YEAR 9SHAKESPEARE FOR SATSCourtesy of Watford Grammar School for

Girls

THE TEMPESTSET SCENES FOR 2007:

Act 1, Scene 2, lines 189-321Act 5, Scene 1, lines 1-134

“THE TEMPEST” – OUTLINE OF ACTIVITIES IN SOW

WEEK TASK

1 INTRODUCTION TO THE PLAYStudents should make predictions based on images from “The Tempest” and familiarise themselves with Shakespeare’s characters and use of language.

2 OUTLINE OF THE PLOT AND CHARACTERSStudents should understand the plot and characters of “The Tempest”. Some of these activities are ideal for a series of drama lessons.Reading Act One, Scene One – drama based activities on the storm.

3 ACT ONE, SCENE TWOExamine stereotypical characters and then explore the behaviour of Prospero, Miranda, Ariel, Ferdinand and Caliban, finding suitable quotations.

4 ACT TWOWriting to imagine, explore, entertain - students should describe their own utopias;Writing to argue, persuade, advise – students to use techniques to write persuasively on a number of topics;Analyse Caliban’s soliloquy at the start of the scene; Order key events in the scene and use the key quotations sheet to test students’ knowledge of who said what; Storyboard the entrance of Trinculo and Stephano and show how it contrasts with the mood of Caliban’s opening soliloquy.

5 ACT THREEScene One: Consider Ferdinand’s opening soliloquy and explore the use of oppositions or antithesis;Scene Two: Directorial response to the drunkards;Scene Three: Writing to imagine, explore, entertain. Students should imagine themselves as Gonzalo. He has returned to Milan and is recounting the events on the island for the benefit of a friend. Students should write a script of his monologue for the events of Act 3, Scene 3.

6 ACT FOURConsider Shakespeare’s use of language, stage directions and characterisation in Act Four, Scene One.

7 ACT FIVERevise the main characters and actions to revise events in the play;Students should write a response to this scene, considering if they are surprised by the ending of the play and consider how Prospero’s power changes as the play progresses.

8 / 9 CONSIDER HOW SHAKESPEARE PRESENTS THE MAIN CHARACTERS IN THE TEMPESTProspero, Ariel and Caliban.

10 / 11 EXPLORATION OF THEMES, CHARACTERS AND IMAGESSonnet in a Bottle – writing to imagine, explore, entertain:Each students chooses one character to focus on and should write about who they are, what has happened to them, their ambitions and disappointments, etc. They must write in the first person. Challenge students to write their message as a sonnet. Love – writing to analyse, review, comment:Students to consider which type of love is most important in “The Tempest”.Magic – writing to analyse, review, comment:

Explain that most, if not all, of the characters in the play undergo a “sea-change” and are forever altered by the events following the tempest.Essay: How is magic used in “The Tempest”?

Enslavement - Does Shakespeare present enslavement as a positive or negative concept in “The Tempest”? Consider how the following characters experience some kind of enslavement: Prospero; Caliban; Alonso; Miranda; Ariel; Ferdinand.

Language techniques - Alliteration, onomatopoeia, repetition of key words, balanced phrases, exaggeration, emotive language, dramatic words or phrases, use of imagery, groups of three, pronouns to involve the audience, exclamations and questions.

Imagery and patterns of language - Students to identify and explore a range of images and comparisons in the play.

Songs - Sequencing Ariel’s song. Consider why The Tempest includes more songs and music than other Shakespeare plays. Students may wish to compose a song for Ariel to sing to celebrate his release.

Sea-changes - Who changes the most and who changes the least in the play? Consider Miranda, Prospero, Alonso, Ariel, Antonio, Ferdinand, Sebastian and Caliban.

Reporting the news - Students to imagine they are part of a TV news channel, bringing important stories and updates to viewers as they happen. Each group is a news team and is in competition with every other team to bring the most relevant, interesting and insightful news reports to the viewers. Each group will need to give the “bare bones” of the top stories on the island and work out how to present them to make the most impact. Remind students that they need to imagine that they do not know what will happen next – this news is unfolding as they are working. Groups should be numbered and given only ten minutes to prepare for each key event. Individually, students could write articles about the most important event.

Additional Drama Activities based on the play12 TIMED ESSAY ON THE SET SCENES (ONE HOUR)

Set scenes are available from:http://www.qca.org.uk/downloads/qca-06-2657-ks3-en-07-tempest-v5.pdf

Consider how Prospero changes his attitude to others in the play. How would you direct the two extracts from Act 1 Scene 2 and Act Five Scene 1 to show these changes?

NATIONAL LITERACY STRATEGY OBJECTIVES:

Word Level7. recognise layers of meaning in the writer’s choice of words, eg. connotation,

implied meaning, different types of multiple meanings.

Sentence Level4. integrate speech, reference and quotation effectively into what they write;11. investigate ways English has changed over time;

Text Level – Reading2. synthesise information from a range of sources, shaping material to meet the

reader’s needs;5. evaluate their own critical writing about texts;6. comment on the authorial perspective offered in texts on individuals,

community and society;14. analyse the language, form and dramatic impact of scenes and plays by

published dramatists;15. extend their understanding of literary heritage by relating major writers to

their historical context, and explaining their appeal over time.

Text Level – Writing1. review their ability to write for a range of purposes and audiences, recognising

their strengths and identifying skills for further development;3. produce formal essays in standard English within a specified time, writing

fluently and legibly and maintaining technical accuracy when writing at speed;11. make telling use of descriptive detail, eg. eye witness accounts, travel writing;17. cite specific and relevant textual evidence to justify critical judgements about

texts.

Speaking and Listening / Drama9. discuss and evaluate conflicting evidence to arrive at a considered viewpoint;12. use of range of drama techniques, including work in role, to explore issues,

ideas and meanings, eg. by playing out hypotheses13. develop and compare different interpretations of scenes or plays by

Shakespeare;14. convey action, character, atmosphere and tension when performing plays.

WEEK ONE – INTRODUCTION TO THE PLAY

TASK: Students should discuss their expectations / knowledge of Shakespeare, and make predictions based on images from “The Tempest”. They should also familiarise themselves with Shakespeare’s characters and use of language.

PROCESS:

“Shakespeare Baggage”:Get students to be open about their fears / reservations / excitement / preconceptions about Shakespeare. In pairs, assign an A and B. As are to brainstorm to their partners on the word “Shakespeare” for two minutes. Swap and repeat.In two minutes, on sugar paper, As and Bs should then write / scribble / draw everything they can remember their partner saying, before presenting their partner’s thoughts and ideas to the whole group.

Use images attached (or use Google to research their own) to gauge students’ first impressions of the play.

These should be developed by using De Bono’s Thinking Hats and CoRT tools (see attached).

Introduce students to the main characters in the play (see attached resource). Students should consider who they would prefer to be stranded on a desert island with, and why.

Insults: give each student an insult from the play to “throw” at another member of the class, who in turn insults someone else. See attached resource.

Iambic Pentameter

Explain the meaning of iambic pentameter:Pent = five, iambic means stresses, one stress on, one stress off. So there are five stresses on and five stresses off.Di Dum Di Dum Di Dum Di Dum Di Dum (10 beats).Get this rhythm going by asking students to clap their hands and stamp their feet.Students should then identify this beat in the language:A horse, a horse, my kingdom for a horseIf music be the food of love play onBut soft what light through yonder window breaksGet them to work out their own birthdays in iambic pentameter, eg. My birthday is the …….

Examine lines from “The Tempest” which use iambic pentameter.Encourage students to look at Shakespeare’s verse as poetry.

USING THESE IMAGES, MAKE PREDICTIONS ABOUT “THE TEMPEST”

DE BONO’S THINKING HATS and CoRT

Use the following SIX HATS to organise students’ first impressions of “The Tempest”:

White HatFacts – what information do I have? What information do I need to get?

Red HatHow do I feel about studying Shakespeare? What are my first feelings about the play?

Yellow HatWhat are the benefits of studying Shakespeare’s “The Tempest”? What am I looking forward to?

Green HatWhat ideas do I have already about the play? Do you have any predictions about the outcome of the play?

Black HatWhat are the negative points about studying Shakespeare and “The Tempest”? What don’t I like and what are the problems?

Blue HatWhat have I discovered and what is still left to discover? How can I discover it?

Also try the following CoRT tools to elicit responses and ideas from the students:

PMI – Plus, Minus, InterestingHow do they feel about studying Shakespeare? What are the PMIs of reading “The Tempest”?

CAF – Consider All FactorsWhat do you need to think about when reading Shakespeare?

AGO – Aims, Goals and ObjectiveWhy are we studying Shakespeare – it is not just for exams!

THE MAIN CHARACTERS IN “THE TEMPEST”A BRIEF INTRODUC TION!

WHO WOULD BE THE BEST (AND WORST) ISLAND COMPANION AND WHY?

Students should try to “match” these character descriptions to famous celebrities. They could bring in pictures or make quick sketches in their books:

MirandaShe is a young, innocent and naïve teenage girl who has lived with her father on a remote island since she was a baby. Her father is fiercely over-protective. Miranda is unfamiliar with the “real” world.

ArielA mysterious spirit, neither male or female, who has magical abilities to fly and become invisible. Ariel feels trapped on the island and longs to be free. However, Ariel is also loyal and obedient if you could offer the opportunity of freedom from the island.

CalibanA native of an island, sometimes described as a fish, and at other times as a monster. It is rumoured that his father is the devil himself. He is full of foul language, but will work hard for you – if you can tame him!

AlonsoAlonso is a king who has recently attended the wedding of his daughter. He fears that his son has been drowned and is at risk from political plots against him.

FerdinandHe is a good looking teenage prince, who has recently lost contact with his father, the King Alonso. Ferdinand is very romantic, and prone to falling in love quite easily.

GonzaloHe is an honest old man with very idealistic views about the world. Gonzalo is a loyal friend and companion who always looks on the bright side of life. He can be a little naïve.

AntonioHe is a Duke, who gained his title by dishonest means. Antonio is selfish and likes to bully and intimidate others. He is friends with Sebastian, King Alonso’s brother.

SebastianSebastian is King Alonso’s brother. He sometimes envies his brother’s position, and can be cruel and unkind. He is also easily led by Antonio.

StephanoStephano is the butler to the king. He likes to drink alcohol and can often be found staggering around the island in a drunken haze. He also dreams about being as powerful as the king.

TrinculoTrinculo is a clown who likes to keep people entertained. He is also a coward, and likes to drink too much alcohol.

INSULTS FROM “THE TEMPEST”

Thou poisonous slave

Unwholesome fen

The devil himself

Abhorred slave

A thing most brutish

Hag seed

Most lying slave

Thy wicked dam

Thou jesting monkey

NOW MIX AND MATCH YOUR OWN!

Use one or more insulting adjective:

Freckled Poisonous Brutish Ignorant Monstrous Foolish Bawling Howling Abominable Incharitable

And add an insulting noun:

Traitor Fool Hag Ass Monster Devil Tortoise Ninny Imposter

WEEK TWO – OUTLINE OF THE PLOT AND CHARACTERS

TASK: Familiarise students with the plot and characters of “The Tempest”This programme of activities is ideal for a series of drama lessons.

PROCESS:

Using the attached synopsis of “The Tempest”, the class should attempt to re-enact the whole play in mime. Read them the synopsis of the play (attached) before casting the following characters:

A ship master Ferdinand GonzaloBoatswain Antonio ProsperoMariners (2 or 3) Miranda ArielAlonso Caliban AdrianSebastian Francisco TrinculoStephano Iris CeresJuno Spirits and Nymphs – anyone not already cast.

Go through each Act and scene, reading the synopsis aloud while the appropriate characters mime their roles. This will be quite chaotic, and need more than one run through!

After this activity, examine the mini scenes (attached). Divide the class into groups of four or five, and give them two scenes each. Ask them to then come up with a frozen picture for each mini scene. The whole class should then present their mini scenes in the correct order of the play, with the title of each scene being read aloud.

Read Act One, Scene One and perform with students taking different roles. Aim to show the chaos and confusion of the scene with its many entrances and exits.

THE SYNOPSIS OF THE PLAY

DRAMA EXERCISECast the following characters among the class:

A ship master Boatswain Mariners King Alonso Sebastian Antonio Sebastian Ferdinand Gonzalo Prospero Miranda Ariel Caliban Adrian Francisco Trinculo Stephano Iris Ceres Juno Spirits and Nymphs – anyone who isn’t already cast

Explain to students that you want them to explore all the possible exits and entrances in this exercise, including heaven and hell. They should follow all stage directions and make the necessary sound effects, but mime all speeches.

Before they move, take them through a brief synopsis of the play (attached) to familiarise them with the story.

Re-read the synopsis, with characters performing their roles. It is likely to be “messy” at first, and so will need several attempts!

“THE TEMPEST” - SYNOPSIS

ACT ONE, SCENE ONE Noise of thunder and lightning and a ship at sea; Enter a Shipmaster and a Boatswain. Speak. The Shipmaster exits.

Mariners enter and exit; King Alonso, Sebastian and Antonio, Ferdinand, Gonzalo enter. The

Boatswain asks them to keep out of the way, then exits with the others; The Boatswain re-enters. Sebastian, Antonio and Gonzalo re-enter, speak

to the Boatwain. Mariners enter (wet) and announce the ship is sinking. Antonio and

Sebastian exit, soon followed by Gonzalo.

ACT ONE, SCENE TWO The island, before Prospero’s cell (house) Prospero tells Miranda their history, but he is concerned that she is not

listening; Miranda falls asleep; Ariel enters and describes how he created the storm, but saved the boat and its

occupants. Prospero and Ariel speak then argue; Miranda awakes. Ariel re-enters as a water nymph, then exits; Caliban enters furiously and complains to Prospero about his bondage.

Prospero tells him off. Caliban exits; Ariel enters invisible, followed by Ferdinand. Ariel sings; Ferdinand and Miranda see each other and instantly fall in love. Prospero

magically enslaves Ferdinand.

ACT TWO, SCENE ONE Another part of the island; King Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco enter.

Gonzalo, Adrian and Francisco try to comfort Alonso, who cannot find his son, Ferdinand.

Antonio mocks them; Ariel enters, invisible, and plays music and puts all by Sebastian and

Antonio to sleep; Ariel exits; Antonio then persuades Sebastian to kill Alonso so he will become king.

They raise their swords to kill Alonso and Gonzalo. Ariel re-enters and wakes Gonzalo just in time. Antonio and Sebastian make pathetic excuses about their raised swords;

All wake up and exit to look for Ferdinand.

ACT TWO, SCENE TWO Another part of the island; Caliban enters and curses Prospero. Trinculo enters, sees Caliban and

thinks he is a monster. He takes shelter from the storm under Caliban’s cloak;

Stephano enters drunk and singing. He thinks the shape of Caliban and Trinculo under his cloak represents a monster. He gives Caliban a drink of alcohol;

Trinculo then emerges from Caliban’s cloak and greets Stephano. Caliban thinks the alcohol is magical and assumes Stephano is a god. Caliban promises to show Stephano the wealth of the island.

ACT THREE, SCENE ONE Ferdinand enters carrying logs. He and Miranda see each other and fall in

love instantly; Prospero pretend to disapprove, but secretly he approves of the match.

ACT THREE, SCENE TWO Caliban, Stephano and Trinculo enter drunk. Trinculo shows his dislike for

Caliban and Stephano tells him off for being rude to Caliban; Ariel enters and plays a trick, imitating Trinculo’s voice to call Caliban a liar; Stephano hits Trinculo; Caliban then persuades Stephano to murder Prospero in order to gain control

of the island; Ariel then plays some music which frightens the cowardly Trinculo; Stephano and Trinculo then decide to follow Ariel’s music.

ACT THREE, SCENE THREE Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian and Francisco; Sebastian and Antonio are still secretly plotting to kill Alonso; Prospero appears accompanied with music, and a banquet magically appears; The royal party react with wonder and awe; There is thunder and lightning, and Ariel enters as a harpy (mythical creature

with the face of a woman but the wings and talons of a vulture); Ariel delivers a terrifying speech, reminding Alonso and Antonio about their

sins against Prospero; Ariel vanishes in thunder.

ACT FOUR, SCENE ONE Prospero, Miranda and Ferdinand enter. Prospero releases Ferdinand and

approves his marriage to Miranda; Ariel enters and Prospero instructs him to fetch the royal party to him; Prospero then uses his magic to show Ferdinand and Miranda a masque (a

performance of music, poetry and dance with powerful visual effects); Prospero suddenly remembers Caliban’s plot against his life and the masque

vanishes; Ariel re-enters and Prospero orders Ariel to bring Caliban, Trinculo and

Stephano before him; Caliban, Trinculo and Stephano enter, all wet. Prospero distracts Stephano

and Trinculo from their plot to kill him with glamorous clothes. Caliban is appalled at their behaviour.

Caliban, Trinulo and Stephano are then chased off the stage by sprits in the shape of dogs and hounds, organised by Prospero.

ACT FIVE, SCENE ONE Before Prospero’s cell; Enter Ariel and Prospero. Ariel tells Prospero that the royal party are still

bewitched and encourages him to have pity on them; Prospero orders their release. Ariel exits; Prospero speaks to the audience about his intention to give up magic; Ariel re-enters, leading in King Alonso, Gonzalo, Sebastian, Antonio,

Adrian and Francisco. Prospero lifts the magic spell; Prospero changes from his magical robes to his Duke’s apparel; Ariel sings joyfully of his approaching freedom; Prospero forgives the royal party;

Prospero then reveals Miranda and Ferdinand playing chess. Ferdinand introduces Miranda and Alonso welcomes her;

Ariel enters with the Shipmaster and Boatswain. The Boatswain says that the ship is miraculously undamaged;

Ariel exits and then re-enters with Caliban, Stephano and Trinculo. Caliban apologises and exits;

Prospero invites the others to hear the story of his life; Prospero frees Ariel.

EPILOGUE Prospero tells the audience that he has given up his magical powers and

therefore needs the audience’s encouragement (applause) if he is to return to Naples.

MINI SCENES

KEY PIECE OF VOCABULARY: USURP

1. Divide the class into five, and give each group two scenes each (see attached)

2. Ask them to come up with a frozen picture (tableau) for each scene

3. Show them around the class

4. Now ask them to come up with a silent film version for each of their scenes, with a freeze frame at the end.

5. Show them around the class

SCENE ONEA boat carrying the King Alonso and the Duke of Milan (Antonio) is caught in a storm.

SCENE TWOProspero tells his daughter the story of how he was usurped by his brother Antonio, and how they came to be on the island.

SCENE THREEProspero and Ariel discuss the storm.

SCENE FOURCaliban is introduced.

SCENE FIVEMiranda and Ferdinand meet and fall in love.

SCENE SIXKing Alonso mourns the loss of his son Ferdinand, unaware of Sebastian and Antonio’s plot to kill him.

SCENE SEVENStephano, Trinculo and Caliban meet and drink alcohol. They plot to overthrow Prospero.

SCENE EIGHTProspero bewitches the royal party with a magical banquet and Ariel accuses them of usurping Prospero.

SCENE NINEProspero gives Ferdinand Miranda’s hand in marriage. Prospero creates a magical vision in celebration.

SCENE TENProspero and Ariel trick the drunken Caliban, Stephano and Trinculo with a magical washing line and then set spirits in the form of hounds after them.

SCENE ELEVENProspero brings everyone together and presents himself. He forgives his enemies, Antonio and Alonso.

SCENE TWELVEProspero presents Ferdinand and Miranda, much to Alonso’s joy.

SCENE THIRTEENStephano and Trinculo (with bad hangovers) cowardly describe their torments. Caliban repents.

SCENE FOURTEENProspero invites the others into his cell to hear the story of his life before they all return to Italy.

SCENE FIFTEENProspero invites the audience to release him with their applause.

WEEK THREE – READING “THE TEMPEST”

TASK: Reading “The Tempest”- Act 1 Scene 2 Examine stereotypical characters and then explore the behaviour of Prospero, Miranda, Ariel, Ferdinand and Caliban, finding suitable quotations.

PROCESS:

Obviously there is no “right” way to read the play! However, there are some suggested, scene by scene activities listed below. All resources are attached.

Act One, Scene Two

Examine stereotypical characters (this can be done as a drama activity).Ask students to improvise the following individually or in pairs:

Pet owner to a dog Son to his mother A small child Train conductor Newsreader Doorman / bouncer Teacher to a student A toddler and mother Boy to a group of friends

After reading Act One, Scene Two, explore the behaviour of Prospero, Miranda, Ariel, Ferdinand and Caliban, finding suitable quotations. How typical are they of a controlling father, innocent daughter, Spirit, young man and “beast”?

Exploring parent / child relationships in more detailAgain, this is a drama-based activity which requires a large desk free space.

Students are to work in pairs. One is the parent and the other a child. The parent and child should walk around the space together initially. The child should then become distracted by something in the space and walk off towards it.The parent should then calmly call the child by name ONCE. The child should return to the parent.Repeat this three times.

The parent and child should then resume their walk. Again, the child should become distracted and walk away from the parent. The parents should again call the child’s name, but this time the child should not go to the parent. The parent should call then child’s name THREE times (becoming increasingly irritated) before the child returns to the parent. Repeat this three times.

Parents and children should then discuss how the exercise made them feel. Partners should then swap roles and repeat the exercise.

Make the point that parent / child relationships are very powerful in “The Tempest”, eg. Prospero and Miranda, Prospero and Ariel, Prospero and Caliban, Alonso and Ferdinand.

WEEK FOUR – READING “THE TEMPEST”

KEY VOCABULARY:Hyperbole, Utopia, Dystopia

TASKS: Reading “The Tempest” – Act TwoWriting to imagine, explore, entertain - students should describe their own utopias or dystopias;Writing to argue, persuade, advise – students to use techniques to write persuasively on a number of topics;Analyse Caliban’s soliloquy at the start of the scene; Storyboard the entrance of Trinculo and Stephano and show how it contrasts with the mood of Caliban’s opening soliloquy.

PROCESS:

Act Two, Scene One - Brave New World!Explain that many writers use the metaphor of an island for investigating society and how it is constructed, organised and governed. Well known examples include Treasure Island, Lord of the Flies and the TV series Lost.

Explain the meaning of utopia and point out that writers often investigate this idea, including how utopias go wrong (dystopias). Huxley’s Brave New World explores the idea of a dystopia, using Miranda’s words from The Tempest as its title.

Gonzalo’s utopiaExplore Gonzalo’s utopia in Act 2, Scene 1, explaining what he would do if he were in chare of the island.

Writing to imagine, explore, entertainStudents should describe their own utopias or dystopias.

Writing to argue, persuade, adviseAsk students, “how do you persuade someone to do something for you?” To help them think, you could give them the scenario of persuading an older sister to do their English homework. Draw out the techniques suggested and list them, eg. flattery, threats, rewards. In pairs, students should use the appropriate persuasive behaviour to act out the following ideas:

Persuade your parents to let you have a party Persuade you friend to ask someone out Persuade your teacher to let you off homework Persuade your brother / sister to do the washing up when it’s your turn.

Remind students that in Act Two, Scene One, Antonio is persuading Sebastian to kill his brother, Alonso. Explain that Antonio uses persuasive techniques to convince Sebastian. Students should then identify when Antonio uses the following techniques, finding quotations to support their points:

Appealing to his ambition Boosting his confidence Flattery Describing the future Using hyperbole Ridiculing others

Act Two, Scene TwoConsider Caliban’s soliloquy at the start of the scene (this could be photocopied for students to annotate).How does he feel about Prospero at this early stage in the play?

You also may wish to storyboard part of this scene to show how the entrance of Trinculo and Stephano contrasts with the mood of Caliban’s opening soliloquy.

WEEK FIVE – READING “THE TEMPEST”

KEY VOCABULARY:SoliloquyAntithesisHarpy

TASKS: Reading Act ThreeScene One: Contrasting Language - consider Ferdinand’s opening soliloquy and explore the use of oppositions or antithesis;Scene Two: Essay - directorial response to the drunkards;Scene Three: Writing to imagine, explore, entertain. Students should imagine themselves as Gonzalo. He has returned to Milan and is recounting the events on the island for the benefit of a friend. Students should write a script of his monologue for the events of Act 3, Scene 3.

PROCESS:

Act Three, Scene OneIn pairs, students should consider the question, “Do you believe in love at first sight?” They should give reasons for their answers. As a class, explore the potential advantages and disadvantages.

Contrasting LanguageConsider Ferdinand’s opening soliloquy in Act Three, Scene One and explore the use of oppositions or antithesis. You may wish to photocopy this extract for students to annotate.

Young LoveIn pairs, students should find quotations to illustrate Miranda and Ferdinand’s feelings for each other. In each pair, one student should find quotations for Miranda and the other for Ferdinand. Once suitable quotations for each character have been found, students should then summarise the reasons their character gives for those feelings.

Act Three, Scene TwoDiscuss how an actor can show the audience that his or her character is drunk. List suggestions on the board. Explain to students that they are sometimes asked to direct a scene or the way a character should act as part of their SATSs exam. Explain that in order to do this they have to show a detailed understanding of Shakespeare’s characters and language. Examine Act Three, Scene Two and consider how the lines are spoken, the mood of the characters and how their voices, action or movements will show this, and which words need to be emphasised.

Students should consider the following checklist of things to note when directing: How is the line spoken? Who is being spoken to? What mood is the character in and how will the actor’s voice, action or

movement show this? What words need to be emphasised and in what way?

Annotate an extract of the scene and work in groups of four to present it.

Remind students that when writing up their responses, they need to use PEE. For example, Caliban should spit out his words unpleasantly when he calls Prospero a “tyrant” and “sorcerer” as this will show how much he hates his master.

Essay: How would you direct Act Three, Scene Two to show Caliban’s growing determination and frustration with Trinculo?

Act Three, Scene ThreeIn this scene, Ariel appears to the island visitors as a harpy. Write on the board the following description of a harpy and then ask students to produce a quick sketch:

A harpy is a creature from Greek mythology. They were ugly, evil and bad-tempered, with the head and body of a woman and the tail, wings and claws of a bird. These horrible creatures were usually associated with wind, ghosts and the underworld.

Reading Ariel’s speech as a harpy and consider how a harpy would speak, thinking about pitch, tone, sound and volume. They could practise reading the speech in their harpy voices.

Writing to imagine, explore, entertain:

Students should imagine themselves as Gonzalo. He has returned to Milan and is recounting the events on the island for the benefit of a friend. Students should write a script of his monologue. Ensure students include an account of Alonso’s mood, the banquet and mysterious spirits, the harpy and your reaction to events at the end of the scene. This activity could be extended to include other characters recounting their feelings.

WEEK SIX – READING “THE TEMPEST”

KEY PIECE OF VOCABULARY:Juxtapose

TASK: Consider Shakespeare’s use of language, stage directions and characterisation in Act Four, Scene One.

PROCESS:

Act Four, Scene One is full of romance, drama and humour. Consider the following list of events and decide who is involved in each situation:

One character is pleased about an impending marriage; Two people get very drunk; A plan for a murder goes wrong; Three people fall into a stinking pond; A character becomes angry when reminded of something; Someone is distracted from a task by some beautiful clothes; Some magic is performed; A pack of dogs chases more than one character away; One character has a heart-to-heart talk with another character; One character believe another will make a great leader.

Students should then consider the following questions about the scene:

How has Shakespeare made the first part of the scene pleasant / beautiful / magical?

How has Shakespeare made the second part of the scene unpleasant / vulgar / repulsive?

Why has Shakespeare juxtaposed these two halves rather than separating them into two scenes?

WEEK SEVEN – READING “THE TEMPEST”

TASK: Act Five, Scene OneRevise the main characters and actions to revise events in the play;Students should write a response to this scene, considering if they are surprised by the ending of the play and consider how Prospero’s power changes as the play progresses.

PROCESS:

Revise the main characters and actions to revise events in the play so far.Explain to students that in this last scene, all action of the play is seemingly resolved. Prospero draws the group together, reveals himself as being the true Duke of Milan and speaks to each character about what they have done to him.

In pairs, students should use the attached resource to identify which of Prospero’s speeches is intended for which character. Prompt students to look for clues such as what Prospero calls the person, whether he refers to their actions and what he says he will do to them now. Once students have finished, take feedback and discuss ideas as a class.

Now read the scene.Students to write a response to this scene, considering if they are surprised by the ending of the play, using the following questions:

Does Prospero behave in a way they were expecting or is he much more forgiving? Is everything resolved? Are Antonio and Sebastian likely to change and become virtuous? What will happen once everyone is back in Italy?

The Ups and Downs of Prospero’s life:Use the time line to show how Prospero’s power changes as the play progresses.

Focus on iambic pentameter:Use Prospero’s speech from Act 5, Scene 1 (lines 38-62) scrabbled (attached). Students should insert line breaks based on their knowledge of iambic pentameter.

Time

Weak

Strong

PROSPERO’S SPEECHES IN ACT FIVE SCENE ONE

Read all of Prospero’s speeches below and decide which one he says to which character. Note that he doesn’t say something to everyone, and to some characters he says more than just one thing!

1. Behold, sir king,The wronged Duke of Milan, Prospero.For more assurance that a living princeDoes now speak to thee, I embrace thy body;And to thee and thy company I bidA hearty welcome

2. But you, my brace of lords, were I so minded,I here could pluck his highness’ frownUpon youAnd justify you traitors. At this timeI will tell no tales.

3. There, sir, stop.Let us not burden our remembrances withA heaviness that’s gone.

4. Go, sirrah, to my cell;Take with you your companions. As you lookTo have my pardon, trim it handsomely.

5. First, noble friend,Let me embrace thine age, whose honour cannotBe measured or confined.

6. No.For you, most wicked sir, whom to call brotherWould even infect my mouth, I do forgiveThy rankest fault – all of them …

7. Sir, my liege,Do not infest my mind with beating on The strangeness of this business. At picked leisure,Which shall be shortly single, I’ll resolve you,Which to you shall seem probable, of everyThese happened accidents. Till when, be cheerfulAnd think of each thing well.

8. That is thy charge. Then to the elementsBe free, and fare thou well!

PROSPERO’S SPEECH IN ACT FIVE, SCENE ONE – SCRABBLED!

Mark in where you think the line breaks should fall then check your version against a copy of the play:

Ye elves of hills, brooks, standing lakes, and groves, and ye that on the

sands with printless foot do chase the ebbing Neptune, and do fly him

when he comes back; you demi puppets, that by moonshine do the green

sour ringlets make, whereof the ewe not bites; and you, whose pastime is

to make midnight mushrooms, that rejoice to hear the solemn curfew; by

whose aid – weak masters though ye be – I have bedimmed the noontide

sun, called forth the mutinous winds, and ‘twixt the green sea and the

azured vault set roaring war. To the dread rattling thunder have I given

fire, and rifted Jove’s stout oak with his own bolt; the strong-based

promontory have I made shake, and by the spurs plucked up the pine and

cedar; graves at my command have waked their sleepers, oped, and let

‘em forth by my so potent art. But this rough magic I here abjure. And

when I have required some heavenly music – which even now I do – to

work mine end upon their senses that this airy charm is for, I’ll break my

staff, bury it certain fathoms in the earth, and deeper than did ever

plummet sound I’ll drown my book.

Students should also consider how Propsero’s speech breaks into sections. Students should work in pairs to decide whether the scene breaks into four, five or six sections and where these breaks are (there is no “right” answer, but discussions should promote a debate on the meaning of Prospero’s lines).

WEEK EIGHT/NINE – CHARACTER STUDIES

TASK: Consider how Shakespeare presents the main characters in “The Tempest”.

PROCESS:

Prospero

Write ROSE PROP on board (suggest strength?) and examine word root of his name – look up prsper and prosperous in dictionary. Acrostic of his name, eg. Proud, Ruler, Overbearing. Students could write an essay: Is Prospero the strong, successful character his name suggests? Use PEE.They should include points such as Prospero as a strong and successful character, with his use of magic, control of Ariel and Caliban and the imprisonment of Ferdinand. Equally, they could consider Prospero as unsuccessful because he has to rely on magic for his power, his cruelty and his inability to control Miranda’s love for Ferdinand.

Ariel

Examine quotations from Prospero about Ariel, eg. “chick”, “brave spirit”, “my delicate”, “my dainty”. Discuss if these names give any indication of Ariel’s character or what Ariel looks like. Examine images of Ariel and see following websites:http://www.english.emory.edu/classes/Shakespeare_illustrated/Tempestpaintings.htmlhttp://library.wustl.edu/units/spec/exhibits/enchant/tempest.htmlhttp://absoluteshakespeare.com/pictures/tempest/htmhttp://www.tate.org.uk/servlet/ViewWork?workid=13439&searchid=14423http://www.english.emory.edu/classes/Shakespeare_illustrated/Fuseli.Ariel.htmlAlso see www.google.co.uk images.

ArielWriting to explore, imagine, entertain:Students could write a mini-autobiography for Ariel, including as much information from the play as possible, including how Ariel feels about particular issues – is he grateful to Prospero or angry at him? Consider whether Ariel was on the island in the first place and what Ariel did before Sycorax came. Focus on Act 1 Scene 2, lines 303 to 353. How does Ariel feel about Sycroax and Prospero? What do you think Ariel will do after the events in the play are over?Students should also draw Ariel as they imagine him.

CalibanAsk students to consider if he is a man or a monster. Use the following quotations about Caliban:“Thou earth”, “poisonous slave”, “got (fathered) by the devil himself”, “filth”, “hag-seed”, “tortoise”, “man or a fish”, “a most scurvy monster”, “a moon-calf”, “abhorred (hated) slave from a vile race”. Now use these quotations to help students to draw and label Caliban. They should then consider how to give an actor advice about playing the part. Consider:

How should Caliban stand and move around the stage?What gestures and facial expression should he use?

How should Caliban speak? Will he adopt a bitter, angry or sad tone of voice? Will he speak loudly or mutter quietly?Will Caliban’s posture, gestures, facial expression and manner of speaking change during the play?

Discuss if Prospero admits at least some responsibility for Caliban’s behaviour when he says, “…this thing of darkness, I / Acknowledge mine …”

Students should now gather information / evidence about Caliban, considering the following:

1. Find evidence that Caliban has been badly treated by Prospero and Miranda in the past (cruelty can be physical and psychological). Focus on Act 1, Scene 2;

2. Find evidence that Prospero has stolen the island from Caliban. (Act 1 Scene 2; Act 3 Scene 2);

3. Find evidence that Caliban loves the island. (Act 1 Scene 2; Act 3 Scene 2);

4. Find evidence that Caliban is abusive towards Prospero and Miranda and wants to harm them. (Act 1 Scene 2, and Act 2 Scene 2);

5. Find evidence that Caliban plots to murder Prospero and encourages Stephano and Trinculo to help him carry out the murder. (Act 3 Scene 2);

6. Find evidence that Caliban attempts to take the island from Prospero to allow Stephano to rule. (Act 3 Scene 2).

WEEK TEN / ELEVEN – EXPLORATION OF THEMES AND IMAGES

TASK: EXPLORATION OF THEMES, CHARACTERS AND LANGUAGE.

PROCESS:

Sonnet in a Bottle – writing to imagine, explore, entertain:Each students chooses one character to focus on. They must put themselves in the shoes of their character and imagine that they have been given a quill pen, paper and a bottle with a cork in order to write a message in a bottle for their character. They may write about who they are, what has happened to them, their ambitions and disappointments, etc. They must write in the first person. Challenge students to write their message as a sonnet. Model the activity on the board first. For example, Miranda’s sonnet might start:Borne across the waves twelve long years agoMy father’s dukedome never since I’ve seen;Now winds across the seas our ship will blowAnd I shall there return and reign as queen.This activity provides rich scope for wall displays.

Love in the play – writing to analyse, review, comment:Students should consider as many different kinds of love as they can, eg. self love, platonic love, romantic love and the love of power. Find examples of each kind of love in the play, writing quotations underneath each type of love. Students to consider which type of love is most important in “The Tempest”.

Magic in the play – writing to analyse, review, comment:Explain that most, if not all, of the characters in the play undergo a “sea-change” and are forever altered by the events following the tempest. The tempest itself is the first magical act of the play, but certainly not the last and it is perhaps magic that results in the largest and most noticeable changes in the characters.

Essay: How is magic used in “The Tempest”?

Also consider Caliban’s words about Prospero, “First to possess his books; for without them / He’s but a sot …” (Act 3, Scene 2, lines 79-80). What does Caliban mean by this? Do you think this is an accurate portrayal of Prospero? Does Prospero ever use magic in a bad way? What could Prospero have done to get his Dukedom back had he not used magic?

Enslavement in the play:

Does Shakespeare present enslavement as a positive or negative concept in “The Tempest”? Consider how the following characters experience some kind of enslavement:Prospero; Caliban; Alonso; Miranda; Ariel; Ferdinand.Ask students to think about Prospero’s position on the island, his treatment of Ariel and Ariel’s freedom at the end of the play. Also consider how Alonso becomes remorseful about his treatment of Prospero while on the island and how slavery can keep innocent people safe.

Language techniques in The Tempest

Consider the use of the following techniques in “The Tempest”:

Alliteration, onomatopoeia, repetition of key words, balanced phrases, exaggeration, emotive language, dramatic words or phrases, use of imagery, groups of three, pronouns to involve the audience, exclamations and questions.More able students should be able to identify examples of each device in the play.

Imagery and patterns of language

Start with Prospero’s metaphor, “he was / the ivy which had hid my princely trunk, / And sucked my verdure out on’t” which he uses to describe how his brother, Antonio, ursurped him. Students could also draw a sketch to illustrate this image.

Students should then find other examples of similes and metaphors in the play and explore their meaning. Examples are listed below:

I’ll warrant him from drowning; though the ship were no stronger than a nutshell and as leaky as an unstanched wench.

He receives comfort like cold porridge.

They’ll take suggestion as a cat laps milk.

The truth you speak doth lack some gentlenessAnd time to speak it in; you rub the sore,When you should bring the plaster.

His tears run down his beard, like winter’s dropsFrom eaves of reeds.

Songs in The Tempest

Identify the different songs used in “The Tempest” in the following scenes:

Act 1, Scene 2 Act 2, Scene 1 Act 2, Scene 2 Act 4, Scene 1 Act 5, Scene 1

What is the importance of music in “The Tempest”?

Sea-changes

Who changes the most and who changes the least in the play? Consider Miranda, Prospero, Alonso, Ariel, Antonio, Ferdinand, Sebastian and Caliban.

Reporting the news:

Examine the following main events in the play. Students should select the five most important events. In making their decision, students should take into account the dramatic impact of the events, their effect on the plot and their effect on the characters:

1. The king and the royal party are caught in a storm2. Ferdinand is led to Prospero and Miranda3. Caliban tries to rape Miranda4. Ferdinand and Miranda fall in love5. Prospero has an opportunity to get off the island6. Antonio persuades Sebastian to murder Alonso7. Caliban persuades Stephano and Trinculo to murder Prospero8. Gonzalo is a loyal old man9. Prospero pretends to disapprove of Ferdinand and Miranda’s love, but he

secretly approves10. Antonio’s daughter has just got married11. Ariel prevents Caliban, Trinculo and Stephano from murdering Prospero12. Ariel prevents Antonio and Sebastian from murdering Alonso13. All the sailors on board the ship are kept safe and the boat is sea-worthy at

the end of the play14. Prospero forgives the king for his part in his banishment15. Ferdinand and Miranda intend to get married16. Prospero returns to Milan to be Duke again17. Prospero surrenders his magic

In groups of two or three, students should then imagine they are part of a TV news channel, bringing important stories and updates to viewers as they happen. Each group is a news team and is in competition with every other team to bring the most relevant, interesting and insightful news reports to the viewers. Each group will need to give the “bare bones” of the top stories on the island and work out how to present them to make the most impact. Remind students that they need to imagine that they do not know what will happen next – this news is unfolding as they are working.

Individually, students could write a newspaper article about the most important event.

WEEK TWELVE – TIMED ESSAY ON THE SET SCENES (ONE HOUR)

TASK: Consider how Prospero changes his attitude to others in the play. How would you direct the two extracts from Act 1 Scene 2 and Act Five Scene 1 to show these changes?

KEY OBJECTIVES:3. produce formal essays in standard English within a specified time, writing

fluently and legibly and maintaining technical accuracy when writing at speed;13. develop and compare different interpretations of scenes or plays by

Shakespeare;

PROCESS:Prepare students carefully for this activity by planning and discussing the essay in class before they write up their responses, under timed conditions.

Consider how Prospero’s language shows he is ready to give up magic and forgive the characters who have wronged him?

Points to consider:In Act 1, Scene 2, Prospero checks Ariel’s work on the tempest and is affectionate towards him. However, his close attention to detail is also very demanding. Note that Prospero gives Ariel very little praise and encourages Ariel to do even more work, checking time, etc. Prospero also responds without sympathy to Ariel’s request for freedom – notes how the speeches become shorter and more hostile, reminding Ariel the way he has freed him from Sycorax’s captivity, accusing him of ingratitude and longer speeches paint detailed pictures of the past, ending by threatening Ariel with imprisonment and ordering him to do more work.

Prospero’s words to Caliban are also harsh with a great deal of insults and orders.

In Act 5, Scene 1, Prospero has achieved the results he wished from the tempest described in Act 1, Scene 2 – a more relaxed, seemingly older man, despite the fact only four hours have passed (it is now 6 o’clock). He asks for update on King and followers since he raised the tempest – they are weary and totally under his control – powerful magic. Prospero orders Ariel to release them and his long soliloquy addresses magical elements, before abandoning his powers, “I’ll drown my book.”

The length of his address to Gonzalo, Alonso, Ariel, Sebastian, Antonio, Adrian and Francisco, who are now in front of his cell, underlines Prospero’s power – they are still under his spell. He forgives them all and orders Ariel to get his hat and sword and promises his freedom. Ariel sings a song of summer happiness while Prospero removes his magic cloak and gives Ariel his freedom and reveals that the ship is ready to sail away from the island. As the characters come out of the spell, Prospero forgives them.

ADDITIONAL DRAMA ACTIVITIES

ACT ONE SCENE ONE – POWER

Discuss revenge in general. What makes people seek revenge? How do they get it?In groups of 4 or 5, students should devise a scene in which a person seeks revenge for a betrayal. How do they get revenge?

Students should then imagine that the person seeking revenge has developed magical powers. How might this affect their revenge?Ask students to discuss how people feel when they get revenge on someone. Does it satisfy them? How might this link with “The Tempest”?

ACT ONE SCENE ONE – THE STORM

In groups of 6 or 7, students should devise a scene in which a ship is caught in a storm. They should use mime and dialogue to show panic and fear in language and physical actions. Students should think carefully about how to end the scene effectively.The scene could be set to music or sound effects.

ACT ONE SCENE TWO – MIRANDA

Discuss with the class how Miranda is very naïve and has a very limited knowledge of humanity. Students should then imagine that aliens have landed in their town and have to have everything explained to them, including the complex ways humans interact. In groups of 6, students should devise a scene in which the aliens are confused by how people act towards each other on Earth and the human “tour guides” have to explain what is really happening. They should try to build up a sense of mystery for the audience before the scene is explained.

Discuss with the class how human behaviour is sometimes odd, confusing or cruel, and what might cause such behaviour.

ACT THREE SCENE TWO – COMEDY

Remind students how, in this scene, Caliban has been drinking with Trinculo and Stephano and is boasting to them while Ariel makes himself invisible and taunts Caliban by calling him a liar.In groups of 5, students should devise a modern scene which shows one person bragging in order to impress a group of people. Perhaps this bragging is fuelled by alcohol. The fifth person is an invisible “voice” who taunts the speaker. It is up to the group to decide how the “voice” is connected to the bragger and whether the other characters can hear it. This scene could be used to explore comic timing.

ACT FIVE SCENE ONE – PROSPERO’S EPILOGUE

Give students photocopies of Prospero’s soliloquy. Read and discuss this speech. Ask students how this might be presented using dramatic devices to help explain its meaning to a group of younger students.

In groups of 3 or 4, students should prepare, learn and present this epilogue in an interesting yet explanatory way.

EXTENSION ACTIVITIES

Students to show how Prospero was usurped;Show through drama how a teenage Miranda might rebel against her controlling father;Fast-forward in time to show what becomes of the main characters five years later;Imagine Ariel, Caliban, Prospero and Miranda have been invited to appear on a TV chat show (Jerry Springer?). Devise a scene to show what might happen!