Student’s Workbook 2B

three fold shakespeare

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

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

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

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

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

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

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

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

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

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

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

Acknowledgements

Artistic Director Paige Newmark

General Manager Katie Kent

Education Liaison Elisa Dumitru

Editors

Andrew Kocsis Tiffany Wendt

With additional assistance from

Jenny de Reuck

Cover Design

Karen Smart

Illustrations

Karen Smart Allison Bell

Thanks to

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

Introduction to Three Fold Shakespeare

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

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

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

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

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

View

Play

Discuss

Research

Read

Write

Perform

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

View

Locate YouTube clips of directing styles for The Tempest, then discuss the possible intent...

Directed by David Henry http://www.youtube.com/watch?v=EXb_CZ8Sjxs

Artistic Director Adam Sklute http://www.youtube.com/watch?v=HuMb0KSkq3c

Artistic Director Julie George-Carlson http://www.youtube.com/watch?v=Lt3gde3Pme8

Pants on Fire http://www.youtube.com/watch?v=xDmdrw7kuaw&feature=related

Play

Improvise directing roles, by working with a particular scene, and changing the genre (while still maintaining the narrative)...

Run the scene as a musical, or as a western, or a horror film, or a

comedy, or a disaster film or a Sci-Fi etc.

Play

Reflect on the different styles presented in the clips in ‘Fold 1’. Discuss some of your responses in class...

See page 6

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

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

Understanding How We React to Drama After viewing the clips, discuss your response.

Immediate Response This refers to the overall impression made by the performance. Did you like it? Did you understand the story and the character relationships? Did the production make you laugh, cry, sigh with recognition, think?

Intellectual Response The elements of drama can be used to help analyse a dramatic performance and its effectiveness. Which literary, technical, and performance elements can you identify in the production? How was each element used? Which elements were most important to conveying the story and the ideas? Was this an effective way to perform this drama?

Artistic Response A dramatic production can be an excellent springboard and source of inspiration for you to express your own feelings, thoughts, and emotions in creative ways. This can be done individually or in groups using drama or one or more of the other art forms. How would you adapt The Tempest?

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1. Description Did the production tell the story? What did you actually see and hear during the performance?

2. Analysis How does this particular performance come to life? How were the elements of drama—literary, technical, and performance—used?

3. Interpretation What‘s the point? What ideas or themes are conveyed? How does what happens—the plot—relate to the major ideas or themes of the production?

4. Judgment Was this production enjoyable? How did it make you feel? Did it make you think? Would you recommend that others see it?

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Discuss

Interpret your view of the play from the ‘director’s vision’. You will need to detail a brief of the play in relation to the way it relates to the audience...

The Tempest is a comedy, but discuss what tragic elements appear in it. Why is it termed a problem play?

See page 9

Play

Improvise a ‘news report’ segment, where a reporter is filming live from the theatre. The news reporter will ask similar questions to each of the crew members, yet different responses should occur based on their ‘view’ of the production...

Perform

Choose a convention of a tragedy listed. Then, using that convention, create a short improvisation that highlights the definition (e.g. everyone dies at the end).

Then, similar to ‘Scene 1, Fold 2’ ask a ‘director’ to repeat their improvisation

employing different styles (e.g. Realism, melodrama, Greek tragedy)

.

See page 10

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

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

Write a director’s brief Write a director‘s brief of the play, detailing the artistic judgments that were made for the production. The play is set in the time period of to depict the This reflects Shakespeare‘s text because

The location was and this was chosen because The set reflects this location in

The costumes chosen are predominately This highlights the

The light was communicating a

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Conventions of Shakespearean Tragedy

No single play by Shakespeare perfectly reflects every convention given below. His ideas and practice changed significantly in the course of his career; early plays like Titus Andronicus and Romeo and Juliet are particularly atypical. Use the points on this guide sheet to focus your attention on (a) how and (b) how far your chosen text reflects the conventions of Shakespearean tragedy. The play opens with the tragic hero at the height of his fortunes. In the course of the play, the tragic hero is reduced to a state of misery. Ultimately the hero dies. This reversal of fortunes is the result not of chance, or of the malevolence of another character, but of a fatal flaw in the hero‘s own character. This fatal flaw is a flaw that we all possess. But just as the tragic hero is in status an extraordinary person, so the degree to which they possess this flaw is much greater than their fellow men. Before they die, they should have a moment of realisation, in which they understand for the first time how far they have been responsible for their own undoing. But this moment of realisation should come too late, tragically, for them to be able to avert their own fate. Whatever their faults, we as an audience never stop identifying sympathetically with the tragic hero. We have a sense that the tragic universe of the play is a moral one (because the tragic hero is punished for his flaw). But we also have a sense that it is an intensely unforgiving one (because the consequences of the flaw in their character – and the actions it leads them to take – are so catastrophic for themselves and those around them). At the end of the play, there is a terrific sense of human potential wasted. Those who are left behind learn lessons from what has happened to the tragic hero. But although they may be wiser, the world is not really a better place. In fact, the play ends on a note of crushing anti-climax. Without the tragic hero, things will never be quite the same again, whatever people pretend. Something great has departed from the world.

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Discuss

Compare the play of Macbeth to the tragedy conventions (see ‘Scene 2, Fold 3’). Discuss the elements that distinguish it clearly as a tragedy...

Discuss what some of the themes might be beyond

the conventions listed

See page 12

Obtained from http://www.penguinreaders.com/

pdf/downloads/pr/teachers-notes/9781405879699.pdf

Write

Find evidence in the play to confirm some of your discussion points about the themes in MacBeth...

See pages 13 and 14

Perform

In small groups, describe MacBeth using only 100 words. Your challenge is to then describe the play in 40 words, then 10 words... even 5 words?...

Create a mini-performance using these words, and combine an aspect

of the MacBeth themes discussed

Based on http://www.rsc.org.uk/downloads/ rsc_macbeth_themes_2011.pdf

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

Themes in MacBeth Ambition and evil: Set in eleventh-century Scotland, Macbeth is a play that explores the nature of evil and ambition. Macbeth is more than just a straightforward villain. He has some good qualities: he is brave and heroic. We are drawn into Macbeth’s mind and we experience his torments and temptations. But he is also a proud, violent and fundamentally weak man. It is said that evil cannot exist without the will behind it, and Lady Macbeth is the force which allows Macbeth to act without will. Although we are appalled by his terrible actions, we are fascinated by his complexity. In this way, we learn something of the conflicting natures of people. Men and women: Another theme of the play is the relationship between men and women. Lady Macbeth is seen by many feminists as a heroic figure. She has a stronger character than her husband. She has manoeuvred herself into the highest circles through a combination of intelligence and cunning. She easily manipulates her husband into doing what she wants. She takes her husband’s good qualities (ambition, bravery) and turns them into instruments of wickedness. The supernatural: A third interesting aspect of the play is the role of the supernatural. Would Macbeth have been led to murder without the vision of a knife or the predictions of the three witches? Would his crimes have escaped detection had Banquo’s ghost not turned up at the feast? Are the witches and ghost real, or a product of Macbeth’s imagination? It is worth remembering that, when Shakespeare wrote Macbeth, witches and ghosts were taken very seriously. Even King James I believed that they were real!

Can you think of any other themes?

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Try to connect the following statements with these descriptions of themes, and attempt to propose what affect this has on the audience...

- Ambition and the devastation which follows when ambition oversteps moral boundaries.

- Kingship and the difference between appropriate use of power

and tyranny.

- Fate and free will and the extent to which we control our own destinies.

- Appearance and reality, and how people and events are often not

as they seem.

Descriptions from MacBeth

Which theme does it relate to?

What does the scene show or suggest to the viewer about the themes of the play?

Act 1 Scene 6: Duncan remarks on the Macbeths' castle having 'a pleasant seat' as the Macbeth’s plot his murder.

Act 4 Scene 3: Malcolm and Macduff compare tyranny to honourable kingship.

Act 1 Scene 7: Macbeth reflects on Duncan's qualities as king.

Act 1 Scene 3: Macbeth and Banquo encounter the witches on the heath. Macbeth reflects on their prophecies.

Act 1 Scene 4: Duncan reflects on the traitorous Thane of Cawdor and ironically rewards Macbeth with this title, saying, 'I have begun to plant thee, and will

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labour/To make thee full of growing.'

Act 1 Scenes 1 and 2: The witches invoke confusion ('Fair is foul, and foul is fair').

Act 1 Scene 5: Lady Macbeth receives Macbeth's letter, analyses his character, and invokes the forces of evil.

Act 6 Scene 1: Macbeth visits the witches who offer him further prophecies.

Act 1 Scene 7: Macbeth reflects on what is needed to achieve his ambition and Lady Macbeth taunts him to 'screw your courage to the sticking place.'

Act 2 Scene 1: Macbeth talks with Banquo about their encounter with the witches, sees a visionary dagger and makes his decision to kill Duncan.

Act 3 Scene 6: Lennox and another lord discuss life under Macbeth's rule.

Act 3 Scene 1: Macbeth determines to kill Banquo in order to prevent his children succeeding to Scotland's throne.

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Write

Using quotes from the play, edit the text down to 25 separate lines. These lines should represent 5 quotes from each act. Try your best to represent the whole play’s narrative and major themes...

Locate significant quotes that explain what has

occurred, or what is about to occur in the plot

See page 16

Perform

Work with the 32-second MacBeth script to get a feel for the task of editing, then return to Scene 4, Fold 1...

Be over the top with this presentation, and/or you could even

swap gender roles

See page 17

Discuss

In small groups (one scene per group), begin editing only one scene from MacBeth. As this is for your final performance, you will need to focus on the purpose of the scene, as well as the narrative structure in order to edit it down skilfully...

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

Playwriting processes Describe MacBeth in… … five quotes from each Act…

Fair is foul and foul is fair

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

The 32-second Macbeth Actors 1, 2, 3 Fair is foul and foul is fair Actor 4 What bloody man is that? Actor 2 A drum, a drum! Macbeth doth come Macbeth So foul and fair a day I have not seen Actor 3 All hail, Macbeth, that shalt be king hereafter! Macbeth If chance will have me king, then chance will crown me Actor 5 Unsex me here Macbeth If it were done when ‗tis done Actor 5 Screw your courage to the sticking place Macbeth Is this a dagger that I see before me? (Actor 4 dies) Actor 5 A little water clears us of this deed. Actor 6 Fly, good Fleance, fly! (dies) Macbeth Blood will have blood Actors 1, 2, 3 Double, double, toil and trouble Actor 7 He has kill‘d me, mother! (dies) Actor 8 Bleed, bleed, poor country! Actor 5 Out damn‘d spot! (dies) Macbeth Out, out, brief candle! Actor 8 Turn, hell-hound, turn! Macbeth Lay on Macduff! (dies)

Actor 8 Hail, king of Scotland!

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Rehearse

Through the rehearsal process, begin to test out different directing approaches to presenting the dialogue...

Attempt numerous approaches to directing your piece, but be

inventive and avoid the ‘traditional’

See page 19

Based on http://nationalstrategies.standards.

dcsf.gov.uk/node/197700?uc=force_uj

Write

Individually write down your interpretation of your piece. Focus on the purpose of your scene, as well as the narrative structure in order to justify your editing...

See page 20

Play

Create a set for your piece to be performed within. Maintain a close link between your desired purpose and the function of the piece, as well as your chosen theme...

Draw your final design as a means to record

and justify your choices

See Page 21

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

Testing ideas out

After your rehearsal, try to identify your actor‘s motivations, performance and approach to the character. Place character name is the space provided

In the first rehearsal, ________ behaved as if

_______‘s reaction when s/he heard __________ was

And

_________ spoke differently

and stood

However, in the second rehearsal, __________ acted as if

___________ also behaved differently. The voice was

and s/he stood

I preferred the first or second version because

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

Developing a text Discuss your edited MacBeth scene.

What is the narrative function of this scene? How does it structure the rest of the play?

While still maintaining Shakespeare‘s dialogue, edit down the scene

What characters are in this scene? What is their narrative function in the scene? What is the mood of the scene? How does the dialogue create this mood?

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

Designing technologies Draw a bird‘s eye view of the set. Illustrate the set, properties, and lighting states.

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

Perform

Perform your edited versions of MacBeth. Try to maintain great focus and professionalism through this process, both as an audience member and a performer...

Write

Fill out the reflection worksheet, and detail your engagement with their process, and your interpretation of the perceived relevance of Shakespeare...

See pages 23, 24 and 25

Obtained from http://det.wa.edu.au/det-learning-

resources/viewLearningResource/[28169]272072/index.html

Discuss

As a final piece to your process, compare your final product with the original Act from MacBeth...

See Page 26

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Reflection Process

Answer the following questions using full sentences with as much detail as

you can. Remember, the more you are able to self-reflect on your

performance, the better your future performances will be.

1. What was the most difficult aspect of this task? Why did that aspect

present such a challenge? What strategies did you use to overcome it?

Which of your strategies worked best?

2. Provide a clear example of a problem that you managed to work through.

Identify the difficulty, explain why it was an issue, describe the strategies

you used to overcome it, and state what the final outcome was. Be

specific.

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3. What strategies did you use to make your text accessible to a modern

audience? How did you choose to interpret the language/situation so that it

could be understood by modern audiences?

4. Explain how you chose to manage your time as a group. Do you believe

you used your time effectively or ineffectively? Do you think your use of

time affected your final performance? Be specific.

5. Analyse your performance. Do you think you performed as well on the day

as you did in rehearsals? What were the strengths of your performance?

How did these aid the audience‘s understanding of your scene? What

aspects do you need to improve on? If you had your time again, how

would you change your performance to improve it?

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6. Analyse the performance of another group. What made this group stand

out from the others? Which elements of their performance did they

execute well? Why were these effective? Which elements of their

performance could they have improved on, and how?

7. Having performed an Elizabethan scene, do you believe that

Shakespeare‘s work is still relevant in today‘s times? Why or why not?

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Compare and contrast Detail the changes your group made to the original script.

What was the most significant change/edit? Why?

What remained virtually untouched? Why?

Do you believe your piece maintained the same narrative function? How?

Do you believe Shakespeare‘s work requires re-editing? Why?

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

Images Stratford Shakespeare Company‘s The Tempest http://www.postcity.com/Post-City-Magazines/August-2010/Legendary-actor-all-the-reason-you-need-for-a-Stratford-roadtrip/ Mendocino College‘s The Tempest http://www.mendocino.edu/theater/Mendo%20photos.html American Repertory Theatre‘s The Tempest http://internetshakespeare.uvic.ca/Theater/sip/artifact/25307/ Trinity Shakespeare Festival's Macbeth http://stephenfriedtheatre.blogspot.com/2011/06/macbeth.html Great Lakes Theater Festival‘s MacBeth http://www.clevelandwomen.com/arts/macbeth-0908.htm Great Lakes Theater Festival‘s MacBeth http://www.clevelandwomen.com/arts/macbeth-0908.htm The Cincinnati Shakespeare Company‘s Macbeth http://www.cincinnatistate.edu/about-cs/news/press-release-articles/macbeth The University of Toledo‘s Macbeth http://www.laprensatoledo.com/Stories/2009/041009/Macbeth.htm The Bremer Shakespeare Company‘s MacBeth http://www.helnwein-museum.com/article2437.html MöcShplat, a clown adaptation of Macbeth http://sunnysideupcjlo.wordpress.com/2011/02/03/this-weekend-clowns-performing-macbeth-in-mocshplat/ Carousel Theatre Teen Shakespeare Program http://www.vancouverplays.com/theatre/previews_theatre/preview_carousel_macbeth_09.shtml