Student’s Workbook 2A

three fold shakespeare

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

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

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

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

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

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

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

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

the material located in the package <info@ShakespeareWA.com>

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

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

Acknowledgements

Artistic Director Paige Newmark

General Manager Katie Kent

Education Liaison Elisa Dumitru

Editors

Andrew Kocsis Tiffany Wendt

With additional assistance from

Jenny de Reuck

Cover Design

Karen Smart

Illustrations

Karen Smart Allison Bell

Thanks to

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

Introduction to Three Fold Shakespeare

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

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

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

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

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

View

Play

Discuss

Research

Read

Write

Perform

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View

Locate YouTube clips of staging and filming The Comedy of Errors, then discuss the style shown...

Royal Shakespeare Company http://www.youtube.com/watch?v=EtvriM_iUx8&feature=related

Folger Library Production

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

Play

In small groups, improvise an advertisement promoting the stage play The Comedy of Errors, then create a second advertisement for the film The Comedy of Errors... what changes?...

As one person narrates other members of the group

should verbally re-enact scenes

Based on http://www.readwritethink.org/files/resources/ lesson_images/lesson857/interp-projects.pdf

Perform

Choose three definitions from the Glossary, then perform these definitions to the rest of the class in groups. While one student narrates the definition, the remaining students in the group act out the definition through mime...

Return to ‘Fold 1 and 2’ and discuss how the terms could have

been used to describe the YouTube clips and the mini-advertisements

See pages 6 and 7

Obtained from http://www.bced.gov.bc.ca/irp/drama1112_tp.pdf

Characterization – the process of developing and

portraying a character

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Glossary Aesthetic understanding that incorporates intellectual, sensory, and emotional involvement in and response to the arts; relating to a sense of what is evocative, engaging, or ―artistic.‖ What is considered aesthetic varies greatly according to the context. Characterization the process of developing and portraying a character—as actor, director, or scriptwriter. The process may include character analysis (motivation, interpretation, objectives, character in relation to other characters and script elements, stock characters), use of voice elements, use of elements of movement, blocking, business, focus, stage presence, etc. Central image the overall theme or message of a theatre work as represented symbolically through characterization and production elements. Creative process an ongoing intellectual and emotional process of exploration, selection, combination, refinement, and reflection to create artistic works. Crew head lead technician in a running or technical crew, such as costume co-ordinator, lighting co-ordinator, props chief, etc. Drama forms overall medium or structure for the expression of dramatic meaning and message, such as 1-act play, 3-act play, mime, puppetry, improv, tableau, musical theatre, story theatre, one-person show, street theatre, etc. See also style. Elements of design levels, colours, space, texture, line, shape, time, etc. affecting the physical representation of a dramatic work. Elements of drama focus, tension, contrast, symbol, form, balance, climax and resolution, etc. as used for dramatic purpose. Elements of movement the ways in which a performer uses whole body or individual body parts for dramatic purpose. Elements of movement can be classified by Body (e.g., whole or partial body action, locomotor/travelling, vs. non-locomotor/on-the-spot, shape, dimension), Space (e.g., direction, level, plane, personal and general space), Time (e.g., pace/ tempo, rhythm), Dynamics (e.g., energy, intensity, flow), and Relationship (e.g., among performers, in relationship with props and set). Motivation why a character does something in relation to his or her objective.

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PPENDIX E: GLOSSARY Objective what a character needs and wants, which determines her or his behaviour. Performance elements acting, script, and direction. Production concept overall theme conveyed by style, central image, use of production elements, and reflected in all aspects of the production. Principles of design unity, variety, contrast, repetition, balance, pattern, etc., used to create artistic effect in a dramatic work. Production elements lighting, sound, costume, props, costume, hair, makeup, special effects, etc. Production techniques ways in which specific production elements are used to achieve desired effects—fade, cue level, painting shadows, old-age makeup, etc. Role assuming the perceptions, attitudes, and beliefs of another in a drama. Script conventions and structure elements common to theatre scripts. Script conventions and structures include: • literary conventions—the three unities (time, place, manner/action), character, plot (exposition, complication, suspense, conflict, crisis, climax, etc.), dramatic units (e.g., act, scene, beat), etc. • format conventions—play synopsis, character synopses, stage directions, technical directions, dialogue format, etc. Stage composition creating ―shapes‖ on stage through blocking, set design, etc. Stage terminology stage directions (stage left, downstage, centre back, etc.), and terminology related to the structural aspects of a theatre (proscenium arch, wings, apron, fly loft, etc.). Style specific compositional characteristics that distinguish one type of theatre work from another, such as epic, realism, expressionism, surrealism, melodrama, farce, comedy of manners, or allegory. Style may also be defined by historical period (e.g., restoration drama, commedia dell‘arte), or by culture (e.g., Greek tragedy, kathakali, noh, passion play). See also drama forms. Voice elements the way in which a performer can use her or his voice for dramatic purpose, including consideration of diction, articulation, enunciation, dialect, volume, projection, pace, timbre, tone, pitch, inflection, vocal qualities (e.g., nasal, pallet, resonant), control of vocal anatomy to achieve desired results (e.g., diaphragm, breath, larynx, posture), etc.

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Read

Read the article on how to write a review and then discuss some of the possible responses. Remember to be critical (not just summarising what you saw) and discuss the atmosphere and mood created...

Don’t forget to use terms from the discussion in Scene 1, Fold 3

See page 9

Obtained from http://www.sarasota.k12.fl.us/bhs/bryan/bryan_therev.html

Discuss

Write you own theatre review based on the production just seen. Provide detail on points from your class discussion, but also add your personal response to the play...

Establish your point-of-view with the play, and be clear

why you liked (or didn’t like) it.

Write

Discuss the differences between film and theatre. Use the worksheet to investigate this difference in relation to The Comedy of Errors. Then investigate Shakespeare’s text using the questions provided...

See pages 10 and 11

Obtained from http://www.curriculumsupport.education.nsw.gov.au/ secondary/english/stages4_ 5/teachlearn/eng_esl/eng_esl.htm

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

How To Write a Theatre Review

When writing a theatre review, you must remember three main components: the acting, the technical, and the overall view.

The acting aspect is probably most important. It is a good idea to read the play before you go see it so that you are familiar with the script ahead of time. Make sure you know all of the characters' names and the actors who are playing them; a playbill is an ideal place in which to find all this information. Ask yourself if the actors understand what they are saying. How familiar are they with the script? Do they really know what the play is all about? Also look to see if each actor is connecting well with his/her character. (However, keep in mind that everyone has a very unique style of acting and maybe even comment on that.) How well are they giving and taking focus? Is there any one person who sticks out in your head as "hogging" all the attention? (Make sure that you comment on that.)

The second aspect to look at is the technical. This includes everything from the lights and sound to the costumes and makeup. Someone once said that if the technical aspect of the performance becomes noticeable, then it was not effective. Keep in mind that the lights, sound, makeup, etc. are there to enhance the performance, not to be the main focus. (But as the reviewer, you should be looking for it.) For instance, the lights should be prospective to the time of day, the season and so on. Also, it should not cast any shadows on the actors' faces. The sound is usually just your opinion because everyone likes different kinds of music; however, it should accent the style and format of the play. If they are using microphones, look for the quality of sound coming from that. The costumes should portray the time period and part of each character's personality. The makeup should do the same, but as well, keep a look out for shadows and lines on the face. All these things are very important to the performance of the show.

The overall view of the theatre will give the reader a feel of exactly how well you enjoyed your experience at this play. Include ticket prices here and your opinion of the worthiness of that cost. Also, keep in mind the quality of the theatre and its facilities. The audience is also a major part of your theatre experience. Was the audience big? Were they perceptive and interactive? Remember, you shouldn't make this the main point, but it would be good to comment on it. This entire portion should convey your opinion and feeling of how the show went.

So in conclusion, remember the acting, the technical, and the overall view, and you'll have written a successful theatre review. Oh, and one more thing: Don't ever lie so as not to hurt someone's feelings. Constructive criticism will only do someone good. Keep all these things in mind when writing your review and it will be great. Have fun!

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

A stage play - one more medium Use the chart below to compare how the same plot is presented through a Shakespearean stage play and a film version. Film Shakespearean stage play Setting: how is the viewer encouraged to suspend disbelief and enter the world of the story?

Duration: over what period does it progress?

Time: movements from day to night, changes in scene and place

Number of actors and extras and their entries and exits

Relationship between the composer, the viewer and the text

One of the biggest differences between film and stage play is the timing. A stage play will be watched as it is performed whereas a film can be endlessly stopped, refilmed, edited and can be watched and replayed by the audience at different times. Consider what this might mean for the people who work on movie sets and those who worked in The Globe theatre on one of Shakespeare‘s plays. Look at a page from the script of The Comedy of Errors. Work with a partner to locate the following features:

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The character who is speaking the lines Instructions to the person acting the part Setting Line number Scene number Act number

How is each of these features set out?

What are the conventions for layout and font?

Why are these features and conventions of layout used in the playscript?

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Discuss

Compare the mood and atmosphere in The Comedy of Errors, with A Midsummer Night’s Dream...

Compare the similar use of language and emotions in these two speeches, and

discuss what mood they create

See page 13

Play

Work together in small groups, and use the worksheet to discuss the emotional changes in the scene from A Midsummer Night’s Dream, Act 3, Scene 2. Make notes about the changes in the speech...

See page 14

Based on http://nationalstrategies.standards.dcsf.gov.uk/node/197700?uc=force_uj

Play

Improvise with the text, exploring the new motivations created...

If the symbols are inadequate,

create new emotional icons to communicate your group’s

opinion of this speech

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A Midsummer Night’s Dream and Comedy of Errors

Bottom Act - 4, Scene 1 I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was: man is but an ass, if he go about to expound this dream. Methought I was—there is no man can tell what. Methought I was,—and methought I had,—but man is but a patch'd fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was.

ANTIPHOLUS OF SYRACUSE - Act 2, Scene 2 To me she speaks; she moves me for her theme:

What, was I married to her in my dream? Or sleep I now and think I hear all this? What error drives our eyes and ears amiss? Until I know this sure uncertainty, I'll entertain the offer'd fallacy.

What do these speeches have in common?

What mood or atmosphere do these speeches create?

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Imagine my thoughts

Use the symbols below so that they are inserted into the text, or draw arrows to show how you think Helena is feeling at various stages in this speech The symbols Speaking from the heart

Holding back/being cautious

Going forward/making decisions

Feeling anxious Feeling angry

Lo, she is one of this confederacy!

Now I perceive they have conjoin'd all three

To fashion this false sport, in spite of me.

Injurious Hermia! most ungrateful maid!

Have you conspired, have you with these contrived

To bait me with this foul derision?

Is all the counsel that we two have shared,

The sisters' vows, the hours that we have spent,

When we have chid the hasty-footed time

For parting us,--O, is it all forgot?

All school-days' friendship, childhood innocence?

We, Hermia, like two artificial gods,

Have with our needles created both one flower,

Both on one sampler, sitting on one cushion,

Both warbling of one song, both in one key,

As if our hands, our sides, voices and minds,

Had been incorporate. So we grow together,

Like to a double cherry, seeming parted,

But yet an union in partition;

Two lovely berries moulded on one stem;

So, with two seeming bodies, but one heart;

Two of the first, like coats in heraldry,

Due but to one and crowned with one crest.

And will you rent our ancient love asunder,

To join with men in scorning your poor friend?

It is not friendly, 'tis not maidenly:

Our sex, as well as I, may chide you for it,

Though I alone do feel the injury.

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Discuss

Explore the same passage from A Midsummer Night’s Dream (Return to Scene 3, Fold 2), and try to make modernised metaphors or similes from the language ...

Sometimes the simplest changes occur when the sentence is reordered

(i.e. the syntax is changed)

See page 16

Obtained from http://www.enotes.com/midsummer-nights-dream

Write

Choose a short scene from A Midsummer Night’s Dream, and identify some of the similes and metaphors located within it...

See page 17

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

Play

Improvise a scene based on the script from ‘Fold 2’. This improvised piece needs to reflect the scene in a ‘modern’ setting using ‘modern’ English. When competed, draft a script based on the improvisation...

View some examples of what lines you could say

See page 18

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Shakespeare’s Wordplay

All of Shakespeare‟s works exhibit his mastery of playing with language

and with such variety that many people have authored entire books on

this subject alone. Shakespeare‟s most frequently used types of wordplay

are common: metaphors, similes, synecdoche and metonymy,

personification, allusion, and puns. It is when Shakespeare violates the

normal use of these devices, or rhetorical figures, that the language

becomes confusing.

A metaphor is a comparison in which an object or idea is replaced by

another object or idea with common attributes. For example, in Macbeth

a murderer tells Macbeth that Banquo has been murdered, as directed, but

that his son, Fleance, escaped, having witnessed his father‟s murder.

Fleance, now a threat to Macbeth, is described as a serpent:

There the grown serpent lies, the worm that‟s fled

Hath nature that in time will venom breed,

No teeth for the present. (III, iv, ll. 29−31)

Similes, on the other hand, compare objects or ideas while using the

words “like” or “as.” In Romeo and Juliet, Romeo tells Juliet that “Love

goes toward love as schoolboys from their books” (II, ii, l. 156). Such

similes often give way to more involved comparisons, “extended

similes.” For example, Juliet tells Romeo:

„Tis almost morning,

I would have thee gone,

And yet no farther than a wonton‟s bird,

That lets it hop a little from his hand

Like a poor prisoner in his twisted gyves,

And with silken thread plucks it back again,

So loving−jealous of his liberty. (II, ii, ll. 176−181)

What Metaphors or Similes could Helena have used in Act 3, Scene 2?

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Focus on the play script .

Example of simile or metaphor

Shakespeare compares what to what?

Purpose and effect of the comparison

Lingers my desires, like to a step dame or a dowager

Desires to a step mother or a widow

This suggests that a young man will have to wait a long time for his inheritance

.

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Shakespeare’s Language

When asked the number one challenge with Shakespeare’s works, modern-day audiences will almost always respond: “the language.” It’s true that the language does sound a bit different to our ears, and Shakespeare uses phrases that we no longer use in our everyday speech. But think of this: There are phrases that we use today that would baffle Shakespeare, should he mysteriously time travel to this day and age. That’s because language (especially English) is constantly transforming.

Here are some original quotes from A Midsummer Night’s Dream. Can you match them to their modern-day translations?

For aught that I could ever read, Could ever hear by tale or history, The course of true love never did run smooth. Lysander, Act 1, Scene 1

This lantern represents the crescent moon.

How now, spirit? Whither wander you? Puck, Act 2, Scene 1

Don‘t bother wishing you could leave this forest, because you‘re going to stay here whether you want to or not.

I’ll follow thee and make a heaven of hell, To die upon the hand I love so well. Helena, Act 2, Scene1

In books they say that true love always faces obstacles

Out of this wood do not desire to go. Thou shalt remain here whether thou wilt or no. Titania, Act 3, Scene 1

If we actors have offended you, just think of it this way and everything will be all right-you were asleep when you saw these visions, and this silly and pathetic story was no real than a dream

Shall we their fond pageant see? Lord, what fools these mortals be! Puck, Act 3, Scene 2

Should we watch this ridiculous scene? Lord, what fools these mortals are!

This lanthorn doth the hornèd moon present— Starveling (Moonshine), Act 5, Scene 1

I‘ll follow you and turn this hell I‘m in into a kind of heaven. It would be heavenly to be killed by someone I love so much.

If we shadows have offended, Think but this, and all is mended— That you have but slumbered here While these visions did appear. Puck, Act 5, Scene 1

Hello, spirit! Where are you going?

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Discuss

Using the improvised piece from the previous ‘Scene’, begin to examine the narrative purpose and mood. Also, try to justify the new setting for your piece; how can you make Shakespeare ‘real’?...

See page 20

Write

Following the worksheet, you will need to unpack the scene by developing an understanding of the narrative flow. This also includes the created mood at certain points and well as the motivation for the character’s actions...

See page 21

Play

Using the draft script from ‘Scene 4, Fold 3’, make re-writes to your performance. Remember to return to the original piece from Shakespeare to compare, so you don’t ‘stray’ too far...

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Playwriting processes Select a scene from A Midsummer Night’s Dream to re-write Act ______ Scene ______ What is the narrative purpose of the scene?

What is the atmosphere/mood of the scene?

Compared to modern-day, where else could this scene be set? Why?

How much of the ‗language‘ needs to be changed? Why?

Compared to modern-day, how else can you make the scene ‗real‘?

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Narrative structure of a scene

Discuss your scene in the form of narrative structure and purpose

What occurs:

The mood/atmosphere

Character‘s motivation

Beginning:

Middle:

End:

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Perform

Perform your re-written Shakespearean piece. Besides maintaining a professional approach in and out of the scene, remember to re-create a ‘real’ modern setting to establish the context of your performance...

See page 23

Write

Using the performance elements listed, thoughtfully reflect on your performance. Your response should also reflect the amount of thought and energy that you have provided in creating a modern interpretation of Shakespeare’s work...

See page 24

Devised from http://www.ket.org/artstoolkit/pdf/dramateachstudguide.pdf

Discuss

As a final reflection piece, discuss the concepts and reasons behind your re-writes and the appropriateness in relation to Shakespeare’s work. Furthermore, as a final question, what is your opinion on the need for Shakespearean adaptations; is adaptation required?...

See page 25

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Re-write reflection Discuss and comment on your process Where is your ‗re-write‘ scene set? Why?

How have you recreated this environment?

What is the mood? How is this communicated?

How have you employed technologies?

What aspects of the rehearsal process are working?

What aspects of the rehearsal process require focus?

What steps are you employing to improve these issues?

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Personal reflection Reflect on your performance, using some of the terms provided.

Performance Elements acting blocking character analysis diction empathy facial expression gestures inflection motivation movement nonverbal expression projection speaking style vocal expression

In my performance… … and.. … and the audience‘s response was… My strength was… … I still require to work on my… Overall…

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Comparison to original Describe and discuss the difference between your script and Shakespeare‘s original text. Provide an example of dialogue you created.

Shakespeare’s Words

Your Script

How did your script modernise Shakespeare’s language?

How did your performance create a ‘real’ environment for Shakespeare’s play?

Does Shakespeare’s work need to be adapted? Why?

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Images The Acting Company‘s Comedy of Errors http://www.moviegoods.com/Assets/product_images/1020/454017.1020.A.jpg Fairbanks Shakespeare Theatre‘s Comedy of Errors http://www.fstalaska.org/wp-content/uploads/2010/03/Comedy-of-Errors-Model.JPG Lauren High School‘s The Comedy of Errors http://www.rudemechanicals.com/coe/ Fox Searchlight Pictures‘ A Midsummer Night’s Dream http://www.imdb.com/title/tt0140379/ KVPAC‘s A Midsummer Night’s Dream http://dallas.broadwayworld.com/article/A_MIDSUMMER_NIGHTS_DREAM_Comes_To_KVPAC_5859_20090424 Boston Ballet‘s A Midsummer Night's Dream http://themodernworldofperformingarts.wordpress.com/2010/09/20/a-midsummer-nights-dream-told-through-dance/ Headlong Theatre‘s A Midsummer Night's Dream http://www.guardian.co.uk/culture/theatreblog/2011/feb/14/midsummer-nights-dream-headlong-theatre Boca Raton Community High School‘s A Midsummer Night's Dream http://blogs.trb.com/community/news/boca_raton_forum/2008/11/the_drama_department_at_boca.html Utah Shakespeare Festival‘s A Midsummer Night's Dream http://rakstagemom.wordpress.com/tag/romeo-and-juliet/ Young Artists Program‘s A Midsummer Night's Dream http://www.seattleoperablog.com/2011_04_01_archive.html Shakespeare Theatre of New Jersey‘s A Midsummer Night's Dream http://www.nj.com/independentpress/index.ssf/2011/03/shakespeare_theatre_in_madison_2.html