the text once they’ve left school.

Because of the timelessness of the themes in Julius Caesar, students who study this play can ask the same questions of their own, modern society that are raised of Ancient Rome. Julius Caesar’s themes assist in explaining ancient civilizations and empires, and contribute to understanding and predicting the future of our own empires, of our own cities, neighborhoods, and schools. What better way to draw parallels between the specific acts that led to the downfall of the Roman Empire and what could bring about the downfall of the United States? What better way to empathize with the powerful man that was Julius Caesar, that was Brutus, that was

Cassius, and that was Antony? The study and performance of this play enables students to physically place themselves in these men’s shoes – to act as they acted, to live as they lived – and so requires them to consider the questions of power, trust, and individual right that every conscientious citizen needs to ask themselves, and that I will ask them during our unit.

How does power affect us when we hold it and when we don’t? What are the responsibilities of the individual with regard to government? When should an individual take a stand against/for what s/he believes to be poor

governance? How do our individual actions affect others? Does intent excuse action and alleviate consequences? What makes a good leader? What are ways we can make changes in the state besides violence?

Many characters in Julius Caesar wrestle with some or all of these questions as the events of the “Ides of March” and thereafter transpire. Through reading this play, students will be able to comprehend the actions and perspectives of different characters of the play. By understanding these fictionalized great men, students will be better equipped to answer the above questions for themselves, as they grow into adults that are both individuals and members of a governed society.

For some, Shakespeare is an example of white supremacy in school: the quintessential Dead White Man who wrote and lived long ago, and whose works relate in no real way to the modern world, or to modern students. Many of the hierarchical notions prevalent in Elizabethan England are considered social faux pas today, if not immoral. Shakespeare, being a product of those times, incorporates racism, classism, and other stereotypes of which we try hard to rid our society. However, teaching Shakespeare does not endorse these ideas; in fact, when good teachers bring Shakespeare into a classroom, they take time to continually ask students to critique the texts, to analyze them, and to find points of agreement or disagreement. We teach students to look at Brutus, Cassius, Antony and Caesar not as members of an elite group to be idolized, but, for instance, as those who hold power, who contemplate power, who abuse power, and who use power effectively. We ask students to make comparisons between these men’s characteristics and their own, those of their friends, and authoritative figures in their lives today; these are all connections any student can make with whomever is in their lives.

In another way, too, Shakespeare is an equalizer. His language is difficult, but it is a difficulty we all struggle with. No one is born ready to understand Shakespeare, and no matter how much training one receives, no one is a master of Shakespeare. As Mary Ellen Dakin writes in Reading Shakespeare with Young Adults, “He is new and strange to us all” (xv). In fact, this text can be argued to place the advantage with struggling readers, English Language Learner’s, and those labeled “at-risk”: Shakespeare forces every student to grapple with the basic meaning of words, the confusing syntax and grammar changes of his lines, and the structure of his writing; these are difficulties ELL’s and other struggling readers must face with any text. Shakespeare forces a humbling upon advanced readers, and an appreciation for what struggling readers must feel. His characters are crafted so dynamically that they often can’t be defined or labeled as “protagonist,” “antagonist,” “tragic hero,” or “villain,” and that is something students who are labeled in school can relate to (Dakin).

Shakespeare is renowned for his writing. He was able to use words in ways they had never been used before, to convey all new meanings, all new nuances to the English language. He redesigned grammar, twisting it to fit his purposes. His plays are essentially all text with few director’s comments, leaving students all the room they need to re-master his lines and add elements of their own in performance, including changes in tone, voice, body movements and placements, and gestures. Shakespeare’s plays were never meant to be read; they were meant to be performed, seen, and heard. Students who read this play will not merely be scrolling through history – they will be living through and learning from it. From this re-living, students will recognize and understand the many cultural references made from this play, will have accomplished an incredible academic philosophical task, and will be better able to consider answers to and draw more questions from the questions discussed in this unit.

Unit Calendar

Week One Day 1 Day 2 Day 3 Day 4 Day 5Activity Shakespearean

ConversationsAnticipating Caesar – Our Beliefs

Experiencing Ancient Rome and Play-Making

Performance in I.ii. and Weird Words

Performance: Caesar, Cassius, and Brutus in I.ii.

Materials Lists of Shakespearean words (3), hand out books and Character Maps

Anticipation Guide and Student Interest Sheet

Internet Access for Google Earth Ancient Rome 3D Tour, Stage Directions handout, prop-making materials

Character Chart, Weird Words handout, Weird Words list

Cue Cards, Brave New Voices

Discussion Shakespearean Language

Themes from the Anticipation Guide

Google Earth’s version of Rome

Weird Words – why use them?

Tone

Homework I.i.all I.ii.1-28 I.ii.78-131 I.ii.132-189 Write an introduction to persuasive essay, I.ii.190-290

Week Two Day 6 Day 7 Day 8 Day 9 Day 10Activity “Theater

Companies” and Character Assessment

Inflection in Performance I.ii. and I.iii.

Performance Scenelets

Reading Switch

Persuasion and Rhetoric: Brutus and Sword-fighting

Materials Assess Your Character handout, Figuring Out Characters handout, “Theater Companies” handout, Tips for Tackling Translation handout

Tone handout, index cards of emotion, index cards of Shakespearean lines

Scenelet Directions handout, Scenelet Evaluation handout, Props

Different copies of Julius Caesar graphic novels, Comparing Texts handout

Swords and Daggers, Brutus’ Soliloquy, Rhetorical Devices handout, highlighters, Sword –fighting Technique handout, Example of Rebus

Discussion Leaders Stress and Tone v. meaning

Scenelet Performances

Graphic Novels v. original text, Peer Review ¶’s

N/A

Homework Finish classwork, I.ii.finish and I.iii.1-100

I.iii.101-165 II.i.1-99 II.i.100-227 Finish Rebus, Write 1 body paragraph for practice paper, II.i.finish and II.ii.all

Week Three Day 11 Day 12 Day 13 Day 14 Day 15Activity Women in

Julius CaesarThe Secret Life of Minor Characters III.i

Motifs Stage Direction Variations

Picture Remake

Materials 2 movie clips of Julius Caesar

Movie version of Julius Caesar, Daggers

Poster, markers

Multiple versions of Julius Caesar texts, props, Analyzing the Stage handout

3 Paintings of Caesar’s death

Discussion Women in the movie v. text

Minor Characters

Share posters Differences in Staging v. meaning

Painting v. play

Homework II.iii.all and II.iv.all

Write a monologue by one of the minor assassins in modern language on why he participated in the murder, III.i.1-26

III.i.27-146 Rewrite a 30-40 line passage with explicit stage directions and a short ¶ on your decisions, III.i.147-253

Write another body ¶ for persuasive paper, III.i. 254-297

Week Four Day 16 Day 17 Day 18 Day 19 Day 20Activity Assassination

and Bloody Scene

Obituaries and Persuasion

Soliloquies May the Best Speech Win – Day 1

May the Best Speech Win – Day 2

Materials Fake blood Obituary handout and Example

N/A Sections of Speeches, Editing handouts, movie version of Julius Caesar

Presentation Evaluations, Final Assessment handouts, Brave New Voices

Discussion Blood in performance

Language of Obituaries

Meter, Rhythm, and Volume

Tricolons N/A

Homework III.ii.1-70 Work on Obituaries and Reread for Purpose

Work on Obituaries, III.ii.71-159

Prepare Characters Speeches, Reread for Purpose

Write the final body ¶ for your practice persuasive paper, work on Final Project and Paper (FP), III.ii.finish and III.iii.all

Week Five Day 21 Day 22 Day 23 Day 24 Day 25Activity Comparing

Speeches: Rhetoric

Mob Chaos and Storyboarding

Analyzing Character

Theater Company Speech Presentations

Storyboarding the Ghost and Sword-fighting

Materials 4-5 different real speeches, “Act 2” from Shakespeare Inside

Theater Company Activity 3 handout, Reading Film handout, PPT on film shots, poster, markers, Examples of Storyboards

Body Biography handout, Socratic Seminar handouts, poster and markers

Peer evaluations, Presentation rubrics

Posters, markers, daggers

Discussion Rhetoric in real speeches

N/A “Act 2” N/A N/A

Homework Prepare Theater Company Speech, Read a part of “Act 2”, FP, and Reread for Purpose

Prepare Theater Company speech, “Act 2”, FP, IV.i.all and IV.ii.all

Prepare Theater Company speech, prepare for Socratic Seminar, FP, IV.iii.1-140

Prepare for Socratic Seminar, FP, IV.iii.141-239

Prepare for Socratic Seminar, finish storyboards, Write a conclusion for your practice persuasive paper, FP, IV.iii.240-305

Week Six Day 26 Day 27 Day 28 Day 29 Day 30Activity Storyboards

and Staging War

Changes in the State – Current Events and Socratic Seminar

Poem Comparisons

Picture Montage

Revisiting the Anticipation Guide

Materials daggers Changes in the State handout, Socratic Seminar evaluations

Comparing Poems handout, “Ozymandias” handout, “Ask Me” handout, “I Did it My Way” handout, “The Road Not Taken” handout

Props, camera Exper Group handouts, Brave New Voices

Discussion Sharing storyboards, How to stage the war

Socratic Seminar, Changes in the State

Poem choices Making sense of pictures as text

Anticipation guide statements

Homework Find an article about a change in government, current or within the last yr, prepare for Socratic Seminar, FP, V.i.1-65

FP, V.i.finish FP, V.ii.all and V.iii.all

FP, V.iv.all and V.v.all

FP, prepare a revised practice persuasive paper for teacher comments DUE DAY 31

Week Seven Day 31 Day 32 Day 33 Day 34 Day 35Activity Film Day 1 Film Day 2 Film Day 3 Final

PresentationsFinal Presentations

Materials Film version of Julius Caesar

Film version of Julius Caesar

Film version of Julius Caesar

N/A N/A

Discussion N/A N/A Movie v. text N/A N/AHomework FP FP FP FP N/A

LessonsEach week there will be two focuses. One will be on an aspect of performance. This

means that though there will be a variety of activities that week that will cover multiple dimensions of Shakespeare, the performances will focus on that particular aspect. The second focus will be on one of the essential questions for the unit. This means that while we’ll be focusing on numerous parts of the play and asking many questions, during each week we will spend serious time considering our question and making connections between what’s happening in the text, and in our classroom around the text, to the question.

Each day, except for the final three days of the unit, students will be asked to spend the first five minutes of class journaling in their notebooks on a chosen quote of the day, which will always be directly applicable to the theme at hand for that day.

The main text for this unit will be Julius Caesar, the play by William Shakespeare. Students will be assigned homework every night, and all nights will include reading homework. For students to learn from this play effectively, I will have them use Sparknotes’ No Fear Shakespeare texts as a supplement to their understanding of basic plot movements, which they will be asked to read at the beginning of every new scene. In addition, the homework load is divided into three parts: Advanced Readers (ADV), On Target Readers (OT), and English Language Learners/Struggling Readers (ELL/SR). The Advanced students will be asked to read the whole play, in its original form and language, although they will be welcomed to read the No Fear Shakespeare and the lower-tier readings as well, including the graphic novel and the literary map. The On Target students will be asked to read the No Fear Shakespeare and key line sections from the play in its original language, between thirty and one hundred lines, and they will be invited to read the entire section of the play assigned to the Advanced readers if they choose to, and/or they may use as a supplement the literary map (more on this next). The English Language Learners and Struggling Readers will be given the text Picture This! Shakespeare: Julius Caesar or another graphic novel edition of the play, supplemented occasionally by the reading of crucial original lines. In addition, these students will receive a copy of the literary map of Julius Caesar from the book Literary Treks by Mary Ellen Snodgrass. In this way, students at all reading levels will be able to follow the events and characters of the play to the best of their abilities, and can concentrate especially on analyzing the themes and characters of the play, instead of digging through the difficult text.

I ask students to read through the events of the entire scene as part of the homework on the first night lines from that scene are assigned so that students will begin to ask questions that relate to the events, begin to consider the application of the essential questions, have a basis to journal on the quotes of the day, and participate knowledgably in class activities and discussions throughout the entire week, not just once we’ve finished focusing on the lines of the scene as a whole. When I ask students to “Reread for purpose” on a few days, what I’m asking them to do is to reread the previous night’s assigned lines and mark the text using the punctuation mark system on sticky notes, which will be graded for completion. To do this, students will reread the lines, and, while reading, mark one place with a question mark to signify that they have a question about that part (which they will jot down on the sticky note after finishing the text or while reading), mark one place with a comma to signify that this part made them pause for any reason (which they will jot down), and mark one place with an exclamation point to signify that they had a large reaction of some sort to that part (which they will jot down).

Though it’s mentioned in the Introduction, I’d like to say a word about the incorporation of the DVD Brave New Voices. This is a TV series on HBO that chronicles the journey different high schoolers on city teams make to perform original slam poetry at the annual Brave New Voices National Slam Poetry Championship. The show focuses on the teens lives and struggles, both in the real world and in creating and performing poetry; I chose to include this DVD on the last half of every other Friday because it counts as a reward for a good week for my students, because it is TV (and that is something they love), because it features teens in the real world, because it demonstrates the importance of literature and poetry in all our lives, especially teens, and because slam poetry is about performance (tone, voice, staging, gestures and movement, and rhythm) as much as it is about the words, which are well-chosen and significant. Watching this series leaves viewers impressed with the difficulty of these teens’ stellar performances, their creativity, their passion, their intelligence, and their struggle, and will surely interest every one of my students.

Many of my lessons incorporate the 21st century skill “Collaboration,” defined here from the Colorado Department of Education Academic Standards for Reading, Writing, and Communicating: “Reading, writing, and communicating must encompass collaboration skills. Students should be able to collaborate with each other in multiple settings: peer groups, one-on-one, in front of an audience, in large and small group settings, and with people of other ethnicities. Students should be able to participate in a peer review, foster a safe environment for discourse, mediate opposing perspectives, contribute ideas, speak with a purpose, understand and apply knowledge of culture, and seek others’ ideas.” Because of the nature of performance, many of my lessons involve student’s working in groups: for their “Theater Companies,” in small performances, in small groups for a variety of activities, one-on-one on the “Reading Switch” day, and when peer editing their practice papers.

Week One (Days 1-5)

Performance focus: Vocabulary and LanguageEssential question: How do our individual actions affect others?

Day One

Name of Activity Shakespearean Conversations Standards 2. Reading: 3. Knowledge of language, including syntax and grammar,

influence the understanding of literary, persuasive, and informational texts a. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. i. Vary syntax for effect, consulting references for guidance as needed; apply an understanding of syntax to the study of complex texts when reading.

Addressing Standards

Students will be reading the lists, using different volumes and tones, and will construct Shakespearean sentences to work with syntax.

Materials Overheads of Shakespeare’s lists (2) Student copies of Shakespearean insults and compliments

Procedures Quote of the Day: “Remember upon the conduct of each depends the fate of all.” ~Alexander the Great

o How does this relate to Brutus’s decision? 3 min - Put on overhead Shakespeare’s words for sex and orgasm and

then male and female genitalia, explain that Shakespeare was rude and used sexual jokes and innuendos all the time, especially in the comedies. Make sure to take down the overheads so students will focus on the next part of the activity

2 min - Hand out copies of the insults and compliments and ask students to draw lines between the three columns on each sheet, three times, to create three compliments and three insults

3 min - Have students assemble in two lines, standing up, facing each other

10 min - Ask students to repeat the phrase “There ain’t no flies on us. No, there ain’t no flies on us. There might be flies on some of you guys, but there ain’t no flies on us.”

1st time, ask students to “just say it” 2nd time, ask students to shout it like they mean it 3rd time, ask students in one line to shout it directly at the person across

from them 4th time, ask students in the opposite line to do the same 10 min - Have a student in one line shout his/her 1st insults at the

person directly across from them, and then have the person across from them shout his/her insult at the 1st student

Continue this down the line Repeat with 2 other insults until students get more comfortable with

dramatic language

10 min - Ask students to do the same one by one process for the compliments, being as sweet as possible, until they feel comfortable with dramatic language of a different tone

10 min - Ask students to be seated (on the floor works), and begin a discussion:

o What were their original impressions of Shakespeare’s language before this?

o How do they feel about Shakespeare’s language now?o Is there a difference between reading Shakespeare on a page

and performing it? Why or why not? 5 min - Introduce the Julius Caesar unit and pass out books/other

materialsAssessment Informal teacher observation of student participation

Student’s answers to discussion questionsHomework Advanced readers (ADV): I.i.all

On target readers (OT): I.i.all and NFS (No Fear Shakespeare) scene 1 English language learners/struggling readers (ELL/SR): I.i.31-57, 74-

77References Lesson adapted from LaMonico, Michael. "Shakespearean

"Conversations"" In Search of Shakespeare. PBS: Public Broadcasting Service. Web. 15 Apr. 2011. <http://www.pbs.org/shakespeare/educators/performance/lessonplan.html>.

LoMonico, Michael. "75 words Shakespeare used for sexual intercourse and orgasm." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 78-79.

LoMonico, Michael. "70 words Shakespeare used for male genitalia." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 78-79.

LoMonico, Michael. "70 words Shakespeare used for female genitalia." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 78-79.

"Quotations about Action." The Quote Garden. Web. 15 Apr. 2011. <http://www.quotegarden.com/index.html>.

Snodgrass, Mary Ellen. “Julius Caesar.” Literary Treks: Characters on the Move. Libraries Unlimited, 2003.

75 Words Shakespeare Used for Sexual Intercourse and Orgasm

actaction

activityacture

anglingback-trickbanquetboarding

boutbroachbuckle

businesscapercolt

conflictconversationcopulation

couchcover

customdealdeeddie

emballingencounter

executionfeat

ferretfill

foiningfoot

gamegrindinggroping

hackhorsemanship

husbandryincorporate

jugglingkiss

labourlayleap

meddlemount

night-workoccupy

playplough

pop

prayput torite

scoreshakesluicesoil

spendsportstufftaketaste

threshthrust

tick-tacktillage

toptricktrim

tumbletup

unionvoyagewantonwork

LoMonico, Michael. "75 words Shakespeare used for sexual intercourse and orgasm." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 78-79.

70 Words Shakespeare Used for Male Genitalia

apricot

arm

awl

bauble

beef

bolt

brand

bugle

carrot

club

cock

codpiece

dart

distaff

eel

fiddle

finger

flesh

hand

holy-thistle

hook

instrument

jack

joint

key

knife

lag end

lance

limb

little finger

loins

member

needle

nose

organ

pear

pen

pike

pin

pipe

pistol

pizzle

point

pole

poll-axe

potato-finger

prick

privates

R

Roger

root

runnion

shaft

shake

spirit

stake

stalk

standard

stump

sword

tale

talent

thing

thorn

three-inch fool

tool

weapon

worm

yard

LoMonico, Michael. "70 words Shakespeare used for male genitalia." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 78-79.

70 Words Shakespeare Used for Female Genitalia

baldrick

bay

belly

bird’s nest

bog

boots

bottle

box

breach

buckles

case

chamber

chink

circle

cistern

city

clack-dish

cleft

cliff

commodity

common place

constable

corner

country

crack

den

dial

ell

et cetera

eye

flower

fountain

furred pack

gap

garland

gate

glove

hell

hole

hook

jerkin

lap

lock

mark

medlar

mouth

nest

Netherlands

nothing

O

oven

pit

place

plum

pond

quaint

ring

rudder

ruff

scut

seat

Spain

sty

tail

thing

treasure

way

well

wound

LoMonico, Michael. "70 words Shakespeare used for female genitalia." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 78-79.

Shakespearean Insults

To construct an insult: Combine one word from each of the three columns below, and preface it with “Thou.”

Column 1artlessbawdybeslubberingbootlesschurlishcockeredcloutedcravencurrishdankishdissemblingdroningerrantfawningfobbingforwardfrothygleekinggoatishgorbelliedimpertinentinfectiousjarringloggerheadedlumpishmammeringmangledmewlingpaunchypribblingpukingpunyquallingrankreekyroguish

Column 2base-courtbat-fowlingbeef-wittedbeetle-headedboil-brainedclapper-clawedclay-brainedcommon-kissingcrook-pateddismal-dreamingdizzy-eyeddoghearteddread-boltedearth-vexingelf-skinnedfat-kidneyedfen-suckedflap-mouthedfly-bittenfolly-fallenfool-bornfull-gorgedguts-gripinghalf-facedhasty-wittedhedge-bornhell-hatedidle-headedill-breedingill-naturedknotty-patedmilk-liveredmotley-mindedonion-eyedplume-pluckedpottle-deep

Column 3apple-johnbaggagebarnaclebladderboar-pigbugbearbum-baileycanker-blossomclack-dishclotpolecoxcombcodpiecedeath-tokendewberryflap-dragonflax-wenchflirt-gillfoot-lickerfustilariangigletgudgeonhaggardharpyhedge-pighorn-beasthugger-muggerjoitheadlewdsterloutmaggot-piemalt-wormmammetmeasleminnowmiscreantmoldwar

Shakespearean ComplimentsTo construct a compliment: Combine one word from each of the three columns below, and preface it with “Thou.”

Column 1

raresweetfruitfulbravesugaredfloweringpreciousgallantdelicatecelestial

Column 2

honey-tonguedwell-wishingfair-facingbest-temperedtender-heartedtiger-bootedsmooth-facedthunder-dartingsweet-suggestingyoung-eyed

Column 3

smilettoastcukoo-budnose-herbwafer-cakepigeon-eggwelsh-cheesesongtrue-pennyvalentine

© 2003 Folger Shakespeare Library

Julius Caesar Literary Map: Where is the play set?

Day Two

Name of Activity

Anticipating Caesar – Our Beliefs

Standards 2. Reading: 1. Complex literary texts require critical reading approaches to effectively interpret and evaluate meaning a. Use Key Ideas and Details to: i. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. ii. Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.


Students will read the anticipation guide and decide where the statements on it leave matters uncertain, then determine themes from the statements for discussion about the unit.

Materials Copies of anticipation guideCopies of Julius Caesar (JC) interest sheet

Procedures 1 min - Before class label one wall AGREE and the opposite DISAGREE 5 min - QOD: “Trust only movement. Life happens at the level of events, not of words. Trust

movement.” ~Alfred Adlero How does this relate to reading versus performing Shakespeare?

10 min - Hand out copies of anticipation guide and ask students to work individually to complete the guide, although they can confer with those around them

5 min - Ask students to choose a statement to discuss first, and ask 5-7 students to move to a wall in response to that statement

Tell students that in order to volunteer, you must cite proof somehow, and they must be able to define a more difficult word in the statement in their own words, and they can look up definitions in dictionaries

Make sure students are aware that if they want to contribute to the discussion for one side or the other, they can join the sides, but they must cite proof

20 min - Repeat this process with 3 or 4 more statements 5 min - Ask students to write on the board themes that arise from the statements, and discuss:

o Which seem most important?o Which are most relevant to American society today and why?o Which ones connect? (Have students who answer this question come up to the board

and draw connecting lines between ideas 1 min - Hand out Student Interest sheet and explain that unit vocabulary will be drawn from

this listAssessment Participation in class

Taking a picture of the board to save for future reference Completion of the anticipation guide

Homework Advanced readers (ADV): I.ii.1-78 On target readers (OT): I.ii.1-78 and NFS scene 2 English language learners/struggling readers (ELL/SR): I.ii.1-20, 32-78

References Lesson adapted from Hawks, Lyn Fairchild. Teaching Julius Caesar: A Differentiated Approach. Urbana, IL: National Council of Teachers of English, 2010.


Anticipation Guide: Where Do You Stand?

Directions: Read each statement, looking up words you don’t know. If you AGREE with the statement, write a letter ‘A’ on the line next to the statement. If you DISAGREE, write a ‘D’. Save these, because we will come back to them at the end of the unit and re-evaluate our answers.

Before Reading After Reading

___________ 1. The will of the people is always best for a country. ____________

___________ 2. Absolute power corrupts absolutely. ____________

___________ 3. You can love someone even if you kill him/her. ____________

___________ 4. It is better to commit suicide than to be taken by the ____________enemy.

___________ 5. Murder can only be avenged with murder. ____________

___________ 6. An honest person is hard to find. ____________

___________ 7. A real man is stern, fearless, strong, and tough. ____________

___________ 8. Sometimes you must assassinate a leader to get a better ____________government.

___________ 9. “The road to hell is paved with good intentions.” ____________

___________ 10. “It is sweet and fitting to die for one’s country.” ____________

Adapted from Hawks, Lyn Fairchild. Teaching Julius Caesar: A Differentiated Approach. Urbana, IL: National Council of Teachers of English, 2010.

Themes in Julius Caesar: Interest Inventory

Name: ___________________________

Directions: Look up words as needed. NOTE: These words will be the vocabulary words for this unit.

1. Circle the ideas below that you’re most interested in.

2. Choose one idea to discuss. Explain in the space below why this idea matters to you and the world.

AMBITION APPEARANCE CAPRICE CHAOSCONSPIRACY CONSTANCY COURAGE COWARDICEDECEPTION DOMINANCE ENVY FATEFEAR FRAILTY FREE WILL GLORYHEROISM HONESTY HONOR IDEALISMINGRATITUDE LEADERSHIP LOVE LOYALTYMANHOOD MANIPULATION NATURE PERSUASIONPATRIOTISM POWER REALISM TRUSTREVENGE

An Important Idea:Choose one idea from the list. Why does this idea matter to you, others, and the world?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Adapted from Hawks, Lyn Fairchild. Teaching Julius Caesar: A Differentiated Approach. Urbana, IL: National Council of Teachers of English, 2010

Day Three

Name of Activity Experiencing Ancient Rome and play-making Standards 2. Research: 1. Self-designed research provides insightful information,

conclusions, and possible solutions b. Gather relevant information from multiple authoritative print and digitalsources, using advanced searches effectively; assess the strengths andlimitations of each source in terms of the task, purpose, and audience; f. Draw evidence from literary or informational texts to support analysis,reflection, and research.


Students will explore the virtual Rome to gather relevant background information for reading the play, and as a class will assess the realistic quality of the source.

Materials Internet accessImages of props and costumes (from Shakespearean Costume for Stage and Screen) Stage direction vocab Construction paper, paint, Styrofoam, other craft materials

Procedures 5 min – QOD: “Action is eloquence.” ~William Shakespeareo What does eloquence mean? Who is eloquent in the play?

2 min – Ask students to spend a few minutes discussing with a partner what they think Rome and the Globe looked like

2 min – Move students to computer lab or otherwise give students internet access

15 min – Ask students to work in groups of 3 to explore the Google Earth Ancient Rome 3D Tour, keeping these questions in mind for discussion:

o Does this look accurate to you? Is this how you imagined Rome looked?

o What parts surprised you? Interested you? What might be some problems with performing plays at the Globe? What were benefits?

5 min – Either in the lab or the classroom, show students images of play-making materials: costumes, actors in the new Globe, props, backdrops, props

5 min – Ask students to begin brainstorming props they might need for JC, and to organize how they might acquire those

15 min – Bring out materials and allow students to begin creating what they feel they’ll need to re-enact scenes

1 min – Hand out copies of stage direction terms for them to look over while reading

Assessment Participation on online tour and discussion Prop making, invention

Homework Bring any materials to school you think would be helpful in creating props or that could be used as props already (within propriety)

Advanced readers (ADV): I.ii.78-131

On target readers (OT): I.ii. 84-131 English language learners/struggling readers (ELL/SR): I.ii. 90-131

References “Ancient Rome 3D Tour.” Google Earth. Web. 15 Apr. 2011. <http://earth.google.com/rome/index.html>.

Dakin, Mary Ellen. “Handout: Functional Vocabulary Definitions.” Reading Shakespeare with Young Adults. Urbana, IL: National Council of Teachers of English, 2009.

“Quotations about Action.” The Quote Garden. Web. 15 Apr. 2011. <http://www.quotegarden.com/index.html>.

Kelly, Francis Michael, and A. D. Mansfield. Shakespearean Costume for Stage and Screen. London: Black, 1970.

Stage Direction Vocabulary

We can understand the most common stage directions, Enter and Exit, without the help of a dictionary. Others, like Dies and Descends, are just as easily understood. Nonetheless, even these most readily understood stage directions require the reader to imagine just how, in each set of circumstances, the performance of the stage direction should look and sound.

While we read Shakespeare’s play, review and consult this list for meanings of these stage directions, extracted from The American Heritage Dictionary of the English Language:

Advances: Moves forward; moves against another.

Alarum: Loud, frantic, or excited activity; clamor. The sounds of war or warlike activity. The movement of soldiers across stage.

Aside: A piece of dialogue intended for the audience and supposedly not beard by the other actors on stage. A remark made in an undertone so as to be inaudible to others nearby.

Attended: To be accompanied or waited upon as by a companion or servant.

Beneath: In a lower place; below. Underneath the stage.

Draws: Pulls out a weapon for use.

Exeunt: Two or more performers leave the stage.

Flourish/Sennet: A fanfare (of horns, trumpets, etc.) to announce the entrance or exit of a person of distinction.

Pulpit: A raised enclosed platform from which a speaker delivers a speech (From The Oxford English Reference Dictionary 2nd ed.)

Retires/Withdraws: Seeks seclusion; moves back or away without actually exiting the stage; recedes.

Train: A succession or series of people. A body of followers. A succession of military vehicles etc., including artillery, supplies, etc. (From The Oxford English Reference Dictionary 2nd ed.)

Within: An inner position, place, or area close to, but not actually on, the stage.

NOTE: Most modern editions of Shakespeare’s plays follow the practice of putting into parentheses, brackets, and/or half-brackets anything that isn’t in the copy text of the play. The copy text is the quarto or the First Folio used as the basis of the modern edition. In other words, brackets almost always alert the reader that whatever is in the brackets has been added by an editor to clarify what is implied in the original text.Adapted from Reading Shakespeare with Young Adults © 2009 Mary Ellen DakinDay Four

Name of Activity Performance I.ii. and Weird Words Standards 2. Oral Expression and Listening: 1. Verbal and nonverbal cues impact the

intent of communication a. Give informal talks using an appropriate level of formality of verbal language and nonverbal interaction with audience 3. Writing: 1. 1. Stylistic and thematic elements of literary or narrative texts can be refined to engage or entertain an audience a. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. iv. Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters.


Students will attempt to define weird words that Shakespeare used to connect with the text and to inquire about the real use of those words

Students will experiment with tone, volume, and enunciation through lines from the play

Materials A prop or two Copies of the weird words definition handoutCopies of the Weird Words handout

Procedures 5 min - QOD: “Moderation is a fatal thing; nothing succeeds like excess.” ~Oscar Wilde, A Woman of No Importance, 1894

o How does this apply to playacting? Pass out the Weird Words Definition handout 10 min – Ask students to use what they know about words and their

parts to come up with their own definitions for the weird words on the worksheet

Handout the real definitions on the weird words handout and have students compare their definitions with the real ones

5 min - Discuss Shakespeare’s weird words and language:o Why would he use these words? o What’s the difference between their definitions and

Shakespeare’s? Announce the Weird Word Challenge: Students have the ability to earn

extra points for using the Weird Words correctly in class. I will keep track in my gradebook, and the 3 students who use the most weird words correctly will get fifteen, ten, and five extra credits points, respectively, toward their final grade.

Ask students to volunteer to be Caesar, Brutus, Cassius, and the class is the Soothsayer

10 min - Go through sections of lines from scene 2 with no instruction 5 min - Make a chart on the board (example below) of the handout and

ask students to fill in the “original thoughts” part 10 min - Pass out Cue cards and go through lines again 5 min - Ask students to fill in the second column

Assessment Completion points for weird words handout Participation in performance and discussion

Homework Advanced readers (ADV): I.ii.132-189 On target readers (OT): I.ii. 135-161

English language learners/struggling readers (ELL/SR): I.ii. 135-161References Lesson adapted from LaMonico, Michael. "Shakespearean


LoMonico, Michael. "125 Weird Words used by Shakespeare." The Shakespeare Book of Lists. Franklin Lakes, NJ: New Page, 2001. 59-60.


Dakin, Mary Ellen. "Ch. 9 Reading in Companies." Reading Shakespeare with Young Adults. Urbana, IL: National Council of Teachers of English, 2009.

125Weird Words Used by Shakespeare

There’s no need to memorize these words – they were rare even back in Shakespeare’s time. But you might try to work them into everyday conversations, especially in class, to impress your friends.

A-birding: hunt small birdsAbsey book: a child’s ABC bookAbruption: interruptionAconitum: poisonous plantA-ducking: swimmingAmbuscado: ambushAnnothanize: anatomizeApplejohn: wrinkled appleBackbitten: infested with liceBanditto: outlawBarber-monger: constant patron of a barber shopBawcock: fine fellowBeldam: old hagBemoiled: soiledBeslubber: to smearBodkin: daggerBoiled-brains: hotheaded youthsBrabbler: quarrelerBugbear: goblinCanker-blossom: worm in the budCarbuncle: rubyCataplasm: plaster of medicinal herbsChop-fallen: dejectedChuff: boorish fellowClapper-claw: to thrash or maulClodpole: dunceContumely: disdainCopulative: persons about to be marriedCorky: withered with ageCot-quean: man who meddles in women’s business

Coxcomb: crested cap of a professional foolCubiculo: bedroomDewlap: loose skin at the throatDirt-rotten: putrefiedDisannul: cancelDotard: old foolEnglut: to gulp downExceptless: making no exceptionsExsufflicate: windy or overblownEacinerious: very wickedFadge: work outFancy-monger: a lovesick manFardel: burdenFettle: to prepareFlax-wench: girl hired to dress flaxFlibbertigibbet: demonFlirt-gill: loose womanFlurted: cast asideFoppery: foolishnessFrampold: disagreeableFusty: stale, triteFut: exclamation of impatienceGarboil: tumult or disturbanceGeck: foolGibbet: gallowsGiglot: wantonHaggish: like a hagHobby-horse: buffoonHonorificabilitudinitatibus: being loaded with honorsHugger-mugger: secrecyIrregulous: lawless

Jolthead: blockheadKickshaw: sidedishKicky-wicky: term of endearmentKill-courtesy: rude personLadder-tackle: rope ladderLegerity: quicknessLewdster: a lecherLogger-headed: stupidLubberly: crudeMalapert: rudeMalkin: slutMaltworm: heavy drinkerMickle: greatMinikin: daintyMinx: saucy wenchMome: blockheadNoddle: slang term for headNoddy: simpletonNuthook: sheriff’s deputyOnion-eyed: tending to weepOppugnancy: utter chaosOuph: elfParaquito: small parrotPeriwig-pated: bewiggedPestiferous: noxiousPickthank: an informerPignut: peanutPismire: antPoop: infect with venereal diseasePrig: thiefPuttock: small hawkPuzzel: slutQuestris: seekerRampallion: ruffianReechy: grimyRelume: re-light

Rudesby: rude fellow‘Sdeath: by God’s death‘Sfoot: by God’s footSheep-biter: sneaky fellowShog: to get goingSkains-mate: criminalSkimble-skamble: nonsensicalSlubber: to do hastily and carelesslySlug-a-bed: sleepyhead

Smatch: tasteSmilet: little smileSneaping: nippingStigmatical: deformedSwoopstake: indiscriminatelyThought-sick: distressedThrasonical: boastfulThwack: drive awayTittle-tattle: gossipTwire: to peep

Ungrown: immatureUnhaired: beardlessVendible: marketableWelkin: skyWhirligig: a topWittol: cuckoldYcleped: namedZounds: by God’s woundsZwaggered: bullied


Characters and Cues Chart (I.ii.)

Original Thoughts Cue Card 1 Cue Card 2 Cue Card 3Brutus Depressed Irate Loving

Cassius Aloof Jovial Selfish

Caesar Irate Selfish Insistent

Day Five

Name of Activity Performance: Caesar, Cassius and Brutus in I.ii.Standards 2. Oral Expression and Listening: 1. Verbal and nonverbal cues impact the

intent of communication a. Give informal talks using an appropriate level of formality of verbal language and nonverbal interaction with audience


Students will experiment with tone, volume, and enunciation through Shakespeare’s lines to understand that these impact communication

Students will be better able to analyze the characters of Cassius, Caesar, and Brutus through experimenting with performing these lines

Materials Copies of the textBrave New Voices DVDCue Cards

Procedures 5 min - QOD: “A friend can tell you things you don't want to tell yourself.” ~Frances Ward Weller

o How does this apply to Cassius and Brutus? Ask students for volunteers to be Cassius, Brutus, Caesar, and everyone

else be the Soothsayer 10 min - Switch up cue cards and go through lines again 5 min - Ask students to fill in the third column 10 min - Discussion:

o How does the character’s tone and gestures portray his motives?o What happens to what we know about the characters when we

change their tones? 20 min - Show Brave New Voices for the remainder of class

Assessment Participation in class Informal observation of student’s completed handouts Rubric grading of the writing practice

Homework Writing Practice: Write an introduction for a persuasive essay on one of the topics from the sheet

Advanced readers (ADV): I.ii.190-290 On target readers (OT): I.ii.192-215, 234-254 English language learners/struggling readers (ELL/SR): I.ii. 192-215,

234-254References Lesson adapted from LaMonico, Michael. "Shakespearean



"Quotations about Friendship." The Quote Garden. Web. 15 Apr. 2011. <http://www.quotegarden.com/index.html>.

Writing Prompts for Julius Caesar

Directions: Choose one of the prompts below to use as your practice essay writing as assigned in class on Fridays (Writing Practice). Follow the directions under each prompt for your assignment. Completing these collected assignments will help you write your best for the final essay.

OPTION 1: AMBITIONEssay Question: Who is the most ambitious character of this play and why?Your Task: Analyze one character through his/her thoughts, actions, speaking parts, and motivations to prove s/he is the most ambitious character in the play.Essay Structure:

Introduction: Define ambition in your own words, give a sentence or two of background information on the play, and write your thesis, addressing Your Task above.

Body Paragraphs: Use as many as you need. You could organize each paragraph into three parts: the character’s actions, the character’s speaking parts, and the characters motivations. Be sure to add quotations that prove your point.

Conclusion: Briefly restate your argument, and why it is important to consider who might be the most ambitious character in the play.

OPTION 2: LEADERSHIPEssay Question: Which character is the best leader?Your Task: Decide on three qualities every good leader should have, and choose as the best leader a character that best fits these qualities OR Choose a character in the play and decide if that character’s major qualities are the best for a leader to have.Essay Structure:

Introduction: Explain why having a leader is important, give a sentence or two background information on the play, and write your thesis, addressing Your Task above.

Body Paragraphs: In the topic sentence of each of your paragraphs, identify the quality you decided a leader should have, then prove that the character you selected has this quality. Be sure to add quotations to prove your point.

Conclusion: Briefly restate your argument, and why it is important to consider the qualities of leadership.

OPTION 3: IDEALISMEssay Question: Does Brutus’ idealism justify his actions?Your Task: Identify the link between intention and action and persuade, through cause and effect, whether Brutus’ idealism justifies his actions not.Essay Structure:

Introduction: Identify what you believe is the link between intention and action, give a sentence or two of background information on the play, and write your thesis, addressing Your Task above.

Body Paragraphs: Describe at least three instances of cause and effect in this play that Brutus had direct influence on, and based off the severity of the effects, if Brutus’ causes were excusable or valid.

Conclusion: Briefly restate your argument, and describe the single most important decision Brutus could have made to change the effects of the play for the better.

OPTION 4: LOYALTYEssay Question: Which character is the most loyal?Your Task: Choose a character that is the most loyal and prove this using that character’s actions and words in several instances.Essay Structure:

Introduction: Define loyalty in your own words, give a sentence or two of background information on the play, and write your thesis, addressing Your Task above.

Body Paragraphs: Choose an instance in the play for each paragraph, and use details from this instance (actions and words) to prove that your chosen character is the most loyal of any in the play.

Conclusion: Briefly restate your argument, and describe an instance of the ultimate test of loyalty to a friend.

OPTION 5: POWEREssay Question: Who uses power most wisely?Your Task: Choose a character and describe several instances of this character’s use of power, proving through actions and words that this character uses power the most wisely.Essay Structure:

Introduction: Describe the importance of power in the play, give one or two sentences of background information on the play, and write your thesis, addressing Your Task above.

Body Paragraphs: Choose at least three instances in the play when the character you chose uses their power, and explain how this use of power is wise using the characters actions and words in those instances.

Conclusion: Briefly restate your argument, and who you think should have the most power in your life.

Week Two (Day 6-10)

Performance Focus: ToneEssential Question: How does power affect us when we hold it and when we don’t?

Day Six

Name of Activity “Theater Companies” and CharacterStandards 2. Oral Expression and Listening: 2. Validity of a message is determined by its

accuracy and relevance a. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. (CCSS: SL.11-12.1) i. Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.


Students will work in “Theater Companies” to o be responsible for a portion of the discussiono discuss more deeply an aspect of the texto collaborate within small groups

Students will use this particular session to analyze their characters and what they know of the texts characters so far

Materials Character handoutsFiguring out characters handouts“Theater Companies” handoutsTips for tackling translation handout

Procedures 5 min - QOD: “Leadership is action, not position.” ~Donald H. McGannon

Divide students into groups 15 min - Explain “Theater Companies” and give out handouts, answer

questions 5 min - Ask students to fill out their individual character sheets 15 min - Handout figuring out characters handouts and ask students to

work in their groups to complete these 10 min - Bring students back together for discussion (write answers on

the board):o What makes a good leader?o Who have been good leaders in the past?o Who are good leaders today?

Assessment Participation in class discussion Take a picture of the board for future reference – give out as handout Collect all “Theater Companies” work for completion grades (these

will be handed back at the next meeting)Homework Finish for homework class activities

Advanced readers (ADV): I.ii. Finish scene and I.iii.1-100 On target readers (OT): I.iii.1-35, 62-79 and NFS scene 3

English language learners/struggling readers (ELL/SR): I.iii.1-35, 62-79

References Lesson adapted from Dakin, Mary Ellen. "Ch. 9 Reading in Companies." Reading Shakespeare with Young Adults. Urbana, IL: National Council of Teachers of English, 2009.

Hawks, Lyn Fairchild. “Character Diagram.” Teaching Julius Caesar: A Differentiated Approach. Urbana, IL: National Council of Teachers of English, 2010.

Hawks, Lyn Fairchild. “Lesson 3: Tips for Tackling Translation.” Teaching Julius Caesar: A Differentiated Approach. Urbana, IL: National Council of Teachers of English, 2010.

"Quotations about Friendship." The Quote Garden. Web. 15 Apr. 2011. <http://www.quotegarden.com/index.html>.

Shakespeare Groups: Studying in “Theater Companies”

There are a multitude of small and famous theater companies that present plays around the world, after months of practice and rehearsal. Considering this, one of the best ways we can take a step back and explore Shakespeare is to get into groups once each week and discuss in detail parts of the text.

These are not traditional literature circles: you won’t be acting within a constant role to discuss the text. Each Monday we will meet in class with our groups to participate in some analysis of the text, and each group will be doing a slightly different version of the same general activity. In this way, you will get to work consistently with members of the class you might not have met before, you will all participate in learning about a specific skill or knowledge base, but you will all learn through different activities, and present your learning to the class.

Each of you will receive grades based on your participation in the group activities. Both your peers and I will be evaluating you, so be sure to best your best effort in.

Company Activity 1: Who are you?In this short activity, you all will get to spend some time getting to know each other, to break the ice for future interactions, because you’ll do the best work when you’re comfortable with each other.

Directions: Introduce yourself: What’s your name? Where are you from? How do you feel about

Shakespeare? Take turns describing the most embarrassing thing that ever happened to you Take turns describing your favorite villain of all time Create a company name and motto – remember to keep this a theater company name, not

a business company EX. Bard on the Beach Shakespeare – “We liketh the sand in our pants”

Report your company’s name and motto to the class

Company Activity 2: Figuring Out Characters

Directions: In your companies, divide the characters up amongst your group members. Each of you should complete the Figuring Out Handout for your character, but you may all work together. Turn these in at the end of class in your groups.

Directions: Fill out the diagram below to describe yourself. In the Family Origins banner, write a few things about where you come from. In the Speech bubble, write a few phrases you typically say. In the Thoughts bubble, write the most important thoughts you’ve had today so far, or in the

last 24 hours. In the Actions bubble, write down some of the things you do, including hobbies or sports. In the Physically person, draw an image of yourself. In the Others speech bubble, write some things you think others say or think about you.

Teaching Julius Caesar: A Differentiated Approach © 2010 Lyn Fairchilds Hawk

Figuring Out Cassius: Act 1

Directions: Annotate and translate using the Tips for Tackling Translation Handout.

Background: Cassius, a nobleman and a senator, is describing a time when he saw Caesar sick.

TEXT ANNOTATION/TRANSLATION

He had a fever when he was in Spain,

And when the fit1 was on him I did mark2

How he did shake. ‘Tis true, this god did shake,

His coward lips did from their colour fly,

And that same eye whose bend3 doth awe the world

Did lost his luster.4 I did hear him groan,

Ay,5 and that tongue of his that bade the Romans

Mark him and write his speeches in their books,

‘Alas’ it cried, ‘give me some drink, Titinius,’6

As a sick girl.1. Fit: An epileptic fit. Caesar suffered from epilepsy2. Mark: See3. Bend: Glance

4. Lustre: Another spelling for ‘luster’5. Ay: Yes6. Titinius: A friend of Caesar’s

Key Words: ___________________________________________________________________

Why does Caesar’s sickness matter so much to Cassius? ____________________________________________________________________________________________________________________________________________________________

How does Cassius feel about Caesar? (Based off what you found in this excerpt) __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Adapted from Teaching Julius Caesar: A Differentiated Approach © 2010 Lyn Fairchilds Hawk

Figuring Out Brutus: Act 1


Background: Brutus, a nobleman and a senator, is explaining why he is so quiet.


Be not deceived. If I have veiled my look,

I turn the trouble1 of my countenance2

Merely upon myself. Vexed I am

Of late with passions3 of some difference,4

Conceptions5 only proper to6 myself,

Which give some soil7 (perhaps) to my behaviors.

But let not therefore my good friends be grieved –

Among which number, Cassius, be you one –

Nor construe any further my neglect

Than that poor Brutus, with himself at war,

Forgets the shows of love to other men.1. Trouble: Disturbance, grief2. Countenance: Appearance, face3. Passions: Emotions

4. Difference: Diversity5. Conceptions: Ideas, views6. Proper to: Belonging to7. Soil: Stain, discoloration

Key Words: ___________________________________________________________________

How is Brutus feeling right now? ____________________________________________________________________________________________________________________________________________________________

How does Brutus feel about showing his emotions? (Based off what you found in this excerpt) __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Adapted from Teaching Julius Caesar: A Differentiated Approach © 2010 Lyn Fairchilds Hawk

Figuring Out Caesar: Act 1


Background: Caesar, a warrior just returned to Rome in glory, is describing Cassius.


Yond Cassius has a lean and hungry look,

He thinks too much. Such men are dangerous.

Would he were fatter. But I fear him not.

Yet if my name1 were liable2 to fear,

I do not know the man I should avoid

So soon as that spare3 Cassius. He reads much,

He is a great observer, and he looks

Quite through the deeds of men. He loves no plays,4

As thou dost, Antony. He hears no music.

Seldom he smiles, and smiles in such a sort

As if he mocked himself and scorned his spirit

That5 could be moved to smile at anything.1. Name: Family name, lineage2. Liable: Likely3. Spare: Lean

4. Plays: Sports, exercise5. Scorned his spirit that: found it ludicrous

Key Words: ___________________________________________________________________

Why does Caesar mention Cassius’ hobbies and size? ____________________________________________________________________________________________________________________________________________________________

How does Caesar feel about Cassius? (Based off what you found in this excerpt) __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


Figuring Out Casca: Act 1


Background: Casca, a nobleman and a senator, is describing Caesar’s refusal of the crown.


I can as well be hanged as tell the manner of it. It was mere

foolery; I did not mark it. I saw Mark Antony offer him a crown,

yet ‘twas not a crown neither, ‘twas one of these coronets.1 And

as I told you, he put it by once. But for all that, to my thinking,

he would fain2 have had it. Then he offered it to him again. Then

he put it by again. But to my thinking, he was very loath to lay

his fingers off it. And then he offered it the third time. He put it

the third time by, and still as he refused it, the rabblement

hooted and clapped their chapped hands…And for mine own

part, I durst not laugh, for fear of opening my lips and receiving

the bad air.1. Coronets: Small, less important crowns 2. Fain: Wanted to

Key Words: ___________________________________________________________________

What’s the significance of Antony offering the crown three times? ____________________________________________________________________________________________________________________________________________________________

How does Casca feel about Caesar? (Based off what you found in this excerpt) __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


Day Seven

Name of Activity

Inflection in performance I.ii. and I.iii.

Standards 1. Oral Expression and Listening 1. Verbal and nonverbal cues impact the intent of communication 2. Reading 1. Complex literary texts require critical reading approaches to effectively interpret and evaluate meaning a. Use Key Ideas and Details to: i. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. b. Use Craft and Structure to: i. Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. ii. Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant


Students will learn to evaluate inflection and tone in performance of a text Students will learn that this evaluation leads to a fuller understanding of a character’s

motives and thoughtsMaterials Copies of the single line handout

Index cards of emotionIndex cards of Shakespeare lines

Procedures 5 min - QOD: “When leaders act contrary to conscience, we must act contrary to leaders. ~Veterans Fast for Life

Write the line “He did not kick his neighbor’s dog” and pass out the single line handout 5 min - Ask students to volunteer to read out the line with the different word stressed 5 min - Discussion:

o How did the stress change the meaning of the sentence? Handout the index cards of emotion 10 min - On the board, put the word families into continuums of intensity 15 min - Now hand out the lines from Shakespeare, divide students into groups, and have

them in each group stress different parts of the lines and use different emotions from their cards

5 min – Discussion: How did tone change the meaning of the line? 10 min - Have the groups share their answers and maybe share their lines with tone

Assessment Small completion grade for handoutInformal observation in groups for participationParticipation in class discussion

Homework Advanced readers (ADV): I.iii.101-165 On target readers (OT): I.iii.103-115, 153-160 English language learners/struggling readers (ELL/SR): I.iii.103-115, 153-160

References Lesson adapted from Dakin, Mary Ellen. "Ch. 4 HeartSpeak: A Tone Vocabulary." Reading Shakespeare with Young Adults. Urbana, IL: National Council of Teachers of English, 2009.

"Quotations about Human Rights." The Quote Garden. Web. 15 Apr. 2011. <http://www.quotegarden.com/index.html>.

Tone

TEXT TONE NEW

MEANING

He did not kick his neighbor’s dog.







What is the context of this sentence? (What does the sentence say?)

__________________________________________________________________

__________

How does the subtext change as the tone changes? (Use your favorite sentence to

describe this)

__________________________________________________________________

__________________________________________________________________

______________________

In what other ways can tone affect meaning?

__________________________________________________________________

__________________________________________________________________

______________________

Porter’s Tone Chart (from Reading Shakespeare with Young Adults): To be re-written on index cards

Basic Emotions(Front of card)

Synonyms(Back of card)

Anger hostility, indignation, irateness, fury, resentmentFear alarm, apprehension, dread, horror, panic, terrorHatred abhorrence, detestation, horror, loathing, repulsionJoy bliss, cheerfulness, delight, excitement, wonderLove adoration, affection, devotion, passionSorrow grief, heartache, heartbreak, regret

Shakespearean Lines to Use Next (with index cards):

“The course of true love never did run smooth.”

“This above all: to thine own self be true.”

“The lady doth protest too much, methinks.”

“All the world 's a stage, and all the men and women merely players.”

“Tempt not a desperate man.”

“Double, double toil and trouble; Fire burn, and cauldron bubble.”

Day Eight

Name of Activity Performance SceneletsStandards 1. Oral Expression and Listening

1. Verbal and nonverbal cues impact the intent of communication a. Give informal talks using an appropriate level of formality of verbal language and nonverbal interaction with audience c. Deliver oral talks with clear enunciation, vocabulary, and appropriate organization; nonverbal gestures; and tone d. Analyze audience responses to evaluate how effectively the talk or presentation met the purpose


Students will improv scenelets for the class in groups to:o Practice performance of key pieces of text using performing skillso Work collaboratively toward a final product

Non-performers will evaluate scenelets for efficacyMaterials Copies of scenelet directions handout

Copies of scenelet evaluations handoutProps

Procedures 5 min - QOD: “The rung of a ladder was never meant to rest upon, but only to hold a man's foot long enough to enable him to put the other somewhat higher.” ~Thomas Henry Huxley, Life and Letters of Thomas Huxley

o How does this portray ambition? Handout scenelet directions and divide students into groups 10 min - Ask students to prepare for their scenelet performances 25 min - Have students perform scenelets. Students who are not

performing should use the evaluation handouts to take notes on the performances

10 min - After each scene, discuss the performance:o What did the actors do well?o What could the actors improve on?

Assessment Scenelet performance rubric and peer evaluationsParticipation in discussion

Homework Advanced readers (ADV): II.i.1-99 On target readers (OT): II.i.10-34, 77-85 and NFS scene 1 English language learners/struggling readers (ELL/SR): II.i.10-34, 77-85

References Lesson and handouts adapted from Hawks, Lyn Fairchild. “Lesson 5: Sneak Preview.” Teaching Julius Caesar: A Differentiated Approach. Urbana, IL: National Council of Teachers of English, 2010.

"Quotations about Ambition." The Quote Garden. Web. 15 Apr. 2011. <http://www.quotegarden.com/index.html>.

Performance Practice: SceneletsWhat is a scenelet? A scenelet is a condensed performance of a scene in a play.

A plot includes three elements: Distinct character motivations An obstacle Conflict

Two or more characters each want something, but there is an obstacle in the way, so suddenly you have a conflict.

Directions:1. Read the description of your scenelet from this handout.2. Find the scenelt in act 1 of your play, and read aloud the first forty lines round-robin

style. Aim for quick pickup of lines and speed to get comfortable with the language. Don’t worry about understanding anything more than the plot summary on this handout.

3. Create a scenelet of five minutes.4. Find three lines from the text to speak in your scene. The rest can be in modern English.5. Practice several times, involve everyone (if there aren’t enough characters, as props or

scenery), and make sure to focus on the plot as much as the delivery: tone, gestures, body movement, enunciation, projection, etc.

Scenelet 1: Stop the Disrespect: I.i.

Characters and Motivations: Flavius and Murrelus, tribunes who want Pompey to be respected; cobbler and carpenter; citizens who want to party because Caesar won a war.

Obstacles: For Flavius and Mureelus, Caesar’s success and the citizens’ ignorance; for the cobbler and carpenter, Flavius and Murellus.

Conflict: Flavius and Murellus versus the people and Caesar. Consequences: Flavius and Murellus accuse the cobbler and carpenter of disrespect; they

tear down the decorations in honor of Caesar; they make the citizens leave.

Scenelet 2: Get Brutus on Our Side: I.ii.

Characters and Motivations: Cassius, a senator who wants Caesar removed from power; Brutus, a senator who wants what is best for the people; the Roman people, who want Caesar to be king.

Obstacles: For Cassius, Brutus’ honesty, conscience, and caution; for Brutus, the Roman people’s will; for the Roman people, Caesar’s reluctance to be king.

Conflict: 1. Cassius versus Caesar and Brutus2. Brutus versus himself3. Caesar versus the people

Consequences: Cassius tries to convince Brutus to go against Caesar, and Brutus says he’ll think about it; within earshot, offstage, there are cheers when Caesar is offered the crown three times

Scenelet 3: Off Stage: Heard/Said about Caesar: I.ii.

Characters and Motivations: Cassius, a senator who wants Caesar removed from power; Brutus, a senator who wants what’s best for the people; Casca, a tribune who wants worship of Caesar to end.

Obstacles: For Cassius, Caesar and his rise to power; for Brutus, Caesar and his rise to power; for Casca, the Roman people who worship Caesar.

Conflict:1. Cassius versus Caesar2. Brutus versus Caesar3. Casca versus the people

Consequences: Casca gossips about Caesar being offered the crown three times by the people; Cassius tells Casca to meet him later and Brutus to think of what’s best for Rome.

Scenelet 4: Stormy Weather: I.iii.

Characters and Motivations: Cassius, a senator who wants Caesar removed from power; Casca, a tribune who thinks Caesar has grown too powerful; Nature, which wants to wreak havoc.

Obstacles: For Casca, Nature, which scares him; for Cassius, Casca, if he is loyal to Caesar; for Nature, nothing.

Conflict:1. Casca versus Nature2. Cassius versus Casca3. Nature versus everything

Consequences: Casca is panicked by horrible, unnatural signs in Nature; Cassius panics that he has confessed too much to Casca;


CATEGORY 4 3 2 1

Speaks Clearly Speaks clearly and distinctly all the time.

Speaks clearly and distinctly most of the time (75-100%).

Speaks clearly and distinctly some of (50-75%) the time.

Can only be understood (25%) of the time.

Body Movement and Eye Contact

Looks relaxed and confident. Establishes eye contact, uses gestures and body movements effectively for his/her part.

Establishes eye contact most of the time, and uses gestures and body movements effectively most of the time for his/her part.

Uses some eye contact, and uses some gestures and body movements, but not many, to be effective for his/her part.

Uses little eye contact and few gestures or body movements which are effective for his/her part.

Content Shows a full understanding of the plot of the scene, and also some nuances in performing that demonstrate a solid grasp of the characters.

Shows a good understanding of the scene, and also enough about performing that demonstrates a good grasp of the characters.

Shows a basic understanding of the scene, but needs more practice in performance to demonstrate the nuances of the characters.

Shows a minimal understanding of the scene, and needs much more practice in performance to demonstrate the nuances of the characters.

Collaboration with Peers

Almost always listens to, shares with, and supports the efforts of others in the group. Tries to keep people working well together.

Usually listens to, shares with, and supports the efforts of others in the group. Does not cause “waves” in the group.

Often listens to, shares with, and supports the efforts of others in the group but sometimes is not a good team member.

Rarely listens to, shares with, and supports the efforts of others in the group. Often is not a good team member.

Volume Volume is loud enough to be heard by all audience members throughout the presentation.

Volume is loud enough to be heard by all audience members at least 90% of the time.

Volume is loud enough to be heard by all audience members at least 80% of the time.

Volume often too soft to be heard by all audience members.

Enthusiasm Facial expressions and body language demonstrate a strong interest and enthusiasm for performing.

Facial expressions and body language sometimes demonstrate a strong interest and enthusiasm for performing.

Facial expressions and body language are minimally used to try to demonstrate enthusiasm for performing.

Very little use of facial expressions or body language to demonstrate enthusiasm for performing.

Creativity Student used humor, odd props, reinterpretation of character or other element to perform the scene creatively.

Student somewhat used humor, odd props, reinterpretation of character or other element to perform the scene creatively.

Student used little humor, odd props, reinterpretation of character or other element to perform the scene creatively.

Student used no humor, odd props, reinterpretation of character or other element to perform the scene creatively.

Oral Presentation Rubric: Julius Caesar Scenelets, Act 1

Rubric created using http://rubistar.4teachers.org

Student Peer Evaluation Rubric

http://rubistar.4teachers.org/

Participation: All group members are involved with meaningful roles.

YES NO

Scene demonstrates character motivations, obstacle, and conflict

YES NO

Choose one additional criterion from the following list:

Pronunciation, clarity, volume novice on-target advanced

Emphasis, intensity, dramatic effect novice on-target advanced

Creativity: humor, use of props, etc. novice on-target advanced


power, individual rights, and leadership in julius...

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