complete lesson plans 9.10.11.12

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

11th and 12th Grades

Shakespeare’s Life Shakespeare Lesson Plan #1

Shakespearience Study Materials – Eleventh and Twelfth Grade LESSON PLAN OBJECTIVES:

1. Establish a time frame for Shakespeare’s life.

2. Provide a summary of significant events and important dates in Shakespeare’s life. 3. Outline his growth as an actor and a playwright. ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:

1. 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) 2. 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. Shakespearience Student Handout #1 entitled “Shakespeare’s Life.”

2. 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. Begin by having the students take turns reading the handout out loud. Select a new student to read every two or three sentences.

2. Pause frequently to ask the students questions on what was just read. Use your TEACHER’S EDITION of the handout for ideas on questions.

3. 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.

4. 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.

5. Have the students exchange and grade quizzes. If you wish, you may collect them. 6. 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. Distinguish between Elizabethan theatre and the theatre of today.

2. Outline the social, economic and political events in England surrounding Shakespeare’s life.

ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:





RESOURCES AND MATERIALS NEEDED: 1. Shakespearience Student Handout #2 entitled “Elizabethan Theatre.”

2. 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. 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.


3. 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.

4. 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. Distinguish between Shakespeare as literature and drama.

2. Identify the basic poetic structure in blank verse and compare it to prose. 3. 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:





3. 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)

4. 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. Shakespearience Student Handout #3 entitled “Performing Shakespeare.”





3. 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.

4. 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. Identify the basic poetic devices inherent in Shakespeare’s text.

2. Discuss the dramatic applications of Shakespeare’s poetry. 3. Examine Shakespeare’s own thoughts on drama.

ENGLISH-LANGUAGE ARTS CONTENT STANDARDS ADDRESSED IN THIS LESSON PLAN:





3. 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. Shakespearience Student Handout #4 entitled “Performing Shakespeare.”





3. 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.

4. 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.”

SHAKESPEARIENCEHANDOUTS

9TH, 10TH, 11TH, 12TH GRADES

Sample Discussion Questions:1. What do you think a “free school”is?

Answer: A public school at which stu-dents learned to read English, Latinand some Greek. He also probablylearned grammer, logic and rhetoric.Shakespeare, however, almost cer-tainly did not attend university.

2. How old was Shakespeare whenhe married Anne Hathaway?

Answer: 18 years old. Remind thestudents that he was born in 1564 andhe got married in 1582.

3. Do you think the name “upstartcrow” in reference to Shakespeare isa positive or negative label?

Answer: Negative. An “upstart” issomeone who has attained a positionof influence without earning it and a“crow” is a metaphor for someonewho is cocky or brash. A crow canalso be seen as a “bad omen”.Robert Greene used this labelbecause he was clearly jealous ofShakespeare’s success.

4. What does the word “shareholder”mean?

Answer: Someone who owns a partof a company. In the case ofShakespeare, there were generallyeight “shareholders” in the theatrecompany who all received a percent-age of the profits in direct proportionto their initial investment.

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 wasbeing subsidized by the government. In addition, King James tripled the number of court performances annually which meantthat 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”.

TEACHER’S EDITIONShakespearience Student Handout #1

Shakespearience 9.10.11.12.1

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Shakespeare’s LifeShakespearience Student Handout #1


William Shakespeare was born on or around April 23rd, 1564 in Stratford - a smalltown in central England. Although Shakespeare’s roots were firmly middle-class,his family did own substantial property and enjoyed mildly elevated social stand-ing. While little is known of Shakespeare’s formal education, it is generallyaccepted 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 whichyoung Shakespeare may have been involved, and he soon found himself marriedto Anne Hathaway in 1582. Three children followed, and in the early 1590s,Shakespeare moved to London with the hope of better providing for his growingfamily.

Shakespeare rapidly cemented his place in the theatre as evidenced by the con-siderable envy which his work began to generate both as a playwright and as anactor (Robert Greene, a prominant figure in theatre at the time, labeledShakespeare an “upstart crow” in 1592). His popularity began to grow and in1598, Shakespeare was thought to be “the best [writer] of both comedy andtragedy 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. Hisfinancial situation continued to improve and in 1597, Shakespeare bought a homein Stratford which he named New Place.

Indeed, his company did so well that in 1599, theGlobe Theatre was constructed to houseShakespeare’s finest productions. When KingJames assumed the throne in 1603, the LordChamberlain’s company became the recipient ofroyal patronage and saw its name changed tothe King’s Men. At this point, Shakespeare gaveup acting entirely and focused his full attentionon playwriting.

Shakespeare’s personal life remains relativelyunknown - however, certain key events paint avery full life. Hamnet, his only son, died at theage of eleven in 1596. Five years later, hisfather died in 1601. Records in Stratford indicateShakespeare’s continued involvement in thebusiness affairs of his home town up to hisdeath. Those close to Shakespeare found him to be “a handsome well-shapedman, 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 andof an open and free nature.”

After 1611, Shakespeare retired to Stratford but probably returned to London in1613 to help plan the rebuilding of the theatre after the Globe Theatre burneddown during a performance of Henry VIII. He passed away on April 23rd in 1616in Stratford. His wife died four months later but not before overseeing erection ofa monument to her husband in the Church of the Holy Trinity in Stratford.

His father, JohnShakespeare,occupied sever-al high rankingcivic officesincluding highbailiff or mayor!

_______Shakespeare’s

birth

_______ Marriage to

Anne Hathaway

_______ The Taming of

the Shrew

_______ Member of LordChamberlain’s

acting company

_______ A MidsummerNight’s Dream

_______ Romeo and

Juliet

_______ Purchase offirst house in

Stratford

_______ Globe Theatre

constructedon the Thames

riverbank

_______ Hamlet

_______ Twelfth Night

_______ Macbeth

_______ Sonnets printed

_______ Globe Theatreburns to the

ground

_______ Shakespeare’s

death

_______ First Foliois printed

Family History

Shakespeare’sactual birthdateis unknown butbecause hewas baptizedon April 26th,most scholarsplace his birthon April 23rd(which is alsothe day hedied)!

Date of Birth

In his will,Shakespeareleft his wife “mysecond bestbed with thefurniture.” Somehave interpret-ed this to indi-cate strife in themarriage but infact, it was cus-tomary that thebest bed bereserved forguests.

Last Will

1. Establish a time frame forShakespeare’slife.

2. Provide asummary of sig-nificant eventsand importantdates.

3. Outline hisgrowth as anactor and aplaywright.

Unit Objectives Timeline

Sample Discussion Questions:1. What are some of the advantagesof staging a play in an arena setting?

Answer: You can seat more people inthe theatre (and still have them fairlyclose to the action.)

2. Why do you think the actors reliedmore on things like the costumes thanthey did on sets?

Answer: At that time, there wasalways the danger of the theatresbeing closed temporarily in case of anoutbreak of the plague. By eliminat-ing heavy sets and props and relyinginstead on costuming, the actors wereable to easily take their show “on theroad” and tour across England untiltheir theatre reopened.

3. Can you think of any modern-daymovies, tv shows or plays that have aman (or a woman) playing the oppo-site sex? What would be the purposeof such a practice today?

Answer: “Mrs. Doubtfire” with RobinWilliams, “Tootsie” with DustinHoffman, “Junior” with ArnoldSchwarzenegger and “Big Mama’sHouse” with Martin Lawrence are allexamples of men playing women. In“Victor/Victoria” with Julie Andrews,you have a woman playing a manplaying a woman. The purpose indoing so in today’s world is primarilyfor comic effect.

4. Who were the two benefactors ofShakespeare’s theatre company?

Answer: Remind the students that Lord Chamberlain was the original benefactor of Shakespeare’s theatre company until KingJames 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 under-go is in many ways more extreme simply because the productions are bigger (think about films like “Piratres of the Caribbean”and “The Matrix”.)



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Elizabethan TheatreShakespearience Student Handout #2

Unlike the traditional “proscenium” staging oftoday, theatre during Shakespeare’s life wastypically staged in an area more reminiscentof an arena. In fact, the very shape of theaverage Elizabethan theatre is decidedly dif-ferent from what one might expect. To begin,the theatre of Shakespeare’s day was circu-lar in construction with an open courtyardsurrounded by a wooden structure dividedinto separate seating galleries. In addition,an elevated stage thrust out into the center ofthe courtyard. The stage was usually cov-ered to allow for entrances from the “heav-ens” as well as “flying” or lowering in largesets.

With no curtain between the audience andthe stage, the setting was far more intimate

than the larger theatres of today despite the fact that 2,000 to 3,000 patrons couldattend a production at one time. Indeed, audience participation was an integralfactor in Elizabethan productions. Furthermore, sets were kept to a minimum withthe production relying primarily upon the inherent surroundings of the stage andcourtyard. As such, the actors relied on the poetic beauty of Shakespeare’s textto paint the scenery. However, actors of the Elizabethan period did allow them-selves the luxury of exquisite costuming and large ensembles.

One peculiar aspect of drama during Shakespeare’s life was the absence ofwomen in the theatre. Despite the large number of exceptionally strong femaleroles in Shakespeare’s plays, the social and religious climate in England at thetime prevented women from appearing on-stage. Hence, the female parts werefilled by boys and young men. These “actors-in-training” received invaluableexperience as apprentices to the resident actors in the company. Moreover, thispractice of using all male casts explains why so many of Shakespeare’s plotsrevolve 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 numer-ous acting companies. Unlike today, these companies flourished due to the prof-it-sharing nature of the organization - each member of the acting troupe wasessentially a stock-holder in the company and thus, received a share of theincome generated by the company’s productions. Moreover, an acting companyduring this period usually retained the patronage of the nobility which helped addprestige and social stature to the troupe’s endeavors.

The demands placed upon the Elizabethan actor were far from simple. Becausemuch of Shakespeare’s work was written in blank verse, there existed an obviousneed for an actor to be linguistically facile. Furthermore, the rigorous physicalityof the theatre during this period required the Shakespearean actor to be well-schooled in the art of fencing, dancing and singing.

_________Reign of

Elizabeth I

_________ The Church of

England isestablished

_________ Mary, Queen of

Scots is executed

_________ Sir FrancisDrake’s first

expedition to theWest Indies

_________ Defeat of the

Spanish Armadaby Sir Francis

Drake

_________ East IndiaCompany

formed

_________ Reign ofJames I

_________ The GunpowderPlot is discov-ered and Guy

Fawkes isarrested

_________ Captain JamesSmith founds

the first perma-nent English settlement at

Jamestown, Va

_________ King James

version of theEnglish Bible is

published

_________ The Pilgrims

found a colonyat Plymouth, Ma

1. Distinguishbetween Eliza-bethan theatreand the theatreof today.

2. Outline thesocial, economicand politicalevents inEngland sur-roundingShakespeare’slife.

Current EventsUnit Objectives

Writing Strategies

Draw a pictureof the “ideal” livetheatre. Keepthe followingpoints in mind:

1. How close theaudience is tothe stage

2. Specialeffects (trap-doors, etc.)

3. Indoor vs.outdoor theatres

Using YourImagination

Write a brief,three-paragraphcompositionexplaining thedifferencebetween a livetheatre duringShakespeare'stime and amovie theatre ofour time. Makesure you focuson one centralidea and supportit with specificexamples. Eachparagraph needonly be threesentences long.


Sample Discussion Questions:1. Did you know that Shakespearedidn’t actually publish any of hisplays?

Answer: Two of his best friends bythe name of Hemming and Condelldecided seven years afterShakespeare’s death to assemble allof his plays into one collection entitled“The First Folio”. In doing so, theyrelied primarily on old actor scripts,pirated copies of his plays (called“quartos”) and their own memory.However, there are no actual copiesof Shakespeare’s plays in his ownwriting - everything we have today iseither from “The First Folio” or the oneof the pirated “quartos”.

2. How many syllables are in one lineof iambic pentatmeter?

Answer: 10. If the iambic meter ismade up of two syllables (oneunstressed and one stressed) andthere are five meters per line (penta =five), there must be 10 syllables perline. However, not all ofShakespeare’s blank verse has 10syllables. Often times, Shakespearewould interrupt the flow of the meterby adding an eleventh syllable to theline - this is called a “feminine end-ing”. Feminine endings are used forlines when the character is underextreme emotional strain (the first lineof Hamlet’s “To be or not to be ...”speech is a perfect example sinceHamlet is considering suicide in themonologue.)

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 speaksalmost entirely in prose. Other famous comic characters include the Porter from Macbeth (Act II, sc. iii), the Gravediggers fromHamlet (Act V, sc. i) and the Nurse from Romeo and Juliet.



Shakespearience Student Handout #3

Because the works of William Shakespeare are widely considered the pinnacle ofEnglish literature, it is easy to forget that his plays were meant to be performedand not read. Indeed, at Shakespeare’s death in 1616, 18 of his 37 plays hadnever been published. Moreover, the general populace considered plays to bethe lowest form of literature and not the kind of material that “should be vouch-safed a room in a library.” Even the actors of a company rarely received a fullcopy of the script - instead, the performers would be handed individual “rolls”which contained only their lines along with their cue lines (the word “role” mayhave its origin in the “rolls” each actor received.)

However, performing Shakespeare is no mean task. Fortunately, Shakespeareprovided a very clear roadmap for the actor within the text itself. As most Englishstudents know, Shakespeare frequently wrote in blank verse (although notalways) which essentially consists of iambic pentameter. Iambic indicates the pat-tern of stresses within the text - in this case, unstressed and then stressed.Pentameter explains that there are five instances of unstressed/stressed patternsper line. Thus, a typical line of blank verse or iambic pentameter might be:

A horse! A horse! My kingdom for a horse!

While the placement of stresses within the line might seem arbitrary, Shakespearewas in fact very careful when constructing his dialogue. Just as a modern daydirector would tell his or her actors which word is important in a line, soShakespeare would indicate to his actors the important words by arranging themto fall on a stressed beat. This does not mean that an actor should emphasizeevery word which is stressed in the blank verse - rather, when picking what toemphasize in the line, an actor should pick a word which Shakespeare stressed.The iambic pentameter is simply a guideline, not a hardfast rule.

It is important to note that Shakespeare didn’t always write in blank verse (iambicpentameter) - often times, he completely abandoned writing poetry in favor ofprose. Prose is characterized by the lack of any formal rhythm or meter to thetext. Hence, iambic pentameter and similar rhythmic patterns are completelyabsent in prose. However, prose can (and often does) contain poetic devicessuch as metaphors and alliteration. One simple way to determine whether a sec-tion of text is poetry or prose is by examining the first word in each line of text - ifthe 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 general-ly reserved for characters with great emotion and high intellect. Conversely,prose was used to signify Shakespeare’s fools (so if you ended up with the major-ity 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 punctu-ation dictates the flow of thoughts and emotional direction of the scene. In addi-tion, the pacing and urgency of a character’s actions are revealed by the scene’spunctuation.To ignore the punctuation would be as disastrous as ignoring the con-ductor of an orchestra. Every type of punctuation has a different function.

1. Distinguishbetween readingShakespeareand performingShakespeare.

2. Discuss howthe text itselfcan direct theactor.

3. ExamineShakespeare’sown thoughtson acting.

Unit Objectives

It is estimatedthat the aver-age person hasa workingvocabulary ofapproximately17,000 words.

Shakespeare,on the otherhand, used avocabulary ofroughly 34,000words in writinghis plays!

Vocabulary

When Shake-speare wasunable to findthe right word,he simply madeone up! In fact,over 1,700words havebeen attributedto him.

1. Invent five ofyour ownwords. Makesure you identi-fy its part ofspeech (noun,adj, adv, etc)and can use itin a sentence.

CreativeThinking

Richard III

accommodation

premeditation

assassination

submerged

exposure

frugal

leapfrog

generous

hurry

impartial

lonely

castigate

cruel-hearted

control

majestic

pious

sanctimonious

obscene

green-eyed

Words Invented by Shakespeare

The Sound andThe Fury

SomethingWicked ThisWay Comes

The Boys in the Band

Remembranceof Things Past

VaultingAmbition

Book titles inspiredby Shakespeare’s

words

Performing ShakespeareShakespearience 9.10.11.12.3

Sample Discussion Questions:1. Can you think of any modern-daysongs that use some of the poeticdevices listed to help add to the artistictension?

Answer: This answer will vary. Makesure that the students support theiranswer by providing specific examples.

2. Ask the students to provide exam-ples of the poetic devices listed.

Answer: Here are some examples.

Alliteration: Sally sells seashells by the seashore.

Antithesis: Jumbo ShrimpMilitary Intelligence (ha ha)

Metaphor: “You are a dog.”

Onomatopoeia: BuzzBashCrashThump

Simile: “She’s like a robot.”

3. What do you think that Shakespearemeant by the line “but if you mouth it asmany of your players do, I had as liefthe town-crier spoke my lines”?

Answer: Shakespeare is warning theactors to avoid “overplaying” the text -they should let the words fall at a natu-ral clip. The poetry will take care ofitself and doesn’t need to beoveremphasized. Shakespeare essen-tially states that if the actors insist on “overplaying” the text, he would rather have the “town-crier” perform the parts (the town-crier 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 createcharacters, not “caricatures”.



HAMLET

MACBETH

OTHELLO

JULIUSCAESAR

AS YOULIKE IT

ROMEO &JULIET

MERRY WIVESOF WINDSOR

MERCHANTOF VENICE

COMEDY OFERRORS

Performing ShakespeareShakespearience Student Handout #4

Beyond the rhythm and punctuation of Shakespeare’s work, there lies a vast arrayof poetic devices which the Bard used to help direct the actor. Otherwise knownas “heightened language”, the poetic construction interwoven throughout the dia-logue helps add dramatic tension and conflict to the plot. Some of the main poet-ic devices or “conceits” used in Shakespeare’s plays bear mentioning:

Alliteration 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 impor-tance of the words to the character.

Antithesis The placement of extreme opposites next to each other; indicates the character’s subtle acknowl-edgement of the irony in a situation; usually the truth lies somewhere in-between (also known as an oxymoron).

Metaphor A statement in which one object or idea is said to be another; used to reveal a deeper emotional conviction within the character.

Onomatopoeia A word that sounds like what it describes; espe-cially helpful in rehearsal, it can help determine a character’s intention.

Simile 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 issupposed to take place. As such, an actor which finds a line several meters shortof 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 foundin Hamlet’s speech to the players. Long considered by most experts to beShakespeare’s own thoughts on acting, Hamlet’s monologue in Act 3, sc. 2 is theclearest direction on how to perform Shakespeare’s plays:

In the speech, Shakespeare warns against extremes on both ends. To overplayor underplay a scene is “from the purpose of playing, whose end, both at the firstand now, was and is to hold as ‘twere the mirror up to nature.” Indeed, modera-tion is the maxim Shakespeare imparts upon future generations of actors - a taskmade far easier by the textual clues embedded in the language.

1. Distinguishbetween readingShakespeareand performingShakespeare.

2. Discuss howthe text itselfcan direct theactor.

3. ExamineShakespeare’sown thoughtson acting.

Unit Objectives

1. Ask the stu-dents to writefive similes.

2. Have themconvert theirsimiles intometaphors.

3. Finally, havethe studentschoose onesimile and onemetaphor andconstruct ashort eight linepoem.

Poetry Exercise

1. On theboard, write theexpressionsfrom Hamletlisted on theright.

2. Have yourstudents identi-fy the poeticdevice in eachexpression.

3. Ask the stu-dents howthose expres-sions differ fromthe others listedwhen saidaloud.

Critical Analysis

_________

“method to hismadness”

“brevity is thesoul of wit”

_________

“a foregoneconclusion”

“wear my hearton my sleeve”

_________

“it was Greek to me”

_________

“the milk of human kindness”

_________

“too much of agood thing”

_________

“what’s in aname?”

_________

“as good luckwould have it”

_________

“my own fleshand blood”

_________

“something inthe wind”

Famous Expressions

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 spokemy lines. Nor do not saw the air too much with your hand, thus, but use all gen-tly; 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 nottoo tame neither, but let your own discretion be your tutor. Suit the action to theword, the word to the action, with this special observance, that you o’erstep notthe modesty of nature.

Hamlet, Act 3, sc. 2


SHAKESPEARIENCEWORKSHEETS


Worksheet on Shakespeare - ACRITICAL ANALYSIS OF LANGUAGE AND TEXT

Match the following pieces of text to the appropriate poetic device.

___ 1. My mistress with a monster is in love. a. metaphor___ 2. Juliet is the sun! b. simile___ 3. Arise fair sun and kill the envious moon ... c. alliteration___ 4. Vile thing, let loose; or I will shake thee from me like a serpent! d. onomatopoeia___ 5. Should be? Should – buzz! Well ta’en, and like a buzzard. e. antithesis (or oxymoron)

Carefully read the following two pieces of text.

PASSAGE A

Have you no modesty, no maiden shame,No touch of bashfulness? What, will you tearImpatient answers from my gentle tongue?Fie, fie, you counterfeit! You puppet you!

PASSAGE B

Nothing, good mounsieur, but to help Cavalery Cobweb toscratch. I must to the barber’s, mounsieur, for methinks Iam marvellous hairy about the face; and I am such a ten-der 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 . M y m i s t r e s s w i t h a m o n s t e r i s i n l o v e .

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 . G i v e m e y o u r h a n d s , i f w e b e f r i e n d s ,

4 . B u t s o f t , w h a t l i g h t t h r o u g h y o n d e r w i n d o w b r e a k s ?

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 - ACRITICAL ANALYSIS OF LANGUAGE AND TEXT

Match the following pieces of text to the appropriate poetic device.

___ 1. My mistress with a monster is in love. a. metaphor___ 2. Juliet is the sun! b. simile___ 3. Arise fair sun and kill the envious moon ... c. alliteration___ 4. Vile thing, let loose; or I will shake thee from me like a serpent! d. onomatopoeia___ 5. Should be? Should – buzz! Well ta’en, and like a buzzard. e. antithesis (or oxymoron)

Carefully read the following two pieces of text.

PASSAGE A

Have you no modesty, no maiden shame,No touch of bashfulness? What, will you tearImpatient answers from my gentle tongue?Fie, fie, you counterfeit! You puppet you!

PASSAGE B

Nothing, good mounsieur, but to help Cavalery Cobweb toscratch. I must to the barber’s, mounsieur, for methinks Iam marvellous hairy about the face; and I am such a ten-der 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 . M y m i s t r e s s w i t h a m o n s t e r i s i n l o v e .

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 . G i v e m e y o u r h a n d s , i f w e b e f r i e n d s ,

4 . B u t s o f t , w h a t l i g h t t h r o u g h y o n d e r w i n d o w b r e a k s ?

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)

________________________________________________________________________________________________

a

b

c

B The first letter of the first word in each new

. . . mounsieur, for methinks I am marvellous hairy . . .

Impatient answers from my gentle tongue?

. . . and I am such a tender ass . . .

You are so smart - sometimes you act just like a computer! (simile)

Line 1 and Line 4

Line 3

Line 2

line of Passage B is not capitalized; also each line of Passage A scans as iambic pentameter.

d

e

Worksheet on Shakespeare - B

THE CHANGING TEXTSWilliam Shakespeare died seven years before the first collective book of his plays (the First Folio) was published. Hewas unable to verify that the texts were correct. Since the early printers worked with rudimentary tools and hand-madetypesettings, 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 PapersThese are the original pages of a playwright's work. They are called foul because there are often parts that are crossedout as changes are made. For this reason, foul papers are often difficult to read. Unfortunately, none of Shakespeare'sfoul papers have survived.

Fair CopiesThese 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.

QuartosWhile 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 quartoswere 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 againthus creating a little book.

The First FolioThis is a book published in 1623 containing 36 of Shakespeare's plays. Written by two longstanding actors inShakespeare’s company, the First Folio was probably compiled from a variety of sources including some quartos and faircopies - however, much of the text likely came from memory. Most editions of Shakespeare's plays read today arebased on the First Folio.

EXERCISE: Construct your own quarto with a poem inside of it. You may use one ofShakespeare’s poems or write your own. Decorate the quarto using illustrations, ribbon, etc. Someof you may wish to “age” your quarto by using brown paper bags as your paper, soaking parts of it intea or adding water stains, etc.

First, fold thepaper in half,across the middle.

The finishedproduct is a stur-dy little book per-fect for scripts.

Then, fold thepaper again, thistime down thecenter.

Quarto

The Words of ShakespeareVocabulary 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 ScenesPre-Performance Handouts

Each of the scenes featured in Shakespearience have been briefly summarized below. These descriptions are intendedto familiarize the viewer with the characters and plot of each scene in the show - in no way are they designed to replacereading the actual material.

Romeo and JulietAct 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 host-ed by her father, the scene opens with Romeo avoiding his band of inebriated friends who are intent on teasing the youngMontague. Once his comrades depart, Romeo manages to scale the orchard walls of Capulet’s estate in hopes of catch-ing a glimpse of Juliet. While crouched near her balcony, Romeo hears Juliet profess her love for him to which he quick-ly responds. Her initial amazement at his presence gradually gives way to ardent joy as she gently instructs the impas-sioned Romeo how to correctly swear his fidelity for her. They part promising to secretly marry as soon as possible.

Romeo and JulietAct III, sc. 1

Mercutio and Benvolio, both friends of Romeo, are engaged in friendly banter when they encounter a band of Capulets ledby Tybalt, Juliet’s cousin. Angered with Romeo for appearing at the Capulet’s ball the other night, Tybalt wishes to rectifythe “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 ofRomeo and his friends. Thus enraged, Romeo takes up Mercutio’s weapons and slays Tybalt. Benvolio, realizing thatRomeo will be sentenced to death by the Prince, urges Romeo to flee which he promptly does.

The Taming of the ShrewAct II, sc. 1

Bianca, the young daughter of a wealthy merchant in Italy, is widely sought after as a wife. However, her father refuses tomarry her until her older sister, Katherina, has found a husband. Unfortunately, Katherina’s wild and “intolerable” disposi-tion makes her a difficult prospect for marriage. As such, three of Bianca’s suitors band together to find Katherina a hus-band so that they might each try their luck at winning the hand of Bianca. They decide on Petruchio, a gentlemen fromVerona, as the most likely candidate for “taming” Katherina. The scene between Petruchio and Katherina begins with thetwo 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 thescene ends with Petruchio triumphantly declaring that he was “born to tame” Katherina and shall have her as “my wife.”

MacbethAct 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 themiddle of an empty wasteland. Before vanishing, the witches predict that Macbeth will be crowned Thane of Cawdor andeventually, 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 Cawdorby the King for his valiant efforts in battle. Spurred by this partial realization of the prophecy, Macbeth decides to murderthe 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 2begins with Lady Macbeth impatiently waiting for her husband’s return from the murder. When he finally does, she findshim paralyzed with fear and unable to carry out the rest of the plot. Hence, she takes the bloody daggers from her hus-band and plants them on the sleeping grooms (guards) whom she had drugged earlier. At the top of Act V, sc VIII, Macbethhas 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 therest 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, bothLysander and Demetrius are in love with Hermia but not with her friend Helena. On the other hand, Hermia loves onlyLysander while Helena is deeply in love with Demetrius. When the four lovers enter the woods of Athens, they catch theattention of fairy Puck who attempts to rectify the situation with magic. Intending to make Demetrius fall in love withHelena, he unfortunately enchants Lysander thus intensifying the problem. Hence, Puck casts a spell on Demetrius aswell which results in both men madly pursuing Helena while Hermia is left alone. The scene begins with Helena beingcourted by Lysander and Demetrius as Hermia accuses her of stealing Lysander. After much confusion and arguing, Puckfinally sets things right by causing the four lovers to sleep and removing the spell from Lysander.

HamletAct III, sc. 1

Having recently discovered that his father was murdered by his uncle to gain the throne, Hamlet, Prince of Denmark, isalone contemplating suicide when he is interrupted by Ophelia, daughter of Polonius and beloved by Hamlet. Sent by theKing and her father to determine the reason behind Hamlet’s increasingly agitated state, Ophelia offers to return Hamlet’slove letters to him. However, the young prince, disgusted with his mother’s remarriage to his uncle (and perhaps aware ofOphelia’s collusion with the King), rejects Ophelia’s advances. In the course of their conversation, Hamlet becomes noti-ciably hostile and urges her to “get thee to a nunn’ry”. Upon his departure, Ophelia is left alone to lament Hamlet’s appar-ent descent into insanity.

Midsummer Night’s DreamAct 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 aresult. To show his wife the silliness of their fight, Oberon orders Puck to place a spell on Titania which will cause her tofall madly in love with the first thing she sees upon awakening. Act III opens with a troupe of actors who have met in thewoods to rehearse a play for the Duke of Athens’ wedding. Unbeknownst to them, Puck has decided to take part in theirlittle rehearsal by placing a donkey’s head on Nick Bottom, one of the actors. When his fellow actors spot him with a don-key’s head on his shoulders, they scatter in fear and inadvertently awaken Titania, the Queen of the Fairies. When shesees Bottom, she falls deeply in love in with him and orders her fairies to grant his every wish. Oberon permits this littlejoke to continue until Titania falls asleep at which point, he removes the spell and “all is mended.”

SHAKESPEARIENCEREVIEW MATERIALS


ShakespearienceFollow-up Quiz

Answer True or False

Romeo and Juliet

1. Juliet is from the Montague family.

2. Mercutio is Romeo’s best friend.


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.


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.


12. Oberon transforms Bottom’s head into that of a donkey.

13. Titania is Queen of the Fairies.

ShakespearienceAnswers to Follow-up Quiz

Answer True or False

Romeo and Juliet

1. False - Juliet is from the Capulet family.

2. True


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


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.


12. False - Puck transforms Bottom’s head into that of a donkey.

13. True

Thoughts on ShakespearienceEssay Questions

Answer each of the following questions in two short essays. Make sure you have a thesis state-ment 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 thanthe 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 relationshipbetween two people? In the scenes, what obstacles stood in the way of a healthy rela-tionship? Have these obstacles changed today?

Thoughts on ShakespearienceEssay Questions - Advanced Format

Answer each of the following questions in two short essays. Make sure that the evidence foryour thesis is strong and based on specific examples from the show. Follow the outline belowwhen writing your response:

I. Introductory Paragraph

A. Thesis Statement (your main argument or point - of view)B. 1st Supporting Statement (should prove why your Thesis is correct)C. 2nd Supporting Statement (should also prove why your Thesis is correct)

II. 1st Main Paragraph

A. Restate your 1st Supporting StatementB. 1st Specific example from the show of your Supporting StatementC. 2nd Specific example from the show of your Supporting Statement

III. 2nd Main Paragraph

A. Restate your 2nd Supporting StatementB. 1st Specific example from the show of your Supporting StatementC. 2nd Specific example from the show of your Supporting Statement

IV. Concluding Paragraph

A. Restate your Thesis StatementB. Restate your 1st Supporting StatementC. Restate your 2nd Supporting StatementD. Summary Statement

Essay Question #1

Do you think Shakespeare was a feminist? Why or why not? Support your answer using spe-cific examples from the show.

Essay Question #2

How does Shakespeare’s portrayal of “love at first sight” change in the different scenes featuredin Shakespearience?

Shakespearience

ShakespearienceReview Exam

Matching - 10 questions:

Match the quotations below to the character which said them in Shakespearience.

1. What man art thou that thus bescreen'd in night a. RomeoSo stumblest on my counsel? b. Lady Macbeth

2. Scratch my head, Peaseblossom. c. Bottom3. If I be waspish, best beware my sting. d. Titania4. Help me into some house, Benvolio, e. Petruchio

Or I shall faint. ab. Juliet5. I have done the deed - didst thou not hear a noise? ac. Tybalt6. Romeo, the love I bear thee can afford ad. Macbeth

No better term than this: thou art a villian. ae. Katherina7. But screw your courage to the sticking-place bc. Mercutio

And we'll not fail.8. For I am he am born to tame you, Kate...9. What angel wakes me from my flowery bed?10. But soft, what light through yonder window breaks?

True or False - 10 questions:

1. A pilcher is a scabbard or sheath for a sword.2. Lord Chamberlain's company, of which Shakespeare was a member, became the King's Men

when it received patronage from King John in 1603.3. Shakespeare used both male and female actors when casting his shows.4. In Romeo and Juliet, Juliet asks Romeo to swear his love for her by the inconstant moon.5. In A Midsummer Night's Dream, Titania is married to Puck.6. In Hamlet, Hamlet admits that he once loved Ophelia.7. During Shakespeare's life, actors in an acting company were essentially stock-holders.8. A brake is another word for a balcony.9. In Macbeth, after murdering the King, Macbeth is unable to say the word 'Amen.'10. 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 b. alliteration c. metaphor d. blank verse e. nunneryab. King Duncan ac. Tybalt ad. waspish ae. Wherefore bc. swain

1. The poetic device of using consecutive words which have the same initial consonant sound orletter is called _______________________.

2. In Macbeth, _______________________ is murdered by Macbeth so that the prophecy of thethree witches might be fulfilled.

3. Shakespeare wrote much of his plays in iambic pentameter or _____________.4. Burned down in 1613, the _______________________ is where many of Shakespeare's

plays were performed.5. A _______________________ in Elizabethan times is a person of low rank.6. Another term for the word 'why' in Elizabethan times was __________________.7. In The Taming of the Shrew, Katherina admits to be irritable or _____________.8. The poetic device in which a comparison between two words is made by declaring one to be

the other is called _______________________.9. In Romeo and Juliet, Romeo kills _______________________ in a fit of rage after his best

friend, Mercutio, is killed in a duel.10. In Hamlet, Hamlet tells Ophelia to "get thee to a ____________."

Multiple Choice - 10 questions:

1. Another word for stupidity during Elizabethan times wasa. chaste b. wassail c. folly d. coy

2. In Shakespeare's writings, a form of punctuation which calls for a slight pause and could indi-cate that the next line is a fresh thought is aa. period b. comma c. semi-colon d. colon

3. The first name of Shakespeare's wife wasa. Julia b. Titania c. Katherina d. Anne

4. 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

5. All of the following are fairies of Titania excepta. Dewdrop b. Cobweb c. Mustardseed d. Peaseblossom

6. After the murder, Macbeth and Lady Macbeth are startled by the sound ofa. their guests b. knocking c. horses d. dogs barking

7. 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

8. An actor during Shakespeare's life always received his linesa. in a full script b. in 'rolls' c. weeks ahead d. both a. and c.

9. When Juliet says "Romeo, doff thy name..." she meansa. Romeo, give me your name...b. Romeo, give up your name...c. Romeo, proclaim your named. none of the above

10. Shakespeare died in a. 1614 b. 1615 c. 1616 d. 1617

complete lesson plans 9.10.11.12

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