1. art and entertainment
2. theatre

S H A K E S P E A R I E N C E
2604 Foothill Boulevard
La Crescenta CA 91214
818-957-1619
818-248-2473 (f)
Dear Educator,
Enclosed, please find the Study Packet and Supplementary Materials for Shakespearience, designed to
enhance your classroom curriculum. Each Study Packet contains a series of teaching materials which,
when used in conjunction with the theatrical performance, provides the student with the most
comprehensive and exciting theatrical experience possible. These study materials are modular in design
and do not need to be used in sequence or together. As such, you may choose to use all of the materials
or just the ones necessary to supplement your existing curriculum.
LESSON PLANS: In Section One of the Study Packet, lesson plans have been provided for use
prior to the performance. The lesson plans are divided into four units: Shakespeare’s Life,
Elizabethan Theatre and Performing Shakespeare (Parts 1 and 2.) Each of the units should fill
one 45-50 minute class and have student handouts to accompany them. All of the lesson plans
identify which Content Standards are addressed in the unit and as such, completely satisfy the
requirements of the California State Board of Education. Because there are different Content
Standards for each grade, you must be careful to use the Lesson Plans for the grade you are
teaching – we have provided you with all of the Lesson Plans since many of you teach multiple
grades. At the top of each Lesson Plan, you will find the grade level for which that unit has been
prepared.
HANDOUTS: In Section Two, we have provided you with Handouts to be used with the Lesson
Plans. These Handouts address the same areas as the Lesson Plans (Shakespeare’s Life,
Elizabethan Theatre and Performing Shakespeare) and come with a Teacher’s Edition of each
Handout complete with additional information and sample discussion questions.
WORKSHEETS: In Section Three, a variety of Worksheets have been provided to supplement
the Lesson Plans. The first two Worksheets will help prepare the students for Shakespearience
while reinforcing key elements in the Lesson Plans. Answers for the first worksheet have been
provided (the second worksheet is an art activity.) In addition, you’ll find a Vocabulary list of
twenty words used in the show and Summary Handouts which contain a brief summary of each
scene presented in Shakespearience to help familiarize the students with the material before the
performance.
REVIEW MATERIALS: In Section Four, several different Review Materials have been provided
for use after attending the Shakespearience performance. These include a short true/false quiz,
two sample essay prompts and a Scantron-ready exam complete with multiple choice, true/false,
matching and fill-in-the-blank questions.
SUPPLEMENTARY MATERIALS: Section Five contains various “extras” to help you in
organizing your curriculum and field trip. Included are sample parent permission forms, a guide
to internet resources on Shakespeare, a field trip timeline, and a list of possible sources for field
trip funding. Of particular importance is the Evaluation Form on which we rely to make changes
and improvements.
Should you have any questions, please do not hesitate to call us at the Shakespearience office at
818-957-1619. Break a leg!
SHAKESPEARIENCE
LESSON PLANS
th
th
11 and 12 Grades
Shakespeare’s Life
Shakespeare Lesson Plan #1
Shakespearience Study Materials – Eleventh and Twelfth Grade
LESSON PLAN OBJECTIVES:
1.
2.
3.
Establish a time frame for Shakespeare’s life.
Provide a summary of significant events and important dates in Shakespeare’s life.
Outline his growth as an actor and a playwright.
ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:
1.
2.
Word Analysis, Fluency, Systemic Vocabulary Development (Sec. 1.0, pg. 66)
a.
Students will apply knowledge of roots and affixes to draw inferences concerning
the meaning of new words. (Sec. 1.1, pg. 66)
Comprehension and Analysis of Grade-Level-Appropriate Text. (Sec. 2.0, pg. 66)
a.
Students will analyze the way in which clarity of meaning is affected by the
patterns of organization, repetition of main ideas and word choice in the text.
(Sec. 2.2, pg. 66)
b.
Students will make warranted and reasonable assertions about the author’s
arguments by using elements of the text to defend and clarify interpretations.
(Sec. 2.4, pg. 67)
RESOURCES AND MATERIALS NEEDED:
1.
2.
Shakespearience Student Handout #1 entitled “Shakespeare’s Life.”
TEACHER’S EDITION of Shakespearience Student Handout #1.
TEACHER PREPARATION:
1.
Have a copy of Shakespearience Student Handout #1 made for each of the students.
PROCEDURE:
1.
2.
3.
4.
5.
6.
Begin by having the students take turns reading the handout out loud. Select a new
student to read every two or three sentences.
Pause frequently to ask the students questions on what was just read. Use your
TEACHER’S EDITION of the handout for ideas on questions.
When you’ve finished reading the handout, have the students fill out the timeline on the
right side of their handout by reading each date out loud to them.
When finished, give the students five to ten minutes to break into groups and look over
their handout before giving a quick, impromptu quiz on the material. Ask five short and
simple questions from the material. Ideally, the quiz would only be five questions long
and true/false in nature.
Have the students exchange and grade quizzes. If you wish, you may collect them.
Finally, have the students prepare a brief essay analyzing the handout they just read. Is
the author’s argument as evidenced by the tone and structure of the text supported by
the evidence? Why or why not?
This Lesson Plan is to be used in conjunction with Shakespearience Student Handout #1 entitled “Shakespeare’s Life.”
Elizabethan Theatre
Shakespeare Lesson Plan #2
Shakespearience Study Materials – Eleventh and Twelfth Grade
LESSON PLAN OBJECTIVES:
1.
2.
Distinguish between Elizabethan theatre and the theatre of today.
Outline the social, economic and political events in England surrounding Shakespeare’s
life.
ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:
1.
2.
Word Analysis, Fluency, Systemic Vocabulary Development (Sec. 1.0, pg. 66)
a.
Students will apply knowledge of roots and affixes to draw inferences concerning
the meaning of new words. (Sec. 1.1, pg. 66)
Comprehension and Analysis of Grade-Level-Appropriate Text. (Sec. 2.0, pg. 66)
a.
Students will analyze the way in which clarity of meaning is affected by the
patterns of organization, repetition of main ideas and word choice in the text.
(Sec. 2.2, pg. 66)
b.
Students will make warranted and reasonable assertions about the author’s
arguments by using elements of the text to defend and clarify interpretations.
(Sec. 2.4, pg. 67)
RESOURCES AND MATERIALS NEEDED:
1.
2.
Shakespearience Student Handout #2 entitled “Elizabethan Theatre.”
TEACHER’S EDITION of Shakespearience Student Handout #2 entitled “Elizabethan
Theatre.”
TEACHER PREPARATION:
1.
Make copies of Shakespearience Student Handout #2 for the students.
PROCEDURE:
1.
2.
3.
4.
Begin by having the students take turns reading the handout out loud. Use your
TEACHER’S EDITION of the handout to prompt when the next student should begin
reading.
Pause frequently to ask the students questions on what was just read. Use your
TEACHER’S EDITION of the handout for ideas on questions.
When you’ve finished reading the handout, have the students fill out the timeline on the
right side of their handout by reading each date out loud to them.
For the remainder of the class, have the students write a brief, three-paragraph
composition explaining the difference between a live theatre during Shakespeare’s time
and a movie theatre of our time. Make sure the students focus on one central idea or
topic in their first paragraph and then use specific examples in the second paragraph to
support their theme. Their third paragraph should summarize or restate their main idea.
Make sure the student’s make warranted and reasonable assertions based the
information in the handout and use the author’s evidence as the foundation for their
comparison of an Elizabethan theatre and a contemporary movie theatre.
This Lesson Plan is to be used in conjunction with Shakespearience Student Handout #2 entitled “Elizabethan Theatre”.
Performing Shakespeare
Shakespeare Lesson Plan #3
Shakespearience Study Materials - Eleventh and Twelfth Grade
LESSON PLAN OBJECTIVES:
1.
2.
3.
Distinguish between Shakespeare as literature and drama.
Identify the basic poetic structure in blank verse and compare it to prose.
Outline Shakespeare’s contributions to the English language in the way of vocabulary
and literary works.
ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:
1.
2.
3.
4.
Word Analysis, Fluency, Systemic Vocabulary Development (Sec. 1.0, pg. 66)
a.
Students will apply knowledge of roots and affixes to draw inferences concerning
the meaning of new words. (Sec. 1.1, pg. 66)
Comprehension and Analysis of Grade-Level-Appropriate Text. (Sec. 2.0, pg. 66)
a.
Students will analyze the way in which clarity of meaning is affected by the
patterns of organization, repetition of main ideas and word choice in the text.
(Sec. 2.2, pg. 66)
b.
Students will make warranted and reasonable assertions about the author’s
arguments by using elements of the text to defend and clarify interpretations.
(Sec. 2.4, pg. 67)
Narrative Analysis of Grade-Level-Appropriate Text
a.
Students will analyze the way in which the author’s style is used to achieve
specific aesthetic purposes (prose = fool, poetry = intellectual elite) (Sec. 3.3, pg.
67)
Write Reflective Compositions
a.
Students will explore using personal experiences, events and/or conditions to
illustrate the author’s intent. (Sec, 2.3, a-c, pg. 70)
RESOURCES AND MATERIALS NEEDED:
1.
2.
Shakespearience Student Handout #3 entitled “Performing Shakespeare.”
TEACHER’S EDITION of Shakespearience Student Handout #3.
TEACHER PREPARATION:
1.
Have a copy of Shakespearience Student Handout #3 made for each of the students.
PROCEDURE:
1.
2.
3.
4.
Begin by having the students take turns reading the handout out loud. Select a new
student to read every two or three sentences.
Pause frequently to ask the students questions on what was just read. Use your
TEACHER’S EDITION of the handout for ideas on questions.
When you’ve finished reading the handout, have the students do the Creative Thinking
exercise outlined in the bottom left hand margin of their handout.
Finally, have the students compose a brief multi-paragraph essay on why they think that
Shakespeare chose blank verse for characters of great intellect and prose for “the fool”.
Remind the students that although this is a “persuasive opinion” essay, they still must
support their argument with evidence drawn from either their own experiences or other
outside sources.
This Lesson Plan is to be used with Shakespearience Student Handout #3 entitled “Performing Shakespeare.”
Performing Shakespeare
Shakespeare Lesson Plan #4
Shakespearience Study Materials - Eleventh and Twelfth Grade
LESSON PLAN OBJECTIVES:
1.
2.
3.
Identify the basic poetic devices inherent in Shakespeare’s text.
Discuss the dramatic applications of Shakespeare’s poetry.
Examine Shakespeare’s own thoughts on drama.
ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:
1.
2.
3.
Word Analysis, Fluency, Systemic Vocabulary Development (Sec. 1.0, pg. 66)
a.
Students will apply knowledge of roots and affixes to draw inferences concerning
the meaning of new words. (Sec. 1.1, pg. 66)
Comprehension and Analysis of Grade-Level-Appropriate Text. (Sec. 2.0, pg. 66)
a.
Students will analyze the way in which clarity of meaning is affected by the
patterns of organization, repetition of main ideas and word choice in the text.
(Sec. 2.2, pg. 66)
b.
Students will make warranted and reasonable assertions about the author’s
arguments by using elements of the text to defend and clarify interpretations.
(Sec. 2.4, pg. 67)
Narrative Analysis of Grade-Level-Appropriate Text
a.
Students will analyze the way in which the author’s style is used to achieve
specific aesthetic purposes (prose = fool, poetry = intellectual elite) (Sec. 3.3, pg.
67)
b.
Students will analyze the in which poets use imagery, personification, etc. to
evoke readers’ emotions (Sec. 3.4, pg. 67)
RESOURCES AND MATERIALS NEEDED:
1.
2.
Shakespearience Student Handout #4 entitled “Performing Shakespeare.”
TEACHER’S EDITION of Shakespearience Student Handout #4.
TEACHER PREPARATION:
1.
Have a copy of Shakespearience Student Handout #4 made for each of the students.
PROCEDURE:
1.
2.
3.
4.
Begin by having the students take turns reading the handout out loud. Select a new
student to read every two or three sentences.
Pause frequently to ask the students questions on what was just read. Use your
TEACHER’S EDITION of the handout for ideas on questions.
When you’ve finished reading the handout, have the students fill out the side bar on
Famous Expressions by giving them the appropriate play from your Teacher Edition.
Finally, have the students complete the Poetry Exercises and the Critical Analysis
Exercises on the Handout.
This Lesson Plan is to be used with Shakespearience Student Handout #4 entitled “Performing Shakespeare.”
SHAKESPEARIENCE
HANDOUTS
9TH, 10TH, 11TH, 12TH GRADES
TEACHER’S EDITION
Shakespearience Student Handout #1
Shakespearience 9.10.11.12.1
Sample Discussion Questions:
1. What do you think a “free school”
is?
Answer: A public school at which students learned to read English, Latin
and some Greek. He also probably
learned grammer, logic and rhetoric.
Shakespeare, however, almost certainly did not attend university.
2. How old was Shakespeare when
he married Anne Hathaway?
Answer: 18 years old. Remind the
students that he was born in 1564 and
he got married in 1582.
3. Do you think the name “upstart
crow” in reference to Shakespeare is
a positive or negative label?
Answer: Negative. An “upstart” is
someone who has attained a position
of influence without earning it and a
“crow” is a metaphor for someone
who is cocky or brash. A crow can
also be seen as a “bad omen”.
Robert Greene used this label
because he was clearly jealous of
Shakespeare’s success.
4. What does the word “shareholder”
mean?
Answer: Someone who owns a part
of a company. In the case of
Shakespeare, there were generally
eight “shareholders” in the theatre
company who all received a percentage of the profits in direct proportion
to their initial investment.
1564
1582
1593
1594
1595
1596
1597
1599
1600
1601
1606
1609
1613
1616
1623
5. What do you think “royal patronage” is?
Answer: King James was the royal “patron” of the King’s Men which essentially meant that Shakespeare’s theatre company was
being subsidized by the government. In addition, King James tripled the number of court performances annually which meant
that Shakespeare and his actors were working three times as much (and thus, making three times as much)!
6. What is a “coat of arms”?
Answer: A remenant of medieval times, the “coat of arms” signified elevated social standing and permitted one to be called a
“gentleman”. Interestingly enough, Shakespeare’s father was denied a “coat of arms”.
Unit Objectives
1. Establish a
time frame for
Shakespeare’s
life.
2. Provide a
summary of significant events
and important
dates.
3. Outline his
growth as an
actor and a
playwright.
Family History
His father, John
Shakespeare,
occupied several high ranking
civic offices
including high
bailiff or mayor!
Date of Birth
Shakespeare’s
actual birthdate
is unknown but
because he
was baptized
on April 26th,
most scholars
place his birth
on April 23rd
(which is also
the day he
died)!
Last Will
In his will,
Shakespeare
left his wife “my
second best
bed with the
furniture.” Some
have interpreted this to indicate strife in the
marriage but in
fact, it was customary that the
best bed be
reserved for
guests.
Shakespeare’s Life
Shakespearience Student Handout #1
Shakespearience 9.10.11.12.1
William Shakespeare was born on or around April 23rd, 1564 in Stratford - a small
town in central England. Although Shakespeare’s roots were firmly middle-class,
his family did own substantial property and enjoyed mildly elevated social standing. While little is known of Shakespeare’s formal education, it is generally
accepted that he attended a free school at some point during his youth. In 1577,
financial difficulties within the family most likely ended any schooling in which
young Shakespeare may have been involved, and he soon found himself married
to Anne Hathaway in 1582. Three children followed, and in the early 1590s,
Shakespeare moved to London with the hope of better providing for his growing
family.
Shakespeare rapidly cemented his place in the theatre as evidenced by the considerable envy which his work began to generate both as a playwright and as an
actor (Robert Greene, a prominant figure in theatre at the time, labeled
Shakespeare an “upstart crow” in 1592). His popularity began to grow and in
1598, Shakespeare was thought to be “the best [writer] of both comedy and
tragedy for the stage.” Having joined the Lord Chamberlain’s company in 1594,
Shakespeare made the bulk of his income as a shareholder in the company. His
financial situation continued to improve and in 1597, Shakespeare bought a home
in Stratford which he named New Place.
Indeed, his company did so well that in 1599, the
Globe Theatre was constructed to house
Shakespeare’s finest productions. When King
James assumed the throne in 1603, the Lord
Chamberlain’s company became the recipient of
royal patronage and saw its name changed to
the King’s Men. At this point, Shakespeare gave
up acting entirely and focused his full attention
on playwriting.
Shakespeare’s personal life remains relatively
unknown - however, certain key events paint a
very full life. Hamnet, his only son, died at the
age of eleven in 1596. Five years later, his
father died in 1601. Records in Stratford indicate
Shakespeare’s continued involvement in the
business affairs of his home town up to his
death. Those close to Shakespeare found him to be “a handsome well-shaped
man, very good company, and of a ready and pleasant smooth wit.” A “gentle”
man, he acquired a coat of arms during his life and was known to be “honest and
of an open and free nature.”
After 1611, Shakespeare retired to Stratford but probably returned to London in
1613 to help plan the rebuilding of the theatre after the Globe Theatre burned
down during a performance of Henry VIII. He passed away on April 23rd in 1616
in Stratford. His wife died four months later but not before overseeing erection of
a monument to her husband in the Church of the Holy Trinity in Stratford.
Timeline
_______
Shakespeare’s
birth
_______
Marriage to
Anne Hathaway
_______
The Taming of
the Shrew
_______
Member of Lord
Chamberlain’s
acting company
_______
A Midsummer
Night’s Dream
_______
Romeo and
Juliet
_______
Purchase of
first house in
Stratford
_______
Globe Theatre
constructed
on the Thames
riverbank
_______
Hamlet
_______
Twelfth Night
_______
Macbeth
_______
Sonnets printed
_______
Globe Theatre
burns to the
ground
_______
Shakespeare’s
death
_______
First Folio
is printed
TEACHER’S EDITION
Shakespearience Student Handout #2
Shakespearience 9.10.11.12.2
Sample Discussion Questions:
1. What are some of the advantages
of staging a play in an arena setting?
1558-1603
Answer: You can seat more people in
the theatre (and still have them fairly
close to the action.)
2. Why do you think the actors relied
more on things like the costumes than
they did on sets?
Answer: At that time, there was
always the danger of the theatres
being closed temporarily in case of an
outbreak of the plague. By eliminating heavy sets and props and relying
instead on costuming, the actors were
able to easily take their show “on the
road” and tour across England until
their theatre reopened.
3. Can you think of any modern-day
movies, tv shows or plays that have a
man (or a woman) playing the opposite sex? What would be the purpose
of such a practice today?
Answer: “Mrs. Doubtfire” with Robin
Williams, “Tootsie” with Dustin
Hoffman, “Junior” with Arnold
Schwarzenegger and “Big Mama’s
House” with Martin Lawrence are all
examples of men playing women. In
“Victor/Victoria” with Julie Andrews,
you have a woman playing a man
playing a woman. The purpose in
doing so in today’s world is primarily
for comic effect.
1563
1568
1586
1588
1600
1603-1625
1605
1607
1611
1620
4. Who were the two benefactors of
Shakespeare’s theatre company?
Answer: Remind the students that Lord Chamberlain was the original benefactor of Shakespeare’s theatre company until King
James came into power at which point, he took over the company and changed the name to The King’s Men.
5. What kind of training do you think actors undergo in today’s world in order to be a successful actor?
Answer: While much of the training is similar in terms of voice and speech training, the physical training that some actors undergo is in many ways more extreme simply because the productions are bigger (think about films like “Piratres of the Caribbean”
and “The Matrix”.)
Elizabethan Theatre
Unit Objectives
1. Distinguish
between Elizabethan theatre
and the theatre
of today.
2. Outline the
social, economic
and political
events in
England surrounding
Shakespeare’s
life.
Writing Strategies
Write a brief,
three-paragraph
composition
explaining the
difference
between a live
theatre during
Shakespeare's
time and a
movie theatre of
our time. Make
sure you focus
on one central
idea and support
it with specific
examples. Each
paragraph need
only be three
sentences long.
Using Your
Imagination
Draw a picture
of the “ideal” live
theatre. Keep
the following
points in mind:
1. How close the
audience is to
the stage
2. Special
effects (trapdoors, etc.)
3. Indoor vs.
outdoor theatres
Shakespearience Student Handout #2
Shakespearience 9.10.11.12.2
Unlike the traditional “proscenium” staging of
today, theatre during Shakespeare’s life was
typically staged in an area more reminiscent
of an arena. In fact, the very shape of the
average Elizabethan theatre is decidedly different from what one might expect. To begin,
the theatre of Shakespeare’s day was circular in construction with an open courtyard
surrounded by a wooden structure divided
into separate seating galleries. In addition,
an elevated stage thrust out into the center of
the courtyard. The stage was usually covered to allow for entrances from the “heavens” as well as “flying” or lowering in large
sets.
With no curtain between the audience and
the stage, the setting was far more intimate
than the larger theatres of today despite the fact that 2,000 to 3,000 patrons could
attend a production at one time. Indeed, audience participation was an integral
factor in Elizabethan productions. Furthermore, sets were kept to a minimum with
the production relying primarily upon the inherent surroundings of the stage and
courtyard. As such, the actors relied on the poetic beauty of Shakespeare’s text
to paint the scenery. However, actors of the Elizabethan period did allow themselves the luxury of exquisite costuming and large ensembles.
One peculiar aspect of drama during Shakespeare’s life was the absence of
women in the theatre. Despite the large number of exceptionally strong female
roles in Shakespeare’s plays, the social and religious climate in England at the
time prevented women from appearing on-stage. Hence, the female parts were
filled by boys and young men. These “actors-in-training” received invaluable
experience as apprentices to the resident actors in the company. Moreover, this
practice of using all male casts explains why so many of Shakespeare’s plots
revolve around women disguised as men.
Shakespeare saw a proliferation of permanent theatres appear during his lifetime.
The stability of these theatres can be attributed largely to the presence of numerous acting companies. Unlike today, these companies flourished due to the profit-sharing nature of the organization - each member of the acting troupe was
essentially a stock-holder in the company and thus, received a share of the
income generated by the company’s productions. Moreover, an acting company
during this period usually retained the patronage of the nobility which helped add
prestige and social stature to the troupe’s endeavors.
The demands placed upon the Elizabethan actor were far from simple. Because
much of Shakespeare’s work was written in blank verse, there existed an obvious
need for an actor to be linguistically facile. Furthermore, the rigorous physicality
of the theatre during this period required the Shakespearean actor to be wellschooled in the art of fencing, dancing and singing.
Current Events
_________
Reign of
Elizabeth I
_________
The Church of
England is
established
_________
Mary, Queen of
Scots is
executed
_________
Sir Francis
Drake’s first
expedition to the
West Indies
_________
Defeat of the
Spanish Armada
by Sir Francis
Drake
_________
East India
Company
formed
_________
Reign of
James I
_________
The Gunpowder
Plot is discovered and Guy
Fawkes is
arrested
_________
Captain James
Smith founds
the first permanent English
settlement at
Jamestown, Va
_________
King James
version of the
English Bible is
published
_________
The Pilgrims
found a colony
at Plymouth, Ma
TEACHER’S EDITION
Shakespearience Student Handout #3
Shakespearience 9.10.11.12.3
Sample Discussion Questions:
1. Did you know that Shakespeare
didn’t actually publish any of his
plays?
Answer: Two of his best friends by
the name of Hemming and Condell
decided seven years after
Shakespeare’s death to assemble all
of his plays into one collection entitled
“The First Folio”. In doing so, they
relied primarily on old actor scripts,
pirated copies of his plays (called
“quartos”) and their own memory.
However, there are no actual copies
of Shakespeare’s plays in his own
writing - everything we have today is
either from “The First Folio” or the one
of the pirated “quartos”.
2. How many syllables are in one line
of iambic pentatmeter?
Answer: 10. If the iambic meter is
made up of two syllables (one
unstressed and one stressed) and
there are five meters per line (penta =
five), there must be 10 syllables per
line. However, not all of
Shakespeare’s blank verse has 10
syllables. Often times, Shakespeare
would interrupt the flow of the meter
by adding an eleventh syllable to the
line - this is called a “feminine ending”. Feminine endings are used for
lines when the character is under
extreme emotional strain (the first line
of Hamlet’s “To be or not to be ...”
speech is a perfect example since
Hamlet is considering suicide in the
monologue.)
3. Can you think of any Shakespeare’s comic characters who speak in prose?
Answer: Nick Bottom from A Midsummer Night’s Dream is perhaps Shakespeare’s most famous comic character and he speaks
almost entirely in prose. Other famous comic characters include the Porter from Macbeth (Act II, sc. iii), the Gravediggers from
Hamlet (Act V, sc. i) and the Nurse from Romeo and Juliet.
Performing Shakespeare
Unit Objectives
1. Distinguish
between
reading
Shakespeare
and performing
Shakespeare.
2. Discuss how
the text itself
can direct the
actor.
3. Examine
Shakespeare’s
own thoughts
on acting.
Vocabulary
It is estimated
that the average person has
a working
vocabulary of
approximately
17,000 words.
Shakespeare,
on the other
hand, used a
vocabulary of
roughly 34,000
words in writing
his plays!
Creative
Thinking
When Shakespeare was
unable to find
the right word,
he simply made
one up! In fact,
over 1,700
words have
been attributed
to him.
1. Invent five of
your own
words. Make
sure you identify its part of
speech (noun,
adj, adv, etc)
and can use it
in a sentence.
Shakespearience Student Handout #3
Shakespearience 9.10.11.12.3
Because the works of William Shakespeare are widely considered the pinnacle of
English literature, it is easy to forget that his plays were meant to be performed
and not read. Indeed, at Shakespeare’s death in 1616, 18 of his 37 plays had
never been published. Moreover, the general populace considered plays to be
the lowest form of literature and not the kind of material that “should be vouchsafed a room in a library.” Even the actors of a company rarely received a full
copy of the script - instead, the performers would be handed individual “rolls”
which contained only their lines along with their cue lines (the word “role” may
have its origin in the “rolls” each actor received.)
However, performing Shakespeare is no mean task. Fortunately, Shakespeare
provided a very clear roadmap for the actor within the text itself. As most English
students know, Shakespeare frequently wrote in blank verse (although not
always) which essentially consists of iambic pentameter. Iambic indicates the pattern of stresses within the text - in this case, unstressed and then stressed.
Pentameter explains that there are five instances of unstressed/stressed patterns
per line. Thus, a typical line of blank verse or iambic pentameter might be:
Words Invented
by Shakespeare
accommodation
premeditation
assassination
submerged
exposure
frugal
leapfrog
generous
hurry
impartial
lonely
A horse! A horse! My kingdom for a horse!
Richard III
castigate
cruel-hearted
While the placement of stresses within the line might seem arbitrary, Shakespeare
was in fact very careful when constructing his dialogue. Just as a modern day
director would tell his or her actors which word is important in a line, so
Shakespeare would indicate to his actors the important words by arranging them
to fall on a stressed beat. This does not mean that an actor should emphasize
every word which is stressed in the blank verse - rather, when picking what to
emphasize in the line, an actor should pick a word which Shakespeare stressed.
The iambic pentameter is simply a guideline, not a hardfast rule.
control
majestic
pious
sanctimonious
obscene
green-eyed
It is important to note that Shakespeare didn’t always write in blank verse (iambic
pentameter) - often times, he completely abandoned writing poetry in favor of
prose. Prose is characterized by the lack of any formal rhythm or meter to the Book titles inspired
text. Hence, iambic pentameter and similar rhythmic patterns are completely by Shakespeare’s
words
absent in prose. However, prose can (and often does) contain poetic devices
such as metaphors and alliteration. One simple way to determine whether a section of text is poetry or prose is by examining the first word in each line of text - if The Sound and
The Fury
the word is capitalized, then that section of text is poetry; if not, it’s prose.
Shakespeare used these two forms for dramatic purposes. Poetry was generalSomething
ly reserved for characters with great emotion and high intellect. Conversely,
Wicked This
Way Comes
prose was used to signify Shakespeare’s fools (so if you ended up with the majority of your text as prose, it was a sure bet you were playing a fool!)
Furthermore, the punctuation in a line helps direct the actor further. The punctuation dictates the flow of thoughts and emotional direction of the scene. In addition, the pacing and urgency of a character’s actions are revealed by the scene’s
punctuation.To ignore the punctuation would be as disastrous as ignoring the conductor of an orchestra. Every type of punctuation has a different function.
The Boys in the
Band
Remembrance
of Things Past
Vaulting
Ambition
TEACHER’S EDITION
Shakespearience Student Handout #4
Shakespearience 9.10.11.12.4
Sample Discussion Questions:
1. Can you think of any modern-day
songs that use some of the poetic
devices listed to help add to the artistic
tension?
HAMLET
Answer: This answer will vary. Make
sure that the students support their
answer by providing specific examples.
OTHELLO
2. Ask the students to provide examples of the poetic devices listed.
Answer: Here are some examples.
Alliteration:
Antithesis:
Metaphor:
Sally sells seashells
by the seashore.
Jumbo Shrimp
Military Intelligence
MACBETH
(ha ha)
“You are a dog.”
Onomatopoeia: Buzz
Bash
Crash
Thump
Simile:
JULIUS
CAESAR
“She’s like a robot.”
3. What do you think that Shakespeare
meant by the line “but if you mouth it as
many of your players do, I had as lief
the town-crier spoke my lines”?
AS YOU
LIKE IT
ROMEO &
JULIET
MERRY WIVES
OF WINDSOR
MERCHANT
OF VENICE
COMEDY OF
Answer: Shakespeare is warning the
ERRORS
actors to avoid “overplaying” the text they should let the words fall at a natural clip. The poetry will take care of
itself and doesn’t need to be
overemphasized. Shakespeare essentially states that if the actors insist on “overplaying” the text, he would rather have the “town-crier” perform the parts (the towncrier was the person in charge of announcing the time and other important civic events.)
4. What do you think Shakespeare meant by holding “the mirror up to nature”?
Answer: Shakespeare is urging the actors to look to the natural world when creating their roles. He wants the actors to create
characters, not “caricatures”.
Performing Shakespeare
Shakespearience Student Handout #4
Unit Objectives
1. Distinguish
between
reading
Shakespeare
and performing
Shakespeare.
2. Discuss how
the text itself
can direct the
actor.
3. Examine
Shakespeare’s
own thoughts
on acting.
Shakespearience 9.10.11.12.4
Beyond the rhythm and punctuation of Shakespeare’s work, there lies a vast array
of poetic devices which the Bard used to help direct the actor. Otherwise known
as “heightened language”, the poetic construction interwoven throughout the dialogue helps add dramatic tension and conflict to the plot. Some of the main poetic devices or “conceits” used in Shakespeare’s plays bear mentioning:
Alliteration
Antithesis
Poetry Exercise
Metaphor
1. Ask the students to write
five similes.
Onomatopoeia
2. Have them
convert their
similes into
metaphors.
3. Finally, have
the students
choose one
simile and one
metaphor and
construct a
short eight line
poem.
Critical Analysis
1. On the
board, write the
expressions
from Hamlet
listed on the
right.
2. Have your
students identify the poetic
device in each
expression.
3. Ask the students how
those expressions differ from
the others listed
when said
aloud.
Simile
Repetition of two or more consonant sounds; the
building of similar sounds one on top of the other
serves to under-line the growing emotional importance of the words to the character.
The placement of extreme opposites next to each
other; indicates the character’s subtle acknowledgement of the irony in a situation; usually the
truth lies somewhere in-between (also known as
an oxymoron).
A statement in which one object or idea is said to
be another; used to reveal a deeper emotional
conviction within the character.
A word that sounds like what it describes; especially helpful in rehearsal, it can help determine a
character’s intention.
A comparison between two objects or ideas using
the word ‘like’; similar to the metaphor but not as
emotionally charged.
Shakespeare even provides direction to the actor when there is no spoken text.
The absence of words in blank verse is often a signal that a physical action is
supposed to take place. As such, an actor which finds a line several meters short
of a full line may safely assume that Shakespeare intended some activity or
“stage business” to fill the empty beats.
Perhaps the greatest advice available to the Shakespearean actor can be found
in Hamlet’s speech to the players. Long considered by most experts to be
Shakespeare’s own thoughts on acting, Hamlet’s monologue in Act 3, sc. 2 is the
clearest direction on how to perform Shakespeare’s plays:
Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue;
but if you mouth it as many of your players do, I had as lief the town-crier spoke
my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, whirlwind of your passion,
you must acquire and beget a temperance that may give it smoothness... Be not
too tame neither, but let your own discretion be your tutor. Suit the action to the
word, the word to the action, with this special observance, that you o’erstep not
the modesty of nature.
Hamlet, Act 3, sc. 2
In the speech, Shakespeare warns against extremes on both ends. To overplay
or underplay a scene is “from the purpose of playing, whose end, both at the first
and now, was and is to hold as ‘twere the mirror up to nature.” Indeed, moderation is the maxim Shakespeare imparts upon future generations of actors - a task
made far easier by the textual clues embedded in the language.
Famous Expressions
_________
“method to his
madness”
“brevity is the
soul of wit”
_________
“a foregone
conclusion”
“wear my heart
on my sleeve”
_________
“it was Greek
to me”
_________
“the milk
of human
kindness”
_________
“too much of a
good thing”
_________
“what’s in a
name?”
_________
“as good luck
would have it”
_________
“my own flesh
and blood”
_________
“something in
the wind”
SHAKESPEARIENCE
WORKSHEETS
9TH, 10TH, 11TH, 12TH GRADES
Worksheet on Shakespeare - A
CRITICAL ANALYSIS OF LANGUAGE AND TEXT
Match the following pieces of text to the appropriate poetic device.
___
___
___
___
___
1.
2.
3.
4.
5.
My mistress with a monster is in love.
Juliet is the sun!
Arise fair sun and kill the envious moon ...
Vile thing, let loose; or I will shake thee from me like a serpent!
Should be? Should – buzz! Well ta’en, and like a buzzard.
a.
b.
c.
d.
e.
metaphor
simile
alliteration
onomatopoeia
antithesis (or oxymoron)
Carefully read the following two pieces of text.
PASSAGE A
PASSAGE B
Have you no modesty, no maiden shame,
No touch of bashfulness? What, will you tear
Impatient answers from my gentle tongue?
Fie, fie, you counterfeit! You puppet you!
Nothing, good mounsieur, but to help Cavalery Cobweb to
scratch. I must to the barber’s, mounsieur, for methinks I
am marvellous hairy about the face; and I am such a tender ass, if my hair do but tickle me, I must scratch.
Which passage is considered prose? ___________ Why? _______________________________________________
________________________________________________________________________________________________
Identify the use of alliteration in Passage B. ____________________________________________________________
Identify the use of antithesis/oxymoron in Passage A. ____________________________________________________
Identify the use of a metaphor in Passage B. ___________________________________________________________
Scan the following lines and mark the stressed and unstressed syllables.
1.
My mistress with a monster is in love.
2.
To b e o r n o t t o b e ; t h a t i s t h e q u e s t i o n .
3.
Give me your hands, if we be friends,
4.
But soft, what light through yonder window breaks?
Which of the above lines are written in iambic pentameter? ________________________________________________
Which line has less than ten syllables in it? ____________________________________________________________
Which line has more than ten syllables in it? ___________________________________________________________
Write a sentence which gives an example of one of the following poetic devices.
metaphor
simile
onomatopoeia
alliteration
antithesis (or oxymoron)
________________________________________________________________________________________________
Worksheet on Shakespeare - A
CRITICAL ANALYSIS OF LANGUAGE AND TEXT
Match the following pieces of text to the appropriate poetic device.
c
___
a
___
e
___
b
___
d
___
1.
2.
3.
4.
5.
My mistress with a monster is in love.
Juliet is the sun!
Arise fair sun and kill the envious moon ...
Vile thing, let loose; or I will shake thee from me like a serpent!
Should be? Should – buzz! Well ta’en, and like a buzzard.
a.
b.
c.
d.
e.
metaphor
simile
alliteration
onomatopoeia
antithesis (or oxymoron)
Carefully read the following two pieces of text.
PASSAGE A
PASSAGE B
Have you no modesty, no maiden shame,
No touch of bashfulness? What, will you tear
Impatient answers from my gentle tongue?
Fie, fie, you counterfeit! You puppet you!
Nothing, good mounsieur, but to help Cavalery Cobweb to
scratch. I must to the barber’s, mounsieur, for methinks I
am marvellous hairy about the face; and I am such a tender ass, if my hair do but tickle me, I must scratch.
The first letter of the first word in each new
B
Which passage is considered prose? ___________
Why? _______________________________________________
line
of Passage B is not capitalized; also each line of Passage A scans as iambic pentameter.
________________________________________________________________________________________________
. . . mounsieur, for methinks I am marvellous hairy . . .
Identify the use of alliteration in Passage B. ____________________________________________________________
Impatient answers from my gentle tongue?
Identify the use of antithesis/oxymoron in Passage A. ____________________________________________________
. . . and I am such a tender ass . . .
Identify the use of a metaphor in Passage B. ___________________________________________________________
Scan the following lines and mark the stressed and unstressed syllables.
1.
My mistress with a monster is in love.
2.
To b e o r n o t t o b e ; t h a t i s t h e q u e s t i o n .
3.
Give me your hands, if we be friends,
4.
But soft, what light through yonder window breaks?
Line 1 and Line 4
Which of the above lines are written in iambic pentameter? ________________________________________________
Line 3
Which line has less than ten syllables in it? ____________________________________________________________
Line 2
Which line has more than ten syllables in it? ___________________________________________________________
Write a sentence which gives an example of one of the following poetic devices.
metaphor
simile
onomatopoeia
alliteration
antithesis (or oxymoron)
You are so smart - sometimes you act just like a computer! (simile)
________________________________________________________________________________________________
Worksheet on Shakespeare - B
THE CHANGING TEXTS
William Shakespeare died seven years before the first collective book of his plays (the First Folio) was published. He
was unable to verify that the texts were correct. Since the early printers worked with rudimentary tools and hand-made
typesettings, mistakes were inevitable. With changing texts and without any original copies of Shakespeare's scripts,
there is no way to know what he truly wrote.
Here are some of the ways a text can change:
Foul Papers
These are the original pages of a playwright's work. They are called foul because there are often parts that are crossed
out as changes are made. For this reason, foul papers are often difficult to read. Unfortunately, none of Shakespeare's
foul papers have survived.
Fair Copies
These are copies of the foul papers written by a scribe that was hired to make scripts for the actors to use in rehearsal.
Errors could have been made in the copying, and also actors often changed their lines during rehearsals.
Quartos
While Shakespeare was still alive, eighteen of his plays were printed as small books known as quartos. Shakespeare,
however, neither checked nor proofread these (and in many cases, didn’t even authorize their printing.) Some quartos
were based on the fair copies, while others were written from what actors could remember of their lines. The name
“quarto” is derived from the fact that the books were created by folding a piece of paper in half, and then in half again
thus creating a little book.
First, fold the
paper in half,
across the middle.
Then, fold the
paper again, this
time down the
center.
The finished
product is a sturdy little book perfect for scripts.
Quarto
The First Folio
This is a book published in 1623 containing 36 of Shakespeare's plays. Written by two longstanding actors in
Shakespeare’s company, the First Folio was probably compiled from a variety of sources including some quartos and fair
copies - however, much of the text likely came from memory. Most editions of Shakespeare's plays read today are
based on the First Folio.
EXERCISE: Construct your own quarto with a poem inside of it. You may use one of
Shakespeare’s poems or write your own. Decorate the quarto using illustrations, ribbon, etc. Some
of you may wish to “age” your quarto by using brown paper bags as your paper, soaking parts of it in
tea or adding water stains, etc.
The Words of Shakespeare
Vocabulary for Shakespearience
Romeo and Juliet
1.
wherefore - why
2.
doff - to give up; to put off; to dismiss
3.
gyves - restraints; shackles
4.
pilcher - scabbard; a sheath for a sword
The Taming of the Shrew
5.
joint stool - a ‘movable’ or stool that has been properly crafted or made
6.
swain - a peasant; a person of low rank (used as an insult)
7.
waspish - irritable; quick to anger
Macbeth
8.
durst - the past tense of “to do”; did
9.
surcease - final; the end (with an implication of death)
10.
wassail - partying; celebrating
Hamlet
13.
consummation - end, completion
14.
orisons - prayers
15.
chaste - pure; innocent
16.
ecstasy - madness
A Midsummer Night’s Dream
17.
choughs - a crow
18.
brake - clump of bushes
19.
coy - to caress; to touch lightly
20.
bower - a shady secret spot among trees and flowers
Shakespearience: The Scenes
Pre-Performance Handouts
Each of the scenes featured in Shakespearience have been briefly summarized below. These descriptions are intended
to familiarize the viewer with the characters and plot of each scene in the show - in no way are they designed to replace
reading the actual material.
Romeo and Juliet
Act II, sc. 1 - sc. 2
Set against the backdrop of rival families, the play revolves around the tragic intertwining of Romeo and Juliet - a pair of
“star-cross’d lovers” from the houses of Montague and Capulet respectively. Having just met Juliet at a masked ball hosted by her father, the scene opens with Romeo avoiding his band of inebriated friends who are intent on teasing the young
Montague. Once his comrades depart, Romeo manages to scale the orchard walls of Capulet’s estate in hopes of catching a glimpse of Juliet. While crouched near her balcony, Romeo hears Juliet profess her love for him to which he quickly responds. Her initial amazement at his presence gradually gives way to ardent joy as she gently instructs the impassioned Romeo how to correctly swear his fidelity for her. They part promising to secretly marry as soon as possible.
Romeo and Juliet
Act III, sc. 1
Mercutio and Benvolio, both friends of Romeo, are engaged in friendly banter when they encounter a band of Capulets led
by Tybalt, Juliet’s cousin. Angered with Romeo for appearing at the Capulet’s ball the other night, Tybalt wishes to rectify
the “injuries” done him. When the newly married Romeo appears on the scene, Tybalt attempts to engage him in a duel,
but Romeo smoothly sidesteps all of Tybalt’s enticements to fight. Mercutio, unaware of Romeo’s secret marriage to Juliet,
is not so easily calmed and takes up Tybalt’s challenge. The ensuing duel costs Mercutio his life much to the horror of
Romeo and his friends. Thus enraged, Romeo takes up Mercutio’s weapons and slays Tybalt. Benvolio, realizing that
Romeo will be sentenced to death by the Prince, urges Romeo to flee which he promptly does.
The Taming of the Shrew
Act II, sc. 1
Bianca, the young daughter of a wealthy merchant in Italy, is widely sought after as a wife. However, her father refuses to
marry her until her older sister, Katherina, has found a husband. Unfortunately, Katherina’s wild and “intolerable” disposition makes her a difficult prospect for marriage. As such, three of Bianca’s suitors band together to find Katherina a husband so that they might each try their luck at winning the hand of Bianca. They decide on Petruchio, a gentlemen from
Verona, as the most likely candidate for “taming” Katherina. The scene between Petruchio and Katherina begins with the
two encountering each other for the first time. Their verbal sparring quickly becomes physical as the two test each other.
Despite her best efforts to drive him away, Katherina is unable to dissuade Petruchio from his intent to win her, and the
scene ends with Petruchio triumphantly declaring that he was “born to tame” Katherina and shall have her as “my wife.”
Macbeth
Act I, sc. 7 and Act II sc. 2
A general in the Scottish army, Macbeth is returning from a victorious battle when he is confronted by three witches in the
middle of an empty wasteland. Before vanishing, the witches predict that Macbeth will be crowned Thane of Cawdor and
eventually, King of Scotland - however, they also predict that Macbeth can only be defeated a man “not born of woman”.
No sooner does Macbeth arrive at home than word reaches him that he has been bestowed the title of Thane of Cawdor
by the King for his valiant efforts in battle. Spurred by this partial realization of the prophecy, Macbeth decides to murder
the King and fulfill the rest of the prophecy. As Act I, scene 7 opens, Macbeth finds his resolve to kill the King wavering however, his wife admonishes him to “screw his courage to the sticking place” and proceed with the plan. Act II, scene 2
begins with Lady Macbeth impatiently waiting for her husband’s return from the murder. When he finally does, she finds
him paralyzed with fear and unable to carry out the rest of the plot. Hence, she takes the bloody daggers from her husband and plants them on the sleeping grooms (guards) whom she had drugged earlier. At the top of Act V, sc VIII, Macbeth
has indeed become king but the truth behind the murders has come to light. His rival, Macduff, has besieged the castle,
looking for the murderer - however, Macbeth believes himself invincible until he discovers Macduff’s true origins and the
rest of the prophecy is fullfilled.
A Midsummer Night’s Dream
Act III, sc. 2
Set in Athens, much of this play revolves around the comic infatuation of four young lovers. At the start of Act I, both
Lysander and Demetrius are in love with Hermia but not with her friend Helena. On the other hand, Hermia loves only
Lysander while Helena is deeply in love with Demetrius. When the four lovers enter the woods of Athens, they catch the
attention of fairy Puck who attempts to rectify the situation with magic. Intending to make Demetrius fall in love with
Helena, he unfortunately enchants Lysander thus intensifying the problem. Hence, Puck casts a spell on Demetrius as
well which results in both men madly pursuing Helena while Hermia is left alone. The scene begins with Helena being
courted by Lysander and Demetrius as Hermia accuses her of stealing Lysander. After much confusion and arguing, Puck
finally sets things right by causing the four lovers to sleep and removing the spell from Lysander.
Hamlet
Act III, sc. 1
Having recently discovered that his father was murdered by his uncle to gain the throne, Hamlet, Prince of Denmark, is
alone contemplating suicide when he is interrupted by Ophelia, daughter of Polonius and beloved by Hamlet. Sent by the
King and her father to determine the reason behind Hamlet’s increasingly agitated state, Ophelia offers to return Hamlet’s
love letters to him. However, the young prince, disgusted with his mother’s remarriage to his uncle (and perhaps aware of
Ophelia’s collusion with the King), rejects Ophelia’s advances. In the course of their conversation, Hamlet becomes noticiably hostile and urges her to “get thee to a nunn’ry”. Upon his departure, Ophelia is left alone to lament Hamlet’s apparent descent into insanity.
Midsummer Night’s Dream
Act III, sc. 1 and Act IV, sc. 1
Oberon and Titania, the King and Queen of the Fairies, have been arguing and all of the natural world is in disorder as a
result. To show his wife the silliness of their fight, Oberon orders Puck to place a spell on Titania which will cause her to
fall madly in love with the first thing she sees upon awakening. Act III opens with a troupe of actors who have met in the
woods to rehearse a play for the Duke of Athens’ wedding. Unbeknownst to them, Puck has decided to take part in their
little rehearsal by placing a donkey’s head on Nick Bottom, one of the actors. When his fellow actors spot him with a donkey’s head on his shoulders, they scatter in fear and inadvertently awaken Titania, the Queen of the Fairies. When she
sees Bottom, she falls deeply in love in with him and orders her fairies to grant his every wish. Oberon permits this little
joke to continue until Titania falls asleep at which point, he removes the spell and “all is mended.”
SHAKESPEARIENCE
REVIEW MATERIALS
9TH, 10TH, 11TH, 12TH GRADES
Shakespearience
Follow-up Quiz
Answer True or False
Romeo and Juliet
1.
Juliet is from the Montague family.
2.
Mercutio is Romeo’s best friend.
The Taming of the Shrew
3.
Katherina prefers to be called “Kate.”
4.
Petruchio is an old friend of Katherina.
Macbeth
5.
Lady Macbeth tries to stop Macbeth from murdering King Duncan.
6.
Lady Macbeth places the daggers near the sleeping grooms (guards) to frame them.
A Midsummer Night’s Dream
7.
Because of Puck’s spell, both Demetrius and Lysander love Helena.
8.
Hermia is happy to remain single.
Hamlet
10.
Hamlet accepts the letters which Ophelia offers to give back.
11.
Hamlet wants to get married.
A Midsummer Night’s Dream
12.
Oberon transforms Bottom’s head into that of a donkey.
13.
Titania is Queen of the Fairies.
Shakespearience
Answers to Follow-up Quiz
Answer True or False
Romeo and Juliet
1.
False - Juliet is from the Capulet family.
2.
True
The Taming of the Shrew
3.
False - Katherina hates to be called “Kate.”
4.
False - Petruchio has never met Katherina.
Macbeth
5.
False - Lady Macbeth encourages Macbeth to murder King Duncan.
6.
True
A Midsummer Night’s Dream
7.
True
8.
False - Hermia is love in with Lysander.
Hamlet
10.
False - Hamlet does not accept the letters which Ophelia offers to give back.
11.
False - Hamlet does not want to get married.
A Midsummer Night’s Dream
12.
False - Puck transforms Bottom’s head into that of a donkey.
13.
True
Thoughts on Shakespearience
Essay Questions
Answer each of the following questions in two short essays. Make sure you have a thesis statement as well as examples from the show to back up your point.
Essay Question #1
Discuss which scene you enjoyed the most. Was this scene easier to understand than
the others? Did you like the characters or the plot in this scene more? Why?
Essay Question #2
What do you think Shakespeare felt was the most important thing in a relationship
between two people? In the scenes, what obstacles stood in the way of a healthy relationship? Have these obstacles changed today?
Thoughts on Shakespearience
Essay Questions - Advanced Format
Answer each of the following questions in two short essays. Make sure that the evidence for
your thesis is strong and based on specific examples from the show. Follow the outline below
when writing your response:
I.
Introductory Paragraph
A.
B.
C.
II.
1st Main Paragraph
A.
B.
C.
III.
Restate your 1st Supporting Statement
1st Specific example from the show of your Supporting Statement
2nd Specific example from the show of your Supporting Statement
2nd Main Paragraph
A.
B.
C.
IV.
Thesis Statement (your main argument or point - of view)
1st Supporting Statement (should prove why your Thesis is correct)
2nd Supporting Statement (should also prove why your Thesis is correct)
Restate your 2nd Supporting Statement
1st Specific example from the show of your Supporting Statement
2nd Specific example from the show of your Supporting Statement
Concluding Paragraph
A.
B.
C.
D.
Restate your Thesis Statement
Restate your 1st Supporting Statement
Restate your 2nd Supporting Statement
Summary Statement
Essay Question #1
Do you think Shakespeare was a feminist? Why or why not? Support your answer using specific examples from the show.
Essay Question #2
How does Shakespeare’s portrayal of “love at first sight” change in the different scenes featured
in Shakespearience?
Shakespearience
Shakespearience
Review Exam
Matching - 10 questions:
Match the quotations below to the character which said them in Shakespearience.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
What man art thou that thus bescreen'd in night
So stumblest on my counsel?
Scratch my head, Peaseblossom.
If I be waspish, best beware my sting.
Help me into some house, Benvolio,
Or I shall faint.
I have done the deed - didst thou not hear a noise?
Romeo, the love I bear thee can afford
No better term than this: thou art a villian.
But screw your courage to the sticking-place
And we'll not fail.
For I am he am born to tame you, Kate...
What angel wakes me from my flowery bed?
But soft, what light through yonder window breaks?
a.
b.
c.
d.
e.
ab.
ac.
ad.
ae.
bc.
Romeo
Lady Macbeth
Bottom
Titania
Petruchio
Juliet
Tybalt
Macbeth
Katherina
Mercutio
True or False - 10 questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
A pilcher is a scabbard or sheath for a sword.
Lord Chamberlain's company, of which Shakespeare was a member, became the King's Men
when it received patronage from King John in 1603.
Shakespeare used both male and female actors when casting his shows.
In Romeo and Juliet, Juliet asks Romeo to swear his love for her by the inconstant moon.
In A Midsummer Night's Dream, Titania is married to Puck.
In Hamlet, Hamlet admits that he once loved Ophelia.
During Shakespeare's life, actors in an acting company were essentially stock-holders.
A brake is another word for a balcony.
In Macbeth, after murdering the King, Macbeth is unable to say the word 'Amen.'
In The Taming of the Shrew, Petruchio calls Katherina gentle, pleasant and courteous.
Fill-in-the-blank - 10 questions:
Using the word bank below, fill in the blank using the appropriate word.
a. Globe Theatre
ab. King Duncan
b. alliteration
ac. Tybalt
c. metaphor
ad. waspish
d. blank verse
e. nunnery
ae. Wherefore
bc. swain
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
The poetic device of using consecutive words which have the same initial consonant sound or
letter is called _______________________.
In Macbeth, _______________________ is murdered by Macbeth so that the prophecy of the
three witches might be fulfilled.
Shakespeare wrote much of his plays in iambic pentameter or _____________.
Burned down in 1613, the _______________________ is where many of Shakespeare's
plays were performed.
A _______________________ in Elizabethan times is a person of low rank.
Another term for the word 'why' in Elizabethan times was __________________.
In The Taming of the Shrew, Katherina admits to be irritable or _____________.
The poetic device in which a comparison between two words is made by declaring one to be
the other is called _______________________.
In Romeo and Juliet, Romeo kills _______________________ in a fit of rage after his best
friend, Mercutio, is killed in a duel.
In Hamlet, Hamlet tells Ophelia to "get thee to a ____________."
Multiple Choice - 10 questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Another word for stupidity during Elizabethan times was
a. chaste
b. wassail
c. folly
d. coy
In Shakespeare's writings, a form of punctuation which calls for a slight pause and could indicate that the next line is a fresh thought is a
a. period
b. comma
c. semi-colon
d. colon
The first name of Shakespeare's wife was
a. Julia
b. Titania
c. Katherina
d. Anne
When Mercutio and Tybalt begin fighting, Romeo tries to remind them that
__________________ has prohibited fighting in the street.
a. Juliet
b. Lord Capulet
c. the Prince
d. Benvolio
All of the following are fairies of Titania except
a. Dewdrop
b. Cobweb
c. Mustardseed
d. Peaseblossom
After the murder, Macbeth and Lady Macbeth are startled by the sound of
a. their guests
b. knocking
c. horses
d. dogs barking
In The Taming of the Shrew, Katherina calls Petruchio a 'movable' which is another word for
a/an
a. joint-stool
b. rock
c. fool
d. intruder
An actor during Shakespeare's life always received his lines
a. in a full script
b. in 'rolls'
c. weeks ahead
d. both a. and c.
When Juliet says "Romeo, doff thy name..." she means
a.
Romeo, give me your name...
b.
Romeo, give up your name...
c.
Romeo, proclaim your name
d.
none of the above
Shakespeare died in
a.
1614
b. 1615
c. 1616
d. 1617