Coming of Age on Stage Have Students Read the Goals for the 5 Unit and Mark Any Words That Are Unfamiliar to Them

Home , Bardolatry, Foil (narrative), Montagues and Capulets, Romeo Must Die

UNIT 5 UNIT Read aloud the Unit Overview, asking students to mark the text 5 by highlighting words and phrases that help them predict what the unit will be about. Share responses in partner, small-group, or whole- class discussion. Have students look at the photograph and respond to the visual prompt. You may want to have students think-pair-share to write a short response or discuss their Coming of Age responses as a class.

on Stage TEACHER TO TEACHER Have students begin to think about the power of theater and drama by posing the unit’s Essential Questions: How do actors and Visual Prompt: The balcony scene is one of the most famous in Romeo and Juliet. How do you visualize this scene? directors use theatrical elements to create a dramatic interpretation? Why do we study Shakespeare? You may want to ask students to reflect on and share their knowledge Unit Overview of the play Romeo and Juliet. For Romeo and Juliet, a coming-of-age drama example, some students may be about two young star-crossed lovers, was one familiar with the story from popular of William Shakespeare’s most popular plays songs or films that reference the in his lifetime. To this day, it is one of his most plot or characters. Students who widely performed plays, and it has inspired have studied A Midsummer Night’s countless artists, musicians, and filmmakers Dream may remember the Pyramus to bring to life their own visions of this and Thisbe story from the play within timeless tragedy. In this unit, you will join their a play and be able to connect it to ranks by planning and performing your own the story of Romeo and Juliet. Have © 2018 College Board. All rights reserved. collaborative interpretation of a scene. After students think about why this play is reflecting on this experience, you will conduct so frequently referenced in popular research to support an argument about the culture. relevance of Shakespeare in today’s world.

English Learner Support evidence for their arguments by having them complete the Conclusion Builder graphic G9_U5_SE_B1.indd 357Leveled Differentiated Instruction 10/11/16 11:36 am organizer. For guidance on differentiating tasks for English 5.12: Use the Paraphrasing and Summarizing language learners at various levels of language Map graphic organizer to support students in proficiency, refer to the Leveled Differentiated memorizing and performing a Shakespearean Instruction suggestions in these activities: soliloquy. 5.4: Have students use the Unknown Word 5.15: Have students use sentence frames and Solver graphic organizer to help determine the the Collaborative Dialogue graphic organizer to meanings of unknown words and phrases. plan for a whole-group debate. © 2018 College Board. All rights reserved. 5.6: Provide support for engagement with the film by using subtitles. Help students develop

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 357357 110/11/160/11/16 2:192:19 pmpm UNIT 5 UNIT Coming of Age on Stage Have students read the goals for the 5 unit and mark any words that are unfamiliar to them. Have students add these words to the classroom GOALS: Contents Word Wall, along with definitions. • To cite textual evidence Activities You may also want to post these to support analysis of a dramatic text 5.1 Previewing the Unit ...... 360 goals in a visible place in the • To analyze the representation classroom for the duration of this of key scenes in text, film, 5.2 Shakespeare’s Age ...... 361 unit, allowing you and your students and other mediums Monologue: Excerpt from As You Like It, by William Shakespeare to revisit the goals easily and gauge • To collaborate with peers on 5.3 A Sonnet Sets the Stage ...... 364 progress toward achieving goals an interpretive performance D r a m a : Prologue from Romeo and Juliet, by William Shakespeare throughout the unit. • To conduct research to answer questions and 5.4 Conflict Up Close ...... 367 gather evidence *Drama: Romeo and Juliet, by William Shakespeare (Act I) VOCABULARY DEVELOPMENT • To analyze how an author uses rhetoric to advance Adding to vocabulary knowledge is 5.5 Talking by Myself...... 371 a purpose *Drama: Romeo and Juliet, by William Shakespeare (Act I) essential for reading fluency. Students • To write an argument to will encounter new vocabulary in this support a claim 5.6 Party Blocking ...... 373 course in multiple ways: *Film: Two film interpretations of Romeo and Juliet (Act I) • Academic Vocabulary 5.7 Acting Companies ...... 377 • Literary Terms ACADEMIC VOCABULARY *Images: Posters and flyers from Shakespeare productions • Academic Vocabulary in Context vocal delivery (unfamiliar terms glossed in text visual delivery 5.8 What’s in a Setting? ...... 382 synthesis selections) *Drama: Romeo and Juliet, by William Shakespeare (Act II) counterclaim Script: Excerpt from West Side Story, by Arthur Laurents • Word Connections concession • Oral Discussions refutation *Film: Two film interpretations of Romeo and Juliet hook 5.9 Friends and Foils ...... 389 Encourage students to review and concluding statement add to the words in their Reader/ call to action *Drama: Romeo and Juliet, by William Shakespeare (Act II) Writer Notebooks. Having students 5.10 A Wedding and a Brawl ...... 391 use word-study graphic organizers *Drama: Romeo and Juliet, by William Shakespeare (Act II–III) to study key vocabulary terms in Literary Terms *Film: A film interpretation of Romeo and Juliet depth will greatly enhance their monologue 5.11 Emotional Roller Coaster ...... 397 understanding of new words and drama *Drama: Romeo and Juliet, by William Shakespeare (Act III) their connection to unit concepts and tragedy to the broader use of academic terms. sonnet 5.12 TWISTing Their Words ...... 399 theatrical elements See the Resources section at blocking *Drama: Romeo and Juliet, by William Shakespeare (Act II–III) the back of this book for examples dramaturge 5.13 A Desperate Plan ...... 402 © 2018 College Board. All rights reserved. of graphic organizers suitable for foil soliloquy *Drama: Romeo and Juliet, by William Shakespeare (Act IV) word study. As students become subtext more familiar with using graphic 5.14 The Fault in Their Stars ...... 405 organizers to explore the meaning of *Drama: Romeo and Juliet, by William Shakespeare (Act V) a word, you may want them to create *Film: A film interpretation of Romeo and Juliet their own graphic organizers. Embedded Assessment 1: Presenting a Dramatic Interpretation .....408

CONTENTS Have students skim/scan the activities and texts in this unit. Have them note any texts they have heard about but never read and any EL Support (continued) activities that sound particularly G9_U5_SE_B1.indd5.16: Provide 358 extra support for crafting an 10/11/16 11:36 am G9_U5_SE_B1.indd 359 10/11/16 11:36 am interesting. argument using the Persuasive/Argument Writing Map graphic organizer. 5.18: Use the Spanish/English glossary to support vocabulary development. 5.20: Help students answer text-dependent questions using the Idea and Argument Evaluator graphic organizer. © 2018 College Board. All rights reserved.

358 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 358358 110/11/160/11/16 2:192:19 pmpm Coming of Age on Stage UNIT 5 LANGUAGE DEVELOPMENT Several recurring SpringBoard features help build students’ knowledge Language and Writer’s of grammar and usage concepts. Craft Language and Writer’s Craft features • Rhetorical Questions 5.15 Previewing Embedded Assessment 2: (5.16) guide students to examine a writer’s use of a language concept in context Is Shakespeare Relevant? ...... 410 • Using and Citing Sources (5.17) before incorporating the concept 5.16 Shakespeare in the Modern Age ...... 414 into their own writing. Grammar & Article: “On the Bard’s Birthday, Is Shakespeare Still Usage features briefly highlight and Relevant?” by Alexandra Petri explain an interesting grammar or MY INDEPENDENT 5.17 Shakespeare’s Globe ...... 420 usage concept that appears in a text, READING LIST Article: “Britain Puts on a Shakespeare Marathon as both to improve students’ reading comprehension and to increase World Arrives for the Olympic Games,” by Jill Lawless their understanding of the concept. Article: “On Love and War, Iraq Learns from Shakespeare,” by Periodic Language Checkpoints Shelina Zahra Janmohamed offer in-depth practice with standard 5.18 Did Shakespeare Invent Teenagers? ...... 428 English conventions and usage and ask Article: Excerpt from How Shakespeare Changed Everything, by students to revise sample sentences as Stephen Marche well as their own work. 5.19 Shakespeare Behind Bars ...... 434 Article: “Kentucky Inmates Turned Actors Explore Selves INDEPENDENT READING Through Shakespeare Play,” by Sean Rose In this half of the unit, while reading 5.20 Give Up the Bard ...... 440 Shakespeare’s Romeo and Juliet, students will have the opportunity Article: “Why It’s Time to Give the Bard the Heave-ho!” to read other Shakespeare plays or by Brandon Robshaw other texts that explore the coming- Embedded Assessment 2: Writing a Synthesis Argument ...... 443 of-age theme. The Planning the Unit section of the Teacher Edition and the Resources section of the Student *Texts not included in these materials Edition contain guidance, Reading Logs, and Reading Lists to help students make reading selections. Independent Reading Links prompt students to actively respond to their reading and record responses in their Reader/Writer Notebooks or © 2018 College Board. All rights reserved. Reading Logs. Independent Reading Checkpoints allow for quick check- ins of independent reading prior to each Embedded Assessment.

TEACHER TO TEACHER

The SpringBoard program has been designed to allow students to interact with the text by making notes in their books and marking text to facilitate close reading. In addition to making notes in the text, students are expected to use their Reader/Writer Notebooks G9_U5_SE_B1.indd 358 10/11/16 11:36 am G9_U5_SE_B1.indd 359 10/11/16 11:36 am often: for vocabulary study, answering text-dependent reading comprehension questions, reflections, some writing assignments, notes about texts they read, responding to Independent Reading Links, capturing thoughts about learning strategies and how to use them, and so on. The Reader/Writer Notebooks are not listed as part of the materials for © 2018 College Board. All rights reserved. each activity, but the expectation is that students will have access to them.

Unit 5 • Coming of Age on Stage 359

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 359359 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.1 ACTIVITY Previewing the Unit Shakespeare’s Age 5.1 PLAN

Materials: template for the graphic organizer to unpack Embedded Learning Targets LEARNING STRATEGIES: • Preview the big ideas and vocabulary for the unit. Assessment 1 QHT, Marking the Text, Suggested Pacing: 1 50-minute class Skimming/Scanning • Identify the skills and knowledge required to complete Embedded Assessment 1 successfully. period (with the Unit Overview and Contents pages) Making Connections My Notes In this unit, you will focus on drama. You will learn the elements of drama and of TEACH staging a play, and you will engage in a debate about the relevance of William Shakespeare. As you work through the activities, you will apply your skills of 1 Read aloud the learning targets. analysis, interpretation, research, writing, and collaboration. Activate prior knowledge by asking students to share prior learning that Essential Questions could help them meet these goals. To get started thinking about drama and theater, answer the Essential Questions. Based on your current knowledge, write your answers to these questions. 2 Have students read the Making 1. How do actors and directors use theatrical elements to create a dramatic Connections paragraph and highlight interpretation? any unknown words. Discuss the meanings. 3 Have students brieﬂy answer and discuss each Essential Question. 4 Have students review the 2. Why do we study Shakespeare? vocabulary words and determine which ones they need to study more. 5 Read aloud the assignment for the ﬁrst Embedded Assessment. Have students mark the text and think- Developing Vocabulary pair-share the skills and knowledge Look at the vocabulary terms on the Contents page. Use a QHT strategy to analyze they will need for success. your knowledge of each term and your ability to explain and use each term correctly. 6 Unpack the assessment with Unpacking Embedded Assessment 1 students. Post the unpacking graphic Read the assignment for Embedded Assessment 1: Presenting a Dramatic organizer during the unit so students Interpretation. INDEPENDENT can make connections between each Your assignment is to work collaboratively with your acting company to interpret, activity in the unit and requirements READING LINK Read and Recommend rehearse, and perform a scene from William Shakespeare’s Romeo and Juliet. In preparation, each member of the acting company will create a staging notebook for the assessment. Consider using In this unit, you will be

providing textual evidence and commentary on the planned interpretation. Finally, © 2018 College Board. All rights reserved. one of these approaches: reading a play by William Shakespeare. For your you will write a reflection evaluating your final performance. • Create a web on poster paper, independent reading, listing the skills and knowledge. choose another play. You In your own words, summarize what you will need to know to complete this • Use the EA Scoring Guide, and list might want to read another assessment successfully. With your class, create a graphic organizer to represent the skills and knowledge under the of Shakespeare’s plays, or the skills and knowledge you will need to complete the tasks identified in the a play by another author. Embedded Assessment. matching criteria. Discuss your selection with 7 To prompt small-group a small group. Explain why discussions about independent you would recommend this particular play. reading, ask students whether they have seen plays live or on TV. ASSESS

Make sure students record the COLLEGE AND CAREER READINESS STANDARDS phrases, sufficient for reading, writing, speaking, and listening at the college Embedded Assessment graphic G9_U5_SE_B1.inddFocus Standards: 360 10/11/16 11:36 am G9_U5_SE_B1.indd 361 10/11/16 11:36 am organizer in their Reader/Writer and career readiness level; demonstrate Write routinely over extended Notebooks. W.9–10.10: independence in gathering vocabulary time frames (time for research, reflection, and knowledge when considering a word or phrase revision) and shorter time frames (a single important to comprehension or expression. ADAPT sitting or a day or two) for a range of tasks, Additional Standards Addressed: For the think-pair-share, pair purposes, and audiences. RL.9–10.10 students who need additional help L.9–10.6: Acquire and use accurately general completing the graphic organizer with academic and domain-specific words and

360 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 360360 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.2 Previewing the Unit Shakespeare’s Age ACTIVITY 5.2 PLAN

Materials: note cards, computer Learning Targets lab with Internet access (or • Analyze a monologue and make connections to the themes in the unit. LEARNING STRATEGIES: Think-Pair-Share, Marking assign Working from the Text • Research Shakespeare to develop a context for the play. the Text, Diffusing, for homework); Optional: audio Discussion Groups recording of the As You Like It Preview monologue on SpringBoard Digital In this activity, you will read a famous monologue known as the “Seven Ages of Man” speech from Shakespeare’s play As You Like It and analyze its Suggested Pacing: 1–2 50-minute coming-of-age themes. Literary Terms class periods, depending on whether A monologue is a dramatic step 7 is completed in class or as Setting a Purpose for Reading speech delivered by a homework single character in a play. • Put an asterisk (*) next to each line that introduces a new “age of man.” • Next to each asterisk, put an age range that you think Shakespeare is TEACH describing (for example, 0–2 years). • Circle unknown words and phrases. Try to determine the meaning of the words WORD 1 Read the Preview and the Setting by using context clues, word parts, or a dictionary. CONNECTIONS a Purpose for Reading sections with Roots and Affixes students. Draw their attention to the ABOUT THE AUTHOR The root logue comes from Literary Terms box. Tell students that British poet and playwright William Shakespeare (1564–1616) is perhaps the the Latin logus and means unlike a soliloquy, which a character most famous writer of all time. Shakespeare began his theatrical life as an “to speak.” Words that use makes alone, a monologue is a this root and communicate actor and writer. He eventually started an acting troupe and opened his own speech made in the presence of theater, The Globe, in London. Shakespeare was a favorite playwright of many different forms of speaking royals and noblemen, yet his work was also beloved by the common man. After include monologue, prologue, other characters. dialogue, and epilogue. his death, speculation grew as to whether or not one man could have written 2 FIRST READ: Based on the such eloquent and varied works. Nevertheless, Shakespeare has remained one complexity of the passage and your of the most widely read, published, and studied authors of all time. knowledge of your students, you My Notes may choose to conduct the ﬁrst reading in a variety of ways: Drama • independent reading Monologue • paired reading from • small-group reading • read aloud by William Shakespeare 3 As students are reading, monitor All the world’s a stage, their progress. Be sure they are engaged with the text, underlining And all the men and women merely players: unfamiliar vocabulary, noting © 2018 College Board. All rights reserved. T ey have their exits and their entrances; questions, and identifying each And one man in his time plays many parts, “age” and their guess about the 5 His acts being seven ages. At f rst, the infant, corresponding age range in years. Mewling and puking in the nurse’s arms. mewling: crying Evaluate whether the selected And then the whining school-boy, with his satchel satchel: a bag with a shoulder reading mode is effective. And shining morning face, creeping like snail strap Unwillingly to school. And then the lover, 10 Sighing like furnace, with a woeful ballad woeful: full of unhappiness Made to his mistress’ eyebrow. T en a soldier, ballad: an emotional song

COLLEGE AND CAREER READINESS STANDARDS details; provide an objective summary of the text. G9_U5_SE_B1.indd 360 10/11/16 11:36 am G9_U5_SE_B1.indd 361Focus Standards: 10/11/16 11:36 am W.9–10.7: Conduct short as well as more RL.9–10.1: Cite strong and thorough textual sustained research projects to answer evidence to support analysis of what the text a question (including a self-generated says explicitly as well as inferences drawn from question) or solve a problem; narrow or the text. broaden the inquiry when appropriate; RL.9–10.2: Determine a theme or central idea synthesize multiple sources on the subject, of a text and analyze in detail its development demonstrating understanding of the subject over the course of the text, including how it under investigation.

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 361361 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.2 continued Shakespeare’s Age ACTIVITY 5.2 4 Based on the observations you continued made during the ﬁrst reading, you may want to adjust the reading mode. For example, you may decide oaths: promises Full of strange oaths and bearded like the pard, for the second reading to read aloud pard: leopard Jealous in honour, sudden and quick in quarrel, certain complex passages, or you Seeking the bubble reputation may group students differently. My Notes 15 Even in the cannon’s mouth. And then the justice, 5 SECOND READ: During the second In fair round belly with good capon lined, reading, students will be returning to With eyes severe and beard of formal cut, the text to answer the text-dependent Full of wise saws and modern instances; comprehension questions. You may And so he plays his part. T e sixth age shif s choose to have students reread and pantaloon: pants 20 Into the lean and slipper’d pantaloon, work on the questions in a variety With spectacles on nose and pouch on side, of ways: His youthful hose, well saved, a world too wide • independently For his shrunk shank; and his big manly voice, • in pairs Turning again toward childish treble, pipes • in small groups 25 And whistles in his sound. Last scene of all, • together as a class T at ends this strange eventful history, 6 Have students answer the oblivion: being completely Is second childishness and mere oblivion, text-dependent questions. If they forgotten or unknown Sans teeth, sans eyes, sans taste, sans everything. have difﬁculty, scaffold the sans: without questions by rephrasing them or Second Read breaking them down into smaller • Reread the monologue to answer these text-dependent questions. parts. See the Scaffolding the • Write any additional questions you have about the text in your Reader/Writer Text-Dependent Questions boxes Notebook. for suggestions. 1. Key Ideas and Details: What is the central theme of this monologue? The central theme of this monologue is the cycle of life. The man in the poem starts out helpless and ends life the same way. To the speaker, there are seven inevitable phases that each person goes through, but we all end up in the same place: dead. RL.9–10.2 2. Craft and Structure: What is the tone of this monologue? The tone of this monologue is somber. The speaker highlights negative aspects of each stage of life (crying and puking as a baby, whining as a schoolboy, fighting as a soldier, shrunken as an old man, etc). The speaker is not excited about life, and speaks matter-of-factly about the inevitability of everyone’s death. RL.9–10.4 © 2018 College Board. All rights reserved. 3. Craft and Structure: What is the significance of the opening two lines of this monologue? In the opening line of the monologue, the speaker cynically states that each man has his part to play in life, and that it is difficult to do anything else. By saying that the world is a stage, the speaker highlights the drama of everyday life, and by saying that everyone is “merely players,” he suggests that they have no control over the fate of their lives. RL.9–10.4

COLLEGE AND CAREER READINESS SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS G9_U5_SE_B1.inddSTANDARDS 362 1. Key Ideas and Details (RL.9–10.2) What is the central 10/11/16 11:36 am G9_U5_SE_B1.indd 363 10/11/16 11:36 am Additional Standards theme of this monologue? Why does the speaker break down Addressed: the seven stages of life? How does he want the listener to feel about his or her life? RL.9–10.4; RI.9–10.2; RI.9–10.7; W.9–10.6; W.9–10.8; SL.9–10.1a; 2. Craft and Structure (RL.9–10.4) What is the tone of this SL.9-10.4; SL.9–10.5; SL.9–10.6; monologue? How does the speaker feel about life? What L.9-10.4a; L.9–10.4c; L.9–10.5a; aspects of each stage of life does he choose to highlight? L.9–10.6 © 2018 College Board. All rights reserved.

362 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 362362 110/11/160/11/16 2:192:19 pmpm Shakespeare’s Age ACTIVITY 5.2 continued ACTIVITY 5.2 continued 7 In Working from the Text, students’ preliminary research on a topic related to Shakespeare establishes Working from the Text context and prepares them for later, 4. In your group, assign a different research topic from the following list to My Notes more authentic research related to each member. Visit the Folger Shakespeare Library website (www.folger. their scenes. Use the Folger Library edu) to conduct research on your assigned topic by exploring the “Discover Shakespeare” link. On an index card, summarize the key points you learned. website (or another reliable Copy the website address onto the back side of your note card. predetermined source) to focus • Shakespeare’s Life: Stratford Beginnings, Success in London, Final Years, An students on the task. This step can Expansive Age, Shakespeare’s Story, Questioning Shakespeare’s Authorship be completed in a computer lab or • Shakespeare’s Work: The Plays, The Poems, Publication, First Folio assigned for homework. • Shakespeare’s Theater: London Playhouses, Inside the Theaters, Staging and Performance, Business Arrangements TEACHER TO TEACHER 5. Present your findings to your group. Access and include visual or audio media in your presentation. Work together to generate a list of questions you still have After students have shared their about Shakespeare and his times. findings with a group, you may want Check Your Understanding to have them write their best self- generated research questions on note Based on this monologue, briefly explain what Shakespeare is trying to convey about coming of age. cards and turn them in along with their completed note cards. These can be saved for use in Activity 5.7 and/or used to create a bulletin board of facts Writing to Sources: Explanatory Text and questions about Shakespeare’s life, work, and theater. You may also Read the first four lines of the monologue. Identify the metaphor Shakespeare uses want to have students gather key to describe human life. Explain how and why this is an appropriate comparison. Be sure to: or unfamiliar vocabulary from their • Begin with a topic sentence summarizing your understanding of the metaphor. research to add to the Word Wall, such • Cite direct quotations and specific examples from the metaphor. Introduce and as folio or groundling. punctuate all quotations correctly. • Provide a conclusion that summarizes your explanation. ASSESS

Students’ responses to the Check Your Understanding task should identify the stages of youth that represent coming of age: the schoolboy (childhood and

© 2018 College Board. All rights reserved. adolescence); the lover (the transition from late adolescence to adulthood), and the soldier (young adulthood). With their focus on romance and conflict, these last two stages may be the most dramatic of all. Students’ Explanatory Text paragraphs should identify the theater as an extended metaphor for human life. Make sure their responses explain the aptness of the metaphor. ADAPT SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS

G9_U5_SE_B1.indd 362 10/11/16 11:36 am G9_U5_SE_B1.indd 363 3. Craft and Structure (RL.9–10.4) What is the significance 10/11/16 11:36 am If students need additional help of the opening two lines of this monologue? How is the stage interpreting the monologue, organize used as a metaphor in this monologue? What is an actor’s (or this drama game: Have them work in “player’s”) job while on stage? What does the speaker think groups to number the seven ages as about being a player on the stage of life? they read. Then have the group of seven students create a tableau (a freeze frame) for this speech so they can convey the seven ages of man through physical gestures or body positions.

Unit 5 • Coming of Age on Stage 363

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 363363 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.3 ACTIVITY A Sonnet Sets the Stage 5.3 PLAN

Materials: cast of characters for Learning Targets Romeo and Juliet (usually available LEARNING STRATEGIES: in the first pages of the text); index • Analyze the prologue to Romeo and Juliet to preview and make inferences about Marking the Text, Diffusing, the play. cards with individual character Metacognitive Markers, • Define drama and tragedy in context of the play. names printed on them Visualizing, Previewing • Create a collaborative tableau to preview the characters and their relationships. Suggested Pacing: 1 50-minute class period Preview Literary Terms In this activity, you will read the prologue from Shakespeare’s most famous TEACH A drama is a play written for tragedies, Romeo and Juliet. stage, radio, film, or television, 1 Read the Preview and the Setting usually about a serious topic or situation. Setting a Purpose for Reading a Purpose for Reading sections with A tragedy is a dramatic play that Use metacognitive markers to mark the text as follows: your students. Help them understand tells the story of a character, • Put a question mark (?) next to lines that are confusing or bring up questions. the difference between drama and usually of a noble class, who • Put an asterisk (*) next to lines that are interesting or reinforce what you tragedy. Engage in a brief discussion meets an untimely and unhappy already know. death or downfall, often of how drama as deﬁned in the because of a specific character • Put an exclamation mark (!) next to lines that are surprising or help you make Literary Terms box differs from a TV flaw or twist of fate. predictions. show categorized as a drama. Add these terms to your Word Wall and Drama have students record them in their WORD Reader/Writer Notebooks. CONNECTIONS from 2 FIRST READ: Based on the The word prologue comes from the Greek word and complexity of the passage and your prologos, containing the knowledge of your students, you prefix pro- (before) and root by William Shakespeare may choose to conduct the ﬁrst logos (saying). This literally reading in a variety of ways: translates to “before the speech” or “before the play.” PROLOGUE • independent reading Enter Chorus • paired reading • small-group reading dignity: rank Two households, both alike in dignity, A • read aloud In fair Verona, where we lay our scene, B 3 As students are reading, monitor mutiny: rebellion against From ancient grudge break to new mutiny, A authority their progress. Be sure they are Where civil blood makes civil hands unclean. B engaged with the text and using fatal loins: unfortunate offspring 5 From forth the fatal loins of these two foes C metacognitive markers. Evaluate star-crossed lovers: lovers A pair of star-crossed lovers take their life, D © 2018 College Board. All rights reserved. whether the selected reading mode destined for an unhappy end Whose misadventured piteous overthrows C piteous: pathetic is effective. Doth with their death bury their parents’ strife. D T e fearful passage of their death-marked love, E continuance: remaining in the 10 And the continuance of their parents’ rage, F same place TEACHER TO TEACHER Which, but their children’s end, naught could remove, E Is now the two hours’ traf c of our stage; F To support students, practice the T e which if you with patient ears attend, G diffusion vocabulary strategy as toil: hard work What here shall miss, our toil shall strive to mend. G a class, guiding them toward the best definitions of, or synonyms for, unfamiliar words.

COLLEGE AND CAREER READINESS STANDARDS language evokes a sense of time and place; how it sets a formal or informal tone). G9_U5_SE_B1.inddFocus Standards: 364 10/11/16 11:36 am G9_U5_SE_B1.indd 365 10/11/16 11:36 am RL.9–10.5: Analyze how an author’s choices RL.9–10.1: Cite strong and thorough textual concerning how to structure a text, order events evidence to support analysis of what the text within it (e.g., parallel plots), and manipulate says explicitly as well as inferences drawn from time (e.g., pacing, flashbacks) create such the text. effects as mystery, tension, or surprise. RL.9–10.4: Determine the meaning of words Additional Standards Addressed: and phrases as they are used in the text, including figurative and connotative meanings; RL.9–10.2; RL.9–10.6; RL.9–10.10;

364 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 364364 110/11/160/11/16 2:192:19 pmpm A Sonnet Sets the Stage ACTIVITY 5.3 continued ACTIVITY 5.3 continued 4 Based on the observations you made during the ﬁrst reading, you may want to adjust the reading Second Read mode. For example, you may decide • Reread the prologue to answer these text-dependent questions. My Notes for the second reading to read aloud • Write any additional questions you have about the text in your Reader/Writer certain complex passages, or you Notebook. may group students differently.

1. Key Ideas and Details: What is the main purpose of the prologue? 5 SECOND READ: During the second The main purpose of the prologue is to set the stage for the play. The chorus reading, students will be returning to tells the audience where the play is set, who the main characters are, and about the text to answer the text- their background. This prologue is interesting because it tells the audience dependent comprehension exactly what is going to happen—Romeo and Juliet are going to kill themselves questions. You may choose to have because their parents won’t let them be together. RL.9–10.2 students reread and work on the 2. Craft and Structure: How does the structure of the prologue reflect the play’s questions in a variety of ways: central theme? • independently The prologue is structured as a sonnet, usually classically written as love • in pairs poems, oftentimes love in conflict. This highlights the play’s central theme of • in small groups love and feuding. RL.9–10.5 • together as a class Working from the Text 6 Have students answer the The prologue serves as an introductory speech in which an actor, in this case text-dependent questions. If they probably just one man called the “Chorus,” provides the audience with a brief have difﬁculty, scaffold the outline of the plot. questions by rephrasing them or breaking them down into smaller In this play, the prologue is a 14-line poem with a defined structure that is called an Literary Terms parts. See the Scaffolding the English or Shakespearean sonnet. Note that this sonnet, like all of Shakespeare’s A sonnet is a 14-line lyric sonnets, uses iambic pentameter to create a distinct rhythm. The most noticeable poem, usually written in Text-Dependent Questions boxes for feature of this rhythmic pattern is the use of pentameter, which means that each iambic pentameter and suggestions. line includes 10 syllables or 5 feet (pairs of syllables). Try counting the number of following a strict pattern syllables for each line. Work with your class to label the lines of the prologue on of rhyme. 7 As students begin Working from the following page to show its rhythm and rhyme scheme. the Text, activate prior knowledge of the sonnet which students learned 3. Examine the masks, which are a common graphic representation about in Unit 4. Review sonnet, of drama. What do the two masks represent? rhyme scheme, prologue, and iambic pentameter. Label the rhyme scheme of the Prologue in a think aloud, eliciting input from the class. 4. List words that you associate with the term tragedy. Add a few key words from the prologue. © 2018 College Board. All rights reserved. TEACHER TO TEACHER

Be sure students read and try to paraphrase in sentence units. Also note that the sentences of this sonnet mirror the rhyme scheme.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS

G9_U5_SE_B1.indd 364 10/11/16 11:36 am G9_U5_SE_B1.indd 365 1. Key Ideas and Details (RL.9–10.2) What is the main purpose 10/11/16 11:36 am of the prologue? What information is given in this opening section? How does it help prepare you to read the play? Does any of the included information surprise you? Why? 2. Craft and Structure (RL.9–10.5) How does the structure of the prologue reflect the play’s central theme? Look at the number of lines, line breaks, and rhyme scheme. Have you seen this format before? What does the sonnet suggest about the major themes

Unit 5 • Coming of Age on Stage 365

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 365365 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.3 continued A Sonnet Sets the Stage Conﬂ ict Up Close ACTIVITY 5.3 8 Hand out index cards with continued different characters’ names on them. If you have more students than characters, create some cards that 5. A tableau is a purposeful arrangement of characters frozen as if in a painting or read “chorus member,” “musician,” My Notes a photograph. After you are assigned a character name, work with your class to create a tableau based on the information provided in the prologue and in the “citizen of Verona,” or “kinsfolk/ cast of characters in your copy of Romeo and Juliet. Think about the following as servant of Montague [or Capulet].” you prepare to assume your role in the class tableau: Have students consult the cast of • Body positions (who you stand next to, distance) characters list in their copies of • Postures and poses Romeo and Juliet to learn about their • Facial expressions and gestures assigned character. To help you keep track of the characters, create a bookmark to use while you are 9 Work together to construct a class reading Romeo and Juliet. Fold a sheet of paper in half lengthwise, and list the tableau, a drama game that will Capulets on one side, the Montagues on the other side, and unaffiliated characters reinforce students’ understanding of inside. Identify the characters using both images and text to describe what you the Prologue. Call each character up know about them. to the front of the class to explain his or her role and to take a place on the Check Your Understanding stage. Once all of the characters are Based on your reading of the prologue and the definition of a tragedy, make an inference about something that might happen in the play. Use evidence from the assembled, have the chorus read prologue to support your answer. the Prologue aloud. Stop after each quatrain to have the tableau members “unfreeze”; adjust their position, posture, and facial expression to reﬂect the meaning of the text; and then freeze again. If possible, video-record the tableau as it unfolds, and react to it in a whole-class discussion.

TEACHER TO TEACHER

To see an example of the living tableau performed, search YouTube for the NEA Grant Video—Romeo & Juliet 2010—The EmilyAnn Theatre © 2018 College Board. All rights reserved. Summer Shakespeare Program. 10 Have students create a bookmark of characters. Encourage them to leave room to add descriptive images and text to the names as they read. (This can be assigned for homework.) You may want to have students dedicate one section of the bookmark (the inside right ﬂap, for example) to keep a timeline of plot events. Explain that the entire play takes place in less than a week and that if they keep of the tragedy definition, the prologue, and application of more strategies, such as track they may be surprised at how G9_U5_SE_B1.inddtheir ability 366 to make inferences. close reading, diffusing, and paraphrasing, 10/11/16 11:36 am G9_U5_SE_B1.indd 367 10/11/16 11:36 am quickly the action of the plot unfolds. in subsequent activities. ASSESS ADAPT While it’s not crucial for students to Conduct ongoing assessments understand every word of Shakespeare’s of students’ comprehension of text, be sure that they are using the Shakespeare’s language as you strategies effectively to make meaning analyze the Prologue. of the text. If not, be sure to model

366 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 366366 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.4 A Sonnet Sets the Stage Conﬂ ict Up Close ACTIVITY 5.4 PLAN

Materials: copies of the play Romeo Learning Targets LEARNING STRATEGIES: and Juliet by William Shakespeare • Analyze the opening scene of Romeo and Juliet to understand Shakespeare’s Suggested Pacing: 1 50-minute class language. Skimming/Scanning, Close Reading, Visualizing, period plus homework • Annotate the text for vocal and visual delivery to communicate meaning in Diffusing a performance. TEACH Diffusing Shakespeare’s Language 1. Working with a partner, skim and scan the text of the excerpt from Scene 1 Model diffusing the excerpt from My Notes I and diffuse some of Shakespeare’s unfamiliar language using the Act I using the Shakespeare following translation table. What resources could you use to help diffuse translation table. Shakespeare’s language? 2 Read the Preview and the Setting Shakespeare Translation Shakespeare Translation a Purpose for Reading sections with your students. Brainstorm with Thee/Thou You Ay Yes students ideas for ﬁguring out a character’s mood. Thy/Thine Your Would Wish 3 FIRST READ: Based on the Hath Has Alas Unfortunately complexity of the passage and your Art Are ’Tis It is knowledge of your students, you may choose to conduct the ﬁrst Wilt/Wouldst Will/Would Marry Really reading in a variety of ways:

An If Canst/Didst/ Can/Did/ • independent reading Hadst/Dost Had/Does • paired reading • small-group reading • read aloud Preview In this activity, you will read Scene I from Romeo and Juliet and annotate the text in 4 As students are reading, monitor order to present a vocal and visual performance. their progress. Be sure they are engaged with the text and Setting a Purpose for Reading annotating the text for vocal and • Draw a star next to any questions the characters ask. visual delivery. Evaluate whether the • Circle unknown words and phrases. Try to determine the meaning of the words selected reading mode is effective. by using context clues, word parts, or a dictionary. • Underline words that imply a character is mad or angry.

SAMPSON: My naked weapon is out: quarrel, I will back thee. GREGORY: How! turn thy back and run? quarrel: fight SAMPSON: Fear me not.

COLLEGE AND CAREER READINESS STANDARDS including figurative and connotative meanings; analyze the cumulative impact of specific word G9_U5_SE_B1.indd 366 10/11/16 11:36 am G9_U5_SE_B1.indd 367Focus Standards: 10/11/16 11:36 am choices on meaning and tone (e.g., how the RL.9–10.1: Cite strong and thorough textual language evokes a sense of time and place; evidence to support analysis of what the text how it sets a formal or informal tone). says explicitly as well as inferences drawn from Additional Standards Addressed: the text. RL.9–10.2; RL.9–10.3; RL.9–10.6; RL.9–10.10; RL.9–10.4: Determine the meaning of words SL.9–10.1a; SL.9–10.4; SL.9–10.6; L.9–10.6 and phrases as they are used in the text, L.9–10.4a, L.9–10.4c © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 367

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 367367 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.4 continued Confl ict Up Close ACTIVITY 5.4 5 Based on the observations you continued made during the first reading, you may want to adjust the reading mode. For example, you may decide 35 GREGORY: No, marry; I fear thee! for the second reading to read aloud My Notes SAMPSON: Let us take the law of our sides; let them begin. certain complex passages, or you GREGORY: I will frown as I pass by, and let them take it as they list. may group students differently. SAMPSON: Nay, as they dare. I will bite my thumb at them, which is a disgrace to 6 SECOND READ: During the second them, if they bear it. reading, students will be returning to 40 Enter ABRAHAM and BALTHASAR the text to answer the text- ABRAHAM: Do you bite your thumb at us, sir? dependent comprehension SAMPSON: I do bite my thumb, sir. questions. You may choose to have ABRAHAM: Do you bite your thumb at us, sir? students reread and work on the SAMPSON: [Aside to GREGORY] Is the law of our side, if I say ay? questions in a variety of ways: 45 GREGORY: No. • independently SAMPSON: No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. • in pairs GREGORY: Do you quarrel, sir? • in small groups ABRAHAM: Quarrel sir! No, sir. • together as a class SAMPSON: If you do, sir, I am for you: I serve as good a man as you. 7 Have students answer the 50 ABRAHAM: No better. text-dependent questions. If they SAMPSON: Well, sir. have difficulty, scaffold the kinsmen: relatives GREGORY: Say ‘better:’ here comes one of my master’s kinsmen. questions by rephrasing them or SAMPSON: Yes, better, sir. breaking them down into smaller ABRAHAM: You lie. parts. See the Scaffolding the swashing: moving in a violent 55 SAMPSON: Draw, if you be men. Gregory, remember thy swashing blow. Text-Dependent Questions boxes motion for suggestions. T ey f ght. Enter BENVOLIO BENVOLIO: Part, fools! 8 Before students begin the Put up your swords; you know not what you do. [Beats down their swords.] Working with the Text activity, introduce the Academic Vocabulary Enter TYBALT terms vocal delivery and visual 60 TYBALT: What, art thou drawn among these heartless hinds? delivery to your Word Wall. Have Turn thee, Benvolio, look upon thy death. students choose an appropriate BENVOLIO: I do but keep the peace: put up thy sword, word map and add these terms to Or manage it to part these men with me. their Reader/Writer Notebooks. TYBALT: What, drawn, and talk of peace! I hate the word, 65 As I hate hell, all Montagues, and thee:

Second Read • Reread the scene to answer these text-dependent questions. • Write any additional questions you have about the text in your Reader/Writer Notebook.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS How do men show each other respect (or disrespect)? What do the men in this scene G9_U5_SE_B1.indd2. Key Ideas 368 and Details (RL.9–10.1) Why does 10/11/16 11:36 am G9_U5_SE_B1.indd 369 10/11/16 11:36 am expect from one another? Benvolio fight Tybalt at the end of this scene? As the scene progresses, Benvolio’s attitude 4. Craft and Structure (RL.9–10.5) How does toward fighting changes. What mood was this opening scene help set the stage for the Benvolio in when he joined the scene? What play? What is the relationship between the two caused his mood to change? families? How can you tell? Based on this scene, what do you think is going to happen next? 3. Key Ideas and Details (RL.9–10.2) What does this scene suggest about masculinity? © 2018 College Board. All rights reserved.

368 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 368368 110/11/160/11/16 2:192:19 pmpm Conﬂ ict Up Close ACTIVITY 5.4 continued ACTIVITY 5.4 continued 9 Have students form groups to complete the Working with the Text activity. Circulate among groups and 2. Key Ideas and Details: Why does Benvolio fight Tybalt at the end of this scene? offer assistance as necessary. My Notes Benvolio decides to fight Tybalt at the end of this scene because Tybalt • For step 6, tell students that pitch essentially forces him into it. Benvolio had tried to break up the fight between the servants, but because Tybalt misconstrued his actions, Benvolio found refers to how high or deep the himself on the defense. RL.9–10.1 voice is. At the end of a question, the voice’s pitch goes up. 3. Key Ideas and Details: What does this scene suggest about masculinity? • After students have paraphrased, This scene suggests that masculinity is something that must be defended. The fight between the servants and the fight between Benvolio and Tybalt both start annotated, rehearsed, and because of wounded pride. As soon as someone is offended—by a bitten thumb performed the scene, have at least or a wordy insult—the only recourse for men in this play is to fight to defend one group perform for the class. their honor. RL.9–10.2 • Have students think-pair-share 4. Craft and Structure: How does this opening scene help set the stage for their reflections and use a hand the play? signal (“thumbs up” or “fingers This opening scene helps set the stage for the play by showcasing the heated 1–10”) to conduct an informal rivalry between the two families. Even the servants are willing to fight to the assessment of students’ comfort death to defend their masters’ honor. Tybalt wants to fight Benvolio simply level with Shakespeare. because of his last name. This shows the volatility of the conflict between the families before Romeo and Juliet even meet. RL.9–10.5 Leveled Differentiated Working from the Text Instruction 5. In your groups, assume the roles of the characters. As you work with your ACADEMIC VOCABULARY In this activity, students might need class to make meaning of the first chunk of text, take notes in the margins to Vocal delivery refers to the paraphrase what your character is saying in each line. way a performer on stage support determining the meaning of 6. Once you have made meaning of the chunk, prepare to read it through aloud expresses the meaning of a unknown words and phrases when text through volume, pitch, by annotating the text with tone cues to indicate the appropriate vocal delivery paraphrasing Romeo and Juliet. rate or speed of speech, (angry, confused, bragging, laughing). pauses, pronunciation, and Conduct the Second Read as L2–L3 Use punctuation as cues for vocal delivery. Pause briefly after commas, articulation. a group activity, using the semicolons, colons, and periods. Adjust your pitch to indicate a question, and Visual delivery refers to the emphasize lines that end in an exclamation mark. way a performer on stage Unknown Word Solver graphic 7. As you read the chunk, visualize how this scene would look onstage. When, interprets plot, character, organizer to help clarify the poetic where, and how would the actors use movement and gestures to communicate and conflict through use of language. Use the organizer meaning to the audience? Add annotations to the text to indicate appropriate movement, gestures, and to focus on the context clues in the facial expressions. visual delivery for each character. scene and the multiple meanings 8. Form groups of six to read the following section of Scene I at least twice as you of Shakespeare’s word choices, paraphrase and annotate the text for vocal and visual delivery. Assign the roles of Samson, Gregory, Abraham, Benvolio, Tybalt, and Balthasar (who has no modeling for students how to decode lines but should still have gestures and movement). what each character is saying.

© 2018 College Board. All rights reserved. 9. Work with your group to rehearse a performance in which you use vocal and Prior to the Second Read, L3–L4 visual delivery to communicate meaning. Present to another group. pair students and assign 10. Reflect: Rate your comfort level with reading and performing Shakespeare on a them each a different character on scale of 1 (lowest) to 10 (highest). Explain your rating. What are your strengths and challenges? which to become “experts.” Have them review their lines, using the Reading Shakespeare: ______Performing Shakespeare: ______Unknown Word Solver graphic organizer to decode Shakespeare’s use of poetic language. Conduct the Second Read as a whole-group activity, calling on experts to share their translations of the text. Assign characters to L4–L5 After the Second Read, reading the lines before giving students an students in small groups. Support provide students with opportunity to rehearse. Alternatively, have Prior to the Second Read, have G9_U5_SE_B1.indd 368 10/11/16 11:36 am G9_U5_SE_B1.indd 369 the Paraphrasing and Summarizing students who are prepared read and mark10/11/16 11:36 am them review their lines and use Map graphic organizer. Allow them to the text independently for homework; then the Unknown Word Solver graphic remain within their groups to work have these students meet later in small organizer to decipher the meaning collaboratively on paraphrasing what groups to rehearse and discuss. of Shakespeare’s poetic language. their characters say in each line. 10 As students continue to read and Have these “experts” share their analyze Act I in small groups, observe and understanding during the Second make adjustments in groups if needed to Read, and allow them to work TEACHER TO TEACHER ensure effective communication. collaboratively on paraphrasing.

Unit 5 • Coming of Age on Stage 369

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 369369 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.4 continued Conﬂ ict Up Close Talking by Myself ACTIVITY 5.4 11 Draw students’ attention to the continued Independent Reading Link. You may want to assign this activity as homework. 11. Continue reading Act I in a small group as follows: My Notes • Chunk the text into manageable sections and assign roles. ASSESS • Preview your lines before reading each chunk, using sticky notes to paraphrase and annotate for vocal delivery. Check Your Understanding assesses • After each chunk, discuss and rehearse visual delivery. an essential skill for preparing the staging notebook for Embedded Check Your Understanding Assessment 1. Assess student What parts of the text are important to consider when deciding how to vocally and visually deliver a scene? understanding that first and foremost, a clear understanding of the text is essential to making decisions about verbal and vocal delivery. An actor should use direct and indirect Explanatory Writing Prompt evidence from the character’s speech Work with a small group to write a paragraph explaining how you would stage this to infer his or her mood. In addition, scene. Include details about both the vocal delivery and the visual delivery. Explain actors should use clues from the why you think your staging ideas would be effective. Be sure to: text, as well as any stage directions • Include an explanation about how you developed your ideas for vocal and visual delivery. provided, to make decisions about the • Support analysis with evidence from the scene. characters’ movements. • Explain your ideas using reflective commentary. By requiring students to explain how they would stage a scene, the Explanatory Writing Prompt assesses their mastery of learning the activity’s learning targets and prepares them to write commentary for their staging notebooks in Embedded Assessment 1. Make sure students’ responses meet the criteria in the bulleted list. ADAPT

If students need help responding to the Check Your Understanding task, have them go over their annotations © 2018 College Board. All rights reserved. for visual and vocal delivery from Scene I. If necessary, write the types INDEPENDENT of clues that help (meaning of text READING LINK itself; punctuation; stage directions) Read and Discuss among other, unhelpful clues. Then Choose a scene from your have students pick out the correct independent reading text. answers. Annotate the text for vocal and visual delivery. If students need help with the Explanatory Writing prompt, conduct a guided writing, and co-construct the paragraph as a small-group or class activity.

370 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 370370 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.5 Conﬂ ict Up Close Talking by Myself ACTIVITY 5.5 PLAN

Materials: copies of the play Romeo Learning Targets and Juliet by William Shakespeare; • Make inferences about characters from textual evidence. LEARNING STRATEGIES: Skimming/Scanning, SHIFT strategy template from • Explore symbols, imagery, and figurative language within monologues. SIFT, Graphic Organizer, Resources section Discussion Groups Suggested Pacing: 2 50-minute class Monologues: Act I periods, depending on homework 1. Review the literary term monologue. Then, skim and scan Act I of Romeo and Juliet looking for examples of monologues. TEACH Act I: Scene I (lines 71–94) Prince scolds families about fighting in public. My Notes Act I: Scene II (lines 13–37) Lord Capulet gives Paris advice about marriage. 1 Have students brainstorm in Act I: Scene III (lines 16–48) Nurse reminisces about Juliet as a toddler. pairs. Then, lead a whole-class Act I: Scene IV (lines 53–94) Mercutio lectures Romeo about dreams. discussion about real-life Act I: Scene V (lines 15–32) Lord Capulet welcomes guests to the party. circumstances that relate to monologues. Examples could include 2. Choose one of the monologues and describe a modern-day situation in which someone might give a similarly long speech. a wedding toast, a political speech, The Prince = a politician’s speech about a new law or policy or a teacher’s lecture. Remind The Nurse = a relative telling embarrassing stories about your childhood students that unlike a soliloquy, a monologue is a speech made in the Making Inferences presence of other actors. 3. In Act I, Scene III, Lady Capulet has a monologue in which she uses figurative 2 Assign different scenes from Act I language to describe Paris in a way that she thinks will appeal to Juliet. Reread to small groups to skim/scan for the monologue and make inferences about why Lady Capulet favors the match. examples of monologues. Have them write the act, scene, line numbers, Textual Evidence Inferences and a brief description of the monologue and post these at the “Read o’er the volume of young Lady Capulet values good looks front of the room. Paris’ face in a husband. She thinks beauty 3 Point out the purpose of each of And find delight writ there with guarantees happiness. beauty’s pen.” the monologues, and guide students to make connections to modern examples. Introduce the Literary Term monologue to your Word Wall. “The fish lives in the sea, and ’tis Everything in nature has its place. much pride Continuing the extended metaphor 4 Preview to set the context; then, For fair without the fair within of Paris as a book, she compares read aloud Lady Montague’s to hide.” “fair” Juliet to the cover that would monologue about Paris (Act I, Scene III, © 2018 College Board. All rights reserved. hide “fair” pages (Paris) within it. lines 81–96). Work through the graphic organizer with the class as a with student input. “So shall you share all that he doth Likewise, she thinks that rich people think aloud possess (like the Capulets) should marry 5 Have students work in small By having him, making yourself other rich people. groups to discuss vocal and visual no less.” delivery of the monologue.

TEACHER TO TEACHER

Consider having students evaluate RL.9–10.3: Analyze how complex characters COLLEGE AND CAREER READINESS STANDARDS a professional performance of a (e.g., those with multiple or conflicting Focus Standards: key monologue from Act I, such as motivations) develop over the course of a text, G9_U5_SE_B1.indd 370 10/11/16 11:36 am G9_U5_SE_B1.indd 371 10/11/16 11:36 am Mercutio’s Queen Mab speech. Clips RL.9–10.1: Cite strong and thorough textual interact with other characters, and advance the of performances are available on evidence to support analysis of what the text plot or develop the theme. says explicitly as well as inferences drawn from YouTube. RL.9–10.5: Analyze how an author’s choices the text. concerning how to structure a text, order events RL.9–10.2: Determine a theme or central idea within it (e.g., parallel plots), and manipulate of a text and analyze in detail its development time (e.g., pacing, flashbacks) create such over the course of the text, including how it effects as mystery, tension, or surprise. emerges and is shaped and refined by specific Additional Standards Addressed: © 2018 College Board. All rights reserved. details; provide an objective summary of the text. W.9–10.2a; W.9–10.2b; W.9–10.2d; SL.9–10.1a; SL.9–10.1b; SL.9–10.1d; L.9–10.5a; L.9–10.6 Unit 5 • Coming of Age on Stage 371

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 371371 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.5 continued Talking by Myself Party Blocking ACTIVITY 5.5 6 Review the SIFT strategy. Have continued students work in groups of three to five to define the literary elements in the first column. 4. Choose another monologue from Act I. Work in small groups to define each element of the SIFT strategy (using your glossary if needed) and complete the 7 Project the SIFT template using a graphic organizer by citing textual evidence and making inferences. SmartBoard, or draw the template on Examples are from the monologue analyzed in Step 3. a whiteboard or chart paper. Model using the strategy to analyze Lady Literary Element Textual Evidence Inference Capulet’s speech. “gold clasps lock in the The gold symbolizes the wealth 8 Use a jigsaw to regroup by having Symbol: anything that represents itself but golden story” that Lady Capulet finds so each student in the “home base also stands for something else on a attractive, but it’s something that group” choose a different monologue figurative level probably wouldn’t be as important from Act I. Have students move into to her 13-year-old daughter. expert groups to analyze the same monologue. Imagery: “Read o’er the volume of young Lady Capulet is describing how the verbal expression of sensory Paris’ face Paris looks, using the imagery of 9 To complete the jigsaw activity, experience; descriptive language And find delight writ there with a book, comparing his handsome have students rehearse and perform used to create word pictures beauty’s pen.” good looks to the delight of a their oral interpretation of the good book . monologue for their home base group. Figurative Language: “This precious book of love, Lady Capulet uses metaphors imaginative language not meant to this unbound lover, (a book, a fish) that are not likely ASSESS be taken literally; figurative language To beautify him only lacks a cover.” to stir the heart of a teenage uses figures of speech: metaphor, girl. This monologue features an The Check Your Understanding task simile, personification, etc. extended metaphor comparing Paris to a book. asks students to generalize what they learned about monologues. Students Tone and Theme: “What say you? Can you love the Lady Capulet’s tone is should recognize that monologues Tone: a writer’s or speaker’s gentleman? simultaneously condescending This night you shall behold him at and clueless. A possible theme is provide characterization and propel attitude about a subject. Theme: a writer’s central idea our feast.” that parents do not always have the plot by suggesting conflicts. or main message about life. the best judgment. By requiring students to justify how they would use visual and voice delivery in a monologue, My Notes Rehearse and Present the Explanatory Writing Prompt 5. Rehearse and present your interpretation of a monologue from Act I to students assesses mastery of the learning in another group, each of whom has analyzed a different monologue from Act I. targets. It also prepares them to Check Your Understanding write commentary for their staging What purpose do monologues serve? © 2018 College Board. All rights reserved. notebooks.

ADAPT Explanatory Writing Prompt Explain how you would use visual and vocal delivery in your monologue to If students need additional help communicate character, tone, and/or theme to the audience. Be sure to: completing the Writing Prompt, use • Use a topic sentence that addresses the prompt. guided writing to model a response • Provide a brief summary of the monologue. based on Lady Capulet’s speech. • Cite textual evidence with commentary to support your analysis. Example: I will use vocal and visual delivery to communicate Lady Capulet’s character in the monologue she delivers to Juliet about marrying Paris. In this monologue, Lady Capulet reveals herself as a clueless When Lady Capulet refers to the marriage of Juliet to Paris as “gold snob obsessed with looks and G9_U5_SE_B1.indd 372 10/11/16 11:36 am G9_U5_SE_B1.indd 373 10/11/16 11:36 am money. I will use a ditzy tone of clasps lock in the golden story,” I will voice and wave my hands carelessly rub my fingers against my thumbs when delivering the first lines, “Can and grin, using a quiet, sneaky tone you love the gentleman? Tonight to show that she is thinking about you shall behold him at our feast,” how rich Paris is. I want the audience to emphasize for the audience that to see that the shallow and greedy she is asking her daughter a stupid Lady Capulet is not a great role model question. How can Juliet know if she for Juliet because it will make them can love a man she’s never met? more sympathetic to Juliet’s decision © 2018 College Board. All rights reserved. to ignore her mother’s advice.

372 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 372372 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.6 Talking by Myself Party Blocking ACTIVITY 5.6 PLAN

Materials: DVD: at least two film Learning Targets versions of Romeo and Juliet • Compare and contrast two interpretations of a scene. LEARNING STRATEGIES: Graphic Organizer, Note- Suggested Pacing: 1 50-minute • Visualize a stage performance of a text and make a plan for blocking a scene. taking, Discussion Groups, class period Sketching Comparing Film and Theater 1. How is a live performance different from a film? Thinking like an actor, use the TEACH following graphic organizer to compare/contrast and explore the benefits and challenges of each medium. 1 Model placing comparisons and My Notes contrasts in the stage/ﬁlm graphic Film Live Performance organizer before having students work in pairs or small groups to brainstorm their own. Examples: Similarities: both involve actors Differences: a live performance can be different every time Live benefits: the audience feels more involved Live challenges: actors can’t fix mistakes Film benefits: framing options (close-ups) 2. Discuss: For the play to work, the audience has to believe in Romeo and Juliet’s Film challenges: action happens love. What are some of the challenges an actor or director faces in convincing over a long period of time, out of the audience that the love between Romeo and Juliet is real? How could actors and directors overcome these challenges? sequence 2 Have students think-pair-share Possible responses: They fall in love at first sight, Romeo was in love with responses to the discussion someone else, Juliet is too young, they spend very little time together. To questions before sharing in a overcome challenges, use music and lighting to create a mood. Actors must use intense vocal and visual delivery to convey their passionate connection. whole-group discussion. © 2018 College Board. All rights reserved.

COLLEGE AND CAREER READINESS STANDARDS des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus). G9_U5_SE_B1.indd 372 10/11/16 11:36 am G9_U5_SE_B1.indd 373 Focus Standards: 10/11/16 11:36 am L.9–10.6: Acquire and use accurately general RL.9–10.1: Cite strong and thorough textual academic and domain-specific words and evidence to support analysis of what the text says phrases, sufficient for reading, writing, explicitly as well as inferences drawn from the text. speaking, and listening at the college RL.9–10.7: Analyze the representation of a and career readiness level; demonstrate subject or a key scene in two different artistic independence in gathering vocabulary mediums, including what is emphasized or knowledge when considering a word or phrase absent in each treatment (e.g., Auden’s “Musée important to comprehension or expression. © 2018 College Board. All rights reserved.

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 373373 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.6 continued Party Blocking ACTIVITY 5.6 3 Examine the definitions for the continued Academic Vocabulary terms interpretation and theatrical elements. Add these to the Word 3. As you view the same scene from different film versions of Romeo and Juliet, Literary Terms take notes in the following graphic organizer to explore how the directors use Wall, and have students copy them Theatrical elements are theatrical elements to interpret the scene. These elements include costumes, into their Reader/Writer Notebooks. elements used by dramatists makeup, props, set (the place where the action takes place, as suggested by 4 Have students complete the and directors to tell a story objects, such as furniture, placed on a stage), and acting choices (gestures, and create an interpretation on movements, staging, and actors’ vocal techniques to convey their characters graphic organizer as you show at stage (or in a filmed version of and tell a story). least two versions of the Capulet a staged play). party scene in which Romeo and Juliet first meet. Below are suggested film versions (listed by director) and Act I, Scene V: The Capulet Party—first meeting between Romeo and Juliet clip times: Director Actors’ Appearance: Actors’ Choices: Vocal Objects: Set Design Franco Zeffirelli: Scenes 5–6: Costumes and Makeup and Visual Delivery and Props 22:49–38:47 Baz Luhrmann: Scenes 8–12: 25:30–33:12 Jerome Robbins: 38:00–43:15 Joan Kemp-Welch: 30:28–41:00

Leveled Differentiated Instruction In this activity, consider L1 supporting students who are at an early stage in their English language development by turning on the closed captioning subtitles while viewing the different versions of Romeo and Juliet. Viewing a film with English subtitles can boost English learners’ engagement with the film while also helping them develop vocabulary, recognize word

TEACHER TO TEACHER

During the activities that involve film clips, you might want to use one film consistently and contrast it with a variety of versions during the analysis of different scenes. In other words, you might use the Zeffirelli version each time but compare it to Luhrmann during this activity and Robbins in another activity. This will G9_U5_SE_B1.indd 374 10/11/16 11:36 am G9_U5_SE_B1.indd 375 10/11/16 11:36 am allow the students to see multiple interpretations. © 2018 College Board. All rights reserved.

374 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 374374 110/11/160/11/16 2:192:19 pmpm Party Blocking ACTIVITY 5.6 continued ACTIVITY 5.6 continued 5 Model applying the textual evidence from the previous graphic organizer in order to make inferences 4. Choose three different theatrical elements observed in the film clips, and in this one. explain why you think the director choose each one. What effect is the director My Notes trying to convey? 6 Have students think-pair-share to compare/contrast the two versions before sharing their preferences in a Director Theatrical Element Intended Effect group discussion. Zeffirelli Costuming: Juliet wears a red Red suggests that Juliet is 7 Examine the deﬁnition for the velvet dress, and Romeo is ready for love; she stands dressed in bluish grey velvet out among the other girls and Literary Term blocking. Add this word and wears a mask. women. Romeo seems like to the Word Wall, and have students the handsome romantic hero. copy it into their Reader/Writer Notebooks. Luhrman Costuming: Juliet is costumed The costumes suggest in angel wings. Romeo has on innocence for Juliet and 8 Have students work with a partner a knight’s suit of armor. courtly manliness for Romeo. to sketch the blocking of the scene. Alternatively, assign this task as homework.

5. Because there are no cameras for close-ups, one of the challenges faced in a live performance is blocking the scene so that the audience will focus on the speakers Literary Terms even when there are a number of people onstage (as in a party scene). Blocking is the way actors position themselves on stage in relation to one another, the audience, and the objects on the stage. © 2018 College Board. All rights reserved.

On a separate page, work with a partner to make a “playbook” sketch showing an aerial view of how you would block the Capulets’ party on stage. Use an X for Juliet, an O for Romeo, and initials for the other key characters in the scene (Lord Capulet, Tybalt, the Nurse). Leave a one-inch margin at the bottom of the page and write the word “audience” inside the margin to remind you where the actors should be facing.

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 375375 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.6 continued Party Blocking Acting Companies ACTIVITY 5.6 continued Leveled Differentiated Instruction Check Your Understanding In this activity, students might need My Notes support building an effective How can blocking a scene before a performance help with visual delivery? argument using strong evidence from a film version of Romeo and Juliet. Group students according to L2–L3 which film version they prefer. Allow groups to rewatch, pause, and discuss their scenes, Argument Writing Prompt using the Conclusion Builder graphic Now that you have viewed the same scene from different film versions of Romeo organizer to record evidence that and Juliet, choose the version that you think succeeds in capturing the essence proves that Romeo and Juliet’s love of Romeo and Juliet’s first meeting and convincing the audience that their love is real. Write an argument explaining your reasoning for choosing this version. Be is real. Have them collaborate on sure to: writing a clear thesis statement for • Introduce a clear thesis statement giving the name of the director of the film their essays. version you prefer. Poll students to see which • Use textual evidence of specific theatrical elements and their effect to support L3–L4 film version they prefer, and your position. pair students with similar opinions. • Use effective organization and a logical progression of ideas to show how your ideas are related. Have them use the Conclusion Builder graphic organizer to identify the strongest evidence that Romeo and Juliet’s love is real. Based on this evidence, have them collaborate on writing a clear thesis statement. Poll students to see which L4–L5 film version they prefer, and pair students with differing opinions. Distribute the Conclusion Builder graphic organizer, and have partners challenge each other to identify the strongest evidence from their preferred film version to support the argument that the love Romeo and Juliet feel is real. © 2018 College Board. All rights reserved. Remind students that Stretch the characters of Romeo and Juliet are teenagers. While the Argument Writing Prompt has students arguing that their love is real, challenge students to consider the argument that these “kids” are too immature and headstrong to fall in “real” love. Have them support their thoughts with evidence to share in a mini–Socratic Seminar.

The Argument Writing Prompt allows students of blocking. Consider having students create

ASSESS G9_U5_SE_B1.inddto evaluate 376 staging choices and defend their storyboards, which show a frontal, rather than 10/11/16 11:36 am G9_U5_SE_B1.indd 377 10/11/16 11:36 am preferences—skills that will prepare them for an aerial, view of each scene. They would use Students responses to the Check Your Embedded Assessment 1. Responses should stick figures or sketches instead of X’s and O’s. Understanding task should show that mention theatrical elements, such as costumes, To help students identify particular theatrical they recall what was taught about props, gestures, blocking, and vocal techniques. blocking as well as what they might elements in their argument paragraphs, adapt infer: that blocking helps a character your presentation of the film clips. For example, understand where they will be on stage ADAPT to help students focus on visual elements like costume and staging, show each clip first with in relation to the audience and other The abstract nature of the playbook activity sound and then without. To focus on vocal and

376 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 376376 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.7 Party Blocking Acting Companies ACTIVITY 5.7 PLAN

Materials: copies of the play Learning Targets Romeo and Juliet by William • Discuss and evaluate possible scenes for performance. LEARNING STRATEGIES: Previewing, Discussion Shakespeare; Optional: class set • Preview the requirements for the Staging Notebooks. Groups, Brainstorming, of “staging notebooks,” posters for Sketching performances of Romeo and Juliet Choosing a Scene to Perform Suggested Pacing: 1 50-minute 1. With your acting company, preview and discuss the scenes in the chart that follows, and put an asterisk next to scenes that you agree to consider for class period your interpretation. Note: Some scenes have characters with very small roles; My Notes these can be assigned to a group member who wants to work primarily as the TEACH Director or Dramaturge, combined with another role, or be cut from the scene. Other scenes have long monologues that can be shortened with your teacher’s 1 Read the Learning Targets and direction or approval. Choosing a Scene to Perform Performance Scenes sections with your students. 2 Give students time to preview the Act and Scene Description Characters Research Suggestions scenes in their copies of Romeo and Juliet in order to select scenes based Act I, Scene I, Benvolio tries to cheer up Romeo, Benvolio Family on interest and appropriateness for lines 153–232: 80 lines who pines for Rosaline. Romeo relationships, their group. courtship, convents From “Good morrow, cousin” to “die in debt.” 3 To prepare students for the performance posters they will create, Act I, Scene II, entire scene: Paris asks Lord Capulet for Juliet’s Lord Capulet Servants, marriage allow some time for group members 103 lines hand in marriage. Benvolio and Paris customs, patriarchy to discuss outstanding posters for Romeo find out about the Capulets’ Peter theater performances or ﬁlms they party from Peter, a servant. Benvolio Romeo have seen. Encourage students to describe and analyze how the text, typographical elements, colors, and Act I, Scene III, entire scene: Lady Capulet and the Nurse are Juliet Marriage 107 lines discussing Paris with Juliet before Lady Capulet customs, nobility, images in the posters helped to the party. Nurse nursemaids inform them about and draw their Peter attention to the advertised performance or ﬁlm. Act I, Scene IV, lines 1–116: Romeo is worried about going to the Romeo Superstitions, 116 lines party because he had a bad dream and Mercutio festivities Mercutio is teasing him. Benvolio From “What, shall this TEACHER TO TEACHER speech” to “Strike, drum.”

© 2018 College Board. All rights reserved. To support students in the planning Act I, Scene V, Romeo and Juliet meet and fall in Romeo Festivities, and performing of a scene, consider lines 41–141: 101 lines love; meanwhile Tybalt complains to Juliet courtship, forming larger groups and having Lord Capulet about Romeo crashing Tybalt dancing From “Oh, she doth teach” to the party. Capulet two students share a role. For a “all are gone.” Nurse scene between two characters with many lines each, four actors could Act II, Scene II, Romeo visits Juliet after the party and Romeo Courtship, divide the lines equally between lines 33–137: 105 lines overhears her declaring her love on Juliet architecture them, each taking half of the scene. the balcony. For a pair of students who are ready for a challenge, assign a two- person scene. The students would complete the role preparation for an actor as well as for the director or COLLEGE AND CAREER READINESS STANDARDS des Beaux Arts” and Breughel’s Landscape with dramaturge. the Fall of Icarus). G9_U5_SE_B1.indd 376 10/11/16 11:36 am G9_U5_SE_B1.indd 377Focus Standards: 10/11/16 11:36 am SL.9–10.1b: Work with peers to set rules for RL.9–10.3: Analyze how complex characters collegial discussions and decision-making (e.g., (e.g., those with multiple or conflicting informal consensus, taking votes on key issues, motivations) develop over the course of a text, presentation of alternate views), clear goals interact with other characters, and advance the and deadlines, and individual roles as needed. plot or develop the theme. Additional Standards Addressed: RL.9–10.7: Analyze the representation of a subject or a key scene in two different artistic RL.9–10.1; RL.9–10.2; RL.9–10.10; W.9–10.2a;

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 377377 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.7 continued Acting Companies ACTIVITY 5.7 continued TEACHER TO TEACHER

Depending on the needs and Act and Scene Description Characters Research abilities of students as well as your Suggestions pacing, decide how much class time you will provide for group Act II, Scene III, entire scene: Romeo visits the Friar to tell him Romeo Friars, herbal planning and rehearsal. Consider 94 lines about his love for Juliet and ask him Friar Lawrence medicine to perform the wedding. your expectations in terms of line memorization. Also, you may want to require a minimum number of Act II, Scene IV, Mercutio and Benvolio discuss Mercutio Dueling lines for students who are taking lines 1–85: 85 lines Tybalt’s challenge and give Romeo Benvolio a hard time. Romeo the role of actors. In other words, a student who has only one or two lines should also act as the director Act II, Scene V, Juliet is trying to get the Nurse to tell Juliet Nursemaids, or dramaturge. entire scene: 77 lines her Romeo’s message about their Nurse marriage customs wedding plans.

Act III, Scene I, Mercutio, Tybalt, and Romeo engage Mercutio Fencing, lines 34–132: 99 lines in a street fight that has tragic Tybalt banishment laws consequences. Romeo From “Follow me close” to Benvolio “I am fortune’s fool!”

Act III, Scene II, The Nurse delivers news of Romeo’s Nurse Nursemaids, lines 37–143: 107 lines banishment to Juliet. Juliet banishment laws From “Ay me” to “last farewell.”

Act III, Scene III, Romeo receives word Romeo Friars, banishment lines 1–108: 108 lines of his banishment, Friar laws and the Friar is trying to calm him Nurse From “Romeo, come,” to when the Nurse arrives. “desperate hand.”

Act III, Scene V, Juliet, her parents, and the Nurse Lady Capulet Courtship customs, lines 112–205: 94 lines argue about her proposed marriage Juliet female rights to Paris. Capulet From “Marry, my child” Nurse to “how shall this be prevented?” © 2018 College Board. All rights reserved.

Act IV, Scene I, Juliet meets Paris on the way Paris Burial vaults, lines 1–122: 122 lines to church. The Friar gives her Friar Lawrence herbal potions a potion to fake her death and Juliet From “On Thursday, sir?” to avoid marriage. “tell me not of fear!”

378 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 378378 110/11/160/11/16 2:192:19 pmpm Acting Companies ACTIVITY 5.7 continued ACTIVITY 5.7 continued 4 Tell students that the titles listed in step 2 are very loose adaptations of Romeo and Juliet. Though students can choose to alter the Act and Scene Description Characters Research Suggestions setting and characters’ names in their interpretations, the characters’ Act IV, Scene V, The Nurse thinks Juliet is dead, and Nurse Funeral customs, lines must follow the text of the play. lines 1–95: 95 lines she informs the household. Capulet astrology Lady Capulet 5 Have students highlight the From “Mistress” to “crossing Friar their high will.” information to include on their Paris posters. Before students add the cast to their posters, have them Act V, Scene I, Balthasar tells Romeo of Juliet’s Romeo Apothecary, skim/scan the requirements of entire scene: 88 lines “death.” Romeo buys poison Balthasar poisons to kill himself. Apothecary actors, directors, and dramaturge. Previewing the responsibilities of Act V, Scene III, Romeo and Juliet commit suicide. Romeo Burial customs each role will help students decide lines 84–170: 87 lines Note: The exchange between Friar Juliet on their preferences. Lawrence and Balthasar may be Friar Lawrence From “For here lies Juliet” to deleted from this scene. Balthasar You may wish to display posters “let me die.” for a variety of interpretations of Romeo and Juliet. A Google Image search of “Romeo and Juliet 2. After you have selected your scene, brainstorm possible interpretations. Film posters” will provide a variety of adaptations of Romeo and Juliet have explored a variety of interpretations by options. Have students discuss their My Notes casting rival gangs in West Side Story, garden gnomes in Gnomeo and Juliet, observations and predictions in a and kung fu cops and mobsters in Romeo Must Die. Consider the time, place, think-pair-share before discussing and characters that would enhance your scene. their preferences as a whole group. 3. In Shakespeare’s day, acting companies named themselves just as bands do today. Shakespeare belonged first to the Lord Chamberlain’s Men and later to Encourage them to provide textual the King’s Men. Your acting company should think of a name that reflects the evidence from the posters to explain characteristics of your group. their reasoning.

Create a contract like the one below, and sketch a rough draft of a poster design 6 Have students submit their advertising your performance. Include a performance date, cast (character and contracts and the drafts for their student name), director, and dramaturge, as well as words and images that posters for your approval. reflect your interpretation. We, the ______(name of acting company), pledge to plan, rehearse, and perform ______(act and scene) from William Shakespeare’s Romeo and Juliet. © 2018 College Board. All rights reserved.

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 379379 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.7 continued Acting Companies ACTIVITY 5.7 7 Have students meet in groups continued with students from other acting companies who share their role (actor, director, dramaturge). You 4. Every member of the Acting Company will complete a Staging Notebook to may want to create more than one My Notes prepare for the performance. Based on your primary role in the performance, prepare an Actor’s Notebook, Director’s Notebook, or a Dramaturge Notebook. group of actors since more students Read the description of your notebook, highlighting key elements. Create a “To will take that role. They will review Do” list that you can refer to as you work with your acting company. the staging notebook requirements for their role and create a to-do list to Director’s Notebook: summarize their responsibilities. Interpretation: Write a paragraph describing the interpretation you have chosen for your scene. Provide textual evidence to explain the reasoning and plan for 8 Students can dedicate a section of the theatrical elements that will create your interpretation. the Reader/Writer Notebooks to their Visuals: Decide whether you will use visuals for your scene (posters, large staging notes. As an alternative, you photographs, etc.), and create them. may provide class sets of staging Text: Print a copy of your scene and annotate it with suggestions for your actors’ notebooks or ask students to bring vocal and visual delivery. Be sure to describe interactions and reactions. their own small composition or spiral Set Diagram: Sketch the scene from the audience’s perspective as well as an notebooks. aerial view. Use the “playbook” approach to block your scene for character placement and movement. 9 Point out that directors, actors, and Lighting, Sound, and Props: Create a plan for lighting and sound (effects or music) dramaturges all have a role to play in that will enhance your acting company’s performance. Include an explanation of deciding on the interpretation of their your intended effect. Make a list of the props for your scene and where you will scene. To avoid conﬂicts during their get them. upcoming company meetings, work Introduction: Write an introduction that provides context (what happened prior to your scene) and previews the content of your scene. Memorize and present the with the class to create rules for introduction before your performance. Like the Prologue, it could be in sonnet collegial group discussion, including form. coming prepared, respecting alternate Meeting Log: After every meeting, you will be responsible for writing a dated log views, posing and responding to that records how the meeting went. Some questions you might answer in your questions, taking votes, and generally log include the following: working toward consensus through • What did the group accomplish? compromise. Post the class-generated • What obstacles were identified? list of rules on the wall. • Which problems have been resolved? How? • What needs to be done before and at the next meeting?

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 380380 110/11/160/11/16 2:192:19 pmpm Acting Companies ACTIVITY 5.7 continued ACTIVITY 5.7 continued ASSESS

Be sure that students have Actor’s Notebook: My Notes identified a scene, named their Interpretation: Write a paragraph describing the interpretation you have chosen acting company, and planned for your character. Provide textual evidence to explain the reasoning and plan for the theatrical elements that will create your interpretation. their interpretation, in addition Text: Print out or make a copy of your scene and highlight your lines. Paraphrase to generating a list of individual each of your lines and annotate them with your plan for vocal and visual delivery. responsibilities. Annotate the other characters’ lines with notes on your nonverbal reactions. Check students’ Staging Costume: Decide on an appropriate costume for your character. Sketch, photograph, Notebooks to make sure each one cut out of a magazine, or print out an online image of both your ideal costume and your real costume. has a to-do list. Character Analysis: Create a visual representation of your character’s thoughts, desires, actions, and obstacles. Focus on your scene, but you can include ADAPT evidence from other parts of the play. ) After students with the same role Actor’s “To Do” List: This will be your first entry in your Actor’s Staging Notebook. Literary Terms meet in small groups to discuss A dramaturge is a member their responsibilities (see Teaching Dramaturge’s Notebook: of an acting company who helps the director and Step 6), have each group “share Research Questions: Generate research questions related to the scene. In addition actors make informed out” their findings for the class. to the suggestions in this activity, consider the following: decisions about the Use their responses to assess their • the history and context of the play performance by researching understanding of their roles; provide information relevant to the • unfamiliar references or vocabulary in your scene on-the-spot clarifications as needed. • theater and performance in Shakespeare’s time play and its context. Note cards: Conduct research to answer questions and take careful notes. Annotated Bibliography: Create a bibliography of the works you consulted in your research. Include annotations that summarize what you learned, and provide commentary on how this information enhances your understanding of Shakespeare, Romeo and Juliet, and/or your scene. Suggestions: Based on your research findings, prepare a list of suggestions for the director and the actors. Present them to the group and be prepared to explain your reasons for the suggestions. Interpretation: Write an explanation of how your research helped the acting company interpret its scene. Cite specific sources and quotes from your research. Memorize this explanation and present it after the performance.

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 381381 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.8 ACTIVITY What’s in a Setting? 5.8 PLAN

Materials: still image of the Learning Targets balcony set from a Romeo and Juliet LEARNING STRATEGIES: production (optional); DVD: at least • Analyze set designs, blocking, and other theatrical elements to compare and Graphic Organizer, Drafting contrast two interpretations of a scene. two film versions of the play Romeo • Evaluate the effectiveness of a director’s choices. and Juliet; film version of West Side Story (optional) Preview My Notes Suggested Pacing: 2 50-minute In this activity, you will explore the famous balcony scene from two different class periods film versions of Romeo and Juliet and explore how the directors use set design, blocking, and other theatrical elements to convey the emotional impact TEACH Shakespeare intended. 1 Read the Learning Targets with Setting a Purpose for Viewing students. Before viewing the film • Think about how Romeo and Juliet interact with one another and with clips, have students revisit the visual the balcony. prompt on the first page of the unit • Pay close attention to the set design, blocking, and other theatrical elements (sound effects, costumes, music, lighting). and think-pair-share the significance of the balcony. Then have them discuss their observations with the Act II, Scene II: The Balcony Scene—Romeo and Juliet declare their love whole group. Director Set Design (everything Blocking (how the Other Theatrical Elements Review the definitions of 2 you see in the scene actors move and (sound effects, lighting, theatrical elements, blocking, and including structures, interact with the set music, costumes) set design. Have students take notes nature, props) and each other) in the graphic organizer as you show at least two versions of the balcony scene. Below are suggested film versions (listed by director) and clip times: Zeffirelli: Scene 7: 40:18–51:39 Luhrmann: Scene 14: 35:38–45:05 Robbins: 55:50–1:02:55 Kemp-Welch: 44:29–56:34 3 To support students in their analyses, divide the class into three groups, each group responsible for © 2018 College Board. All rights reserved. one column of the graphic organizer. After viewing, have these groups discuss and add details to their columns. Then have students jigsaw, forming groups of three students, each of whom took notes for a different column. Have these small groups work together, sharing details to complete their graphic organizers.

TEACHER TO TEACHER COLLEGE AND CAREER READINESS STANDARDS RL.9–10.7: Analyze the representation of a subject or a key scene in two different artistic G9_U5_SE_B1.inddFocus Standards: 382 10/11/16 11:36 am G9_U5_SE_B1.indd 383 10/11/16 11:36 am Having students view a musical mediums, including what is emphasized or version of the balcony scene will RL.9–10.1: Cite strong and thorough textual absent in each treatment (e.g., Auden’s “Musée help them understand interpretation. evidence to support analysis of what the text des Beaux Arts” and Breughel’s Landscape with Consider using a clip from a ballet says explicitly as well as inferences drawn from the Fall of Icarus). the text. or opera (many are available on Additional Standards Addressed: YouTube), West Side Story, or the RL.9–10.3: Analyze how complex characters RL.9–10.2; RL.9–10.5; RL.9–10.9; W.9–10.1b; animated Gnomeo and Juliet. (e.g., those with multiple or conflicting W.9–10.1c; W.9–10.2a; L.9–10.6 motivations) develop over the course of a text,

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GG9_U5_TE_B1.indd9_U5_TE_B1.indd 382382 110/11/160/11/16 2:192:19 pmpm What’s in a Setting? ACTIVITY 5.8 continued ACTIVITY 5.8 continued 4 Have students work in small groups to complete the graphic organizer in the Working from the Working from the Film Film activity. Tell students to be as 1. Describe one choice that each director made in set design or blocking, and My Notes specific as possible in describing the reflect on its effect on you as an audience member. Does the director’s choice segment, the director’s choice, and effectively convey an emotional impact? its effect; they can use these notes to provide evidence in the Writing Director Director’s Choice Effective? Why or why not? Prompt later in this activity. 5 Go over these three sections with students: Shakespeare’s Influence on Modern Works, Preview, and Setting a Purpose for Reading. Remind students to look for similarities and differences between this scene and similar ones from film versions of Romeo and Juliet. Suggest students use one highlighter for significant similarities and another for key differences.

Shakespeare’s Influence on Modern Works One of the best-known modern works that draws on Shakespeare’s Romeo and Juliet is the musical West Side Story. The story of feuding families in Romeo and Juliet becomes the story of warring street gangs in 1950s New York City. The Montagues and Capulets of Shakespeare’s play become the Jets and Sharks of the West Side neighborhood. The Jets are white teenagers of European descent, while the Sharks are teens of Puerto Rican ancestry. Each group is determined to protect its side of the neighborhood.

Setting a Purpose for Reading • Highlight any similarities and differences in this scene from Romeo and Juliet. • Circle unknown words and phrases. Try to determine the meaning of the words by using context clues, word parts, or a dictionary. • Observe stage directions and think about how you would block this scene.

Unit 5 • Coming of Age on Stage 383

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 383383 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.8 continued What’s in a Setting? ACTIVITY 5.8 6 FIRST READ: Based on the continued complexity of the passage and your knowledge of your students, you may choose to conduct the ﬁrst My Notes ABOUT THE AUTHOR reading in a variety of ways: Arthur Laurents (1918–2011) was considered one of American theater’s • independent reading greatest writers for musical theater. Among the well-known plays he wrote • paired reading are West Side Story (1957), Gypsy (1959), The Way We Were (1973), and The Turning Point (1977). Laurents grew up in Brooklyn, New York, and began his • small-group reading career by writing scripts for radio programs. After a stint in the Army during • read aloud World War II, where he wrote training ﬁlms, he wrote musicals for Broadway. 7 As students are reading, monitor their progress. Be sure they are engaged with the text, marking the Script text for similarities and differences, from and annotating their observations about stage directions. Evaluate whether the selected reading mode West is effective.

8 Highlighting cognates can help SCENE FIVE. Maria and Tony have just met at a dance. T ey danced and kissed and now English learners and native English Tony is looking for Maria. speakers alike. Students can build 11:00 P.M. A back alley. A suggestion of buildings; a f re escape climbing to the rear vocabulary by creating a cognate window of an unseen f at. As Tony sings, he looks for where Maria lives, wishing for her. bridge map based on words in this And she does appear, at the window above him, which opens onto the f re escape. Music stays beneath most of the scene. excerpt from West Side Story. For instance, in line 19, Maria says the TONY [sings]: Maria, Maria . . . Spanish word “momentito,” whose MARIA: Ssh! English cognate is “moment.” TONY: Maria! Students might also suggest Spanish MARIA: Quiet! cognates for “quiet,” “hour,” and 5 TONY: Come down. “minute.” MARIA: No. TONY: Maria . . . MARIA: Please. If Bernardo— TONY: He’s at the dance. Come down. 10 MARIA: He will soon bring Anita home. TONY: Just for a minute. MARIA [smiles]: A minute is not enough. TONY [smiles]: For an hour then. © 2018 College Board. All rights reserved. MARIA: I cannot. 15 TONY: Forever! MARIA: Ssh! TONY: T en I’m coming up. WOMAN’S VOICE [from the of stage apartment]: Maria! MARIA: Momentito, Mama . . .

384 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 384384 110/11/160/11/16 2:192:19 pmpm What’s in a Setting? ACTIVITY 5.8 continued ACTIVITY 5.8 continued TEACHER TO TEACHER

20 TONY [climbing up]: Maria, Maria— In the writing prompt for this activity, MARIA: Cállate! [reaching her hand out to stop him] Ssh! My Notes students will select their preferred TONY [grabbing her hand]: Ssh! version of the balcony scene from MARIA: It is dangerous. among the two filmed versions they TONY: I’m not “one of them.” watched and this text from West Side 25 MARIA: You are; but to me, you are not. Just as I am one of them—[She Story. To help students pick their favorite scene based on an apples- gestures toward the apartment.] to-apples comparison, consider also TONY: To me, you are all the—[She covers his mouth with her hand.] showing students Scene V from the MAN’S VOICE [ from the unseen apartment]: Maruca! 1961 movie version West Side Story. MARIA: Sí, ya vengo, Papa. 30 TONY: Maruca? MARIA: His pet name for me. TONY: I like him. He will like me. MARIA: No. He is like Bernardo: afraid. [suddenly laughing] Imagine being afraid of you! TONY: You see? 35 MARIA [touching his face]: I see you. TONY: See only me. MARIA [sings]: Only you, you’re the only thing I’ll see forever. In my eyes, in my words and in everything I do, 40 Nothing else but you Ever! TONY: And there’s nothing for me but Maria, Every sight that I see is Maria 45 MARIA: Tony, Tony . . . TONY: Always you , every thought I’ll ever know, Everywhere I go, you’ll be. MARIA [And now the buildings, the world fade away, leaving them suspended in space.]: 50 All the world is only you and me!

© 2018 College Board. All rights reserved. Tonight, tonight, It all began tonight, I saw you and the world went away. Tonight, tonight, 55 T ere’s only you tonight, What you are, what you do, what you say. TONY: Today, all day I had the feeling

Unit 5 • Coming of Age on Stage 385

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 385385 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.8 continued What’s in a Setting? ACTIVITY 5.8 9 Draw students’ attention to the continued still image from the 1961 movie version of West Side Story. Ask students how this still conﬁrms or A miracle would happen— overturns their idea of how the scene My Notes 60 I know now I was right. was staged. For here you are 10 Based on the observations you And what was just a world is a star made during the ﬁrst reading, you Tonight! may want to adjust the reading BOTH: mode. For example, you may decide 65 Tonight, tonight, for the second reading to read aloud T e world is full of light, certain complex passages, or you With suns and moons all over the place. may group students differently. Tonight, tonight, T e world is wild and bright, 70 Going mad, shooting stars into space. Today the world was just an address, A place for me to live in, No better than all right, But here you are 75 And what was just a world is a star Tonight! MAN’S VOICE [of stage]: Maruca! MARIA: Wait for me! [She goes inside as the buildings begin to come back into place.] TONY [sings]: 80 Tonight, tonight, It all began tonight, I saw you and the world went away. MARIA [returning]: I cannot stay. Go quickly! TONY: I’m not afraid. 85 MARIA: T ey are strict with me. Please. TONY [kissing her]: Good night. MARIA: Buenos noches. TONY: I love you. MARIA: Yes, yes. Hurry. [He climbs down.] Wait! When will I see you? [He 90 starts back up.] No! © 2018 College Board. All rights reserved. TONY: Tomorrow. MARIA: I work at the bridal shop. Come there. TONY: At sundown. MARIA: Yes. Good night. 95 TONY: Good night. [He starts of .] MARIA: Tony! TONY: Ssh! MARIA: Come to the back door.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 3. Key Ideas and Details (RL.9–10.3) What comparisons can be made between the G9_U5_SE_B1.indd2. Key Ideas 386 and Details (RL.9–10.1) What is 10/11/16 11:37 am G9_U5_SE_B1.indd 387 10/11/16 11:37 am relationships of Romeo and Juliet and Tony and the significance of the setting where Maria Maria? How do the young couples’ families feel and Tony agree to meet next? Why might about their relationships? How do the young the director have chosen this setting? What couples feel about each other? Based on the happens at a bridal shop? Why do couples relationship between Romeo and Juliet, what do usually meet there? What foreshadowing might you expect to happen between Tony and Maria? the director be creating in having Maria and Tony meet there? © 2018 College Board. All rights reserved.

386 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 386386 110/11/160/11/16 2:192:19 pmpm What’s in a Setting? ACTIVITY 5.8 continued ACTIVITY 5.8 continued 11 SECOND READ: During the second reading, students will be returning to the text to answer the TONY: Sí. [Again he starts out.] text-dependent comprehension 100 MARIA: Tony! [He stops. A pause.] What does Tony stand for? My Notes questions. You may choose to have TONY: Anton. students reread and work on the MARIA: Te adoro, Anton. questions in a variety of ways: TONY: Te adoro, Maria. • independently [Both sing as music starts again:] • in pairs 105 Good night, good night, • in small groups Sleep well and when you dream, • together as a class Dream of me 12 Have students answer the Tonight. text-dependent questions. If they have difﬁculty, scaffold the [She goes inside; he ducks out into the shadows just as Bernardo and Anita enter.] questions by rephrasing them or breaking them down into smaller Second Read parts. See the Scaffolding the • Reread the scene to answer these text-dependent questions. Text-Dependent Questions boxes • Write any additional questions you have about the text in your Reader/Writer for suggestions. Notebook.

2. Key Ideas and Details: What is the significance of the setting where Maria and Tony agree to meet next? Why might the director have chosen this setting? Maria and Tony agree to meet at the bridal shop where Maria works. This is significant because when couples meet at a bridal shop, they are typically there to plan their wedding. The director likely chooses this location because it signals to the audience that the young couple is in love and would like to plan a future together. RL.9–10.1 3. Key Ideas and Details: What comparisons can be made between the relationships of Romeo and Juliet and Tony and Maria? The relationships between Romeo and Juliet and Tony and Maria are both divided because of family feuds. Both couples are desperately in love with each other but feel they cannot be together because their families will not approve. It seems that Tony and Maria’s relationship is destined to end in tragedy, just like Romeo and Juliet’s. RL.9–10.3 4. Craft and Structure: Why is it significant that Tony and Maria repeat the phrase “tonight, tonight” over and over in their song? It is significant that Tony and Maria repeat the phrase “tonight, tonight” over © 2018 College Board. All rights reserved. and over in their song because it symbolizes how the young couple is living in the moment. They have just met and fallen in love and have not considered the possible consequences of their relationship. RL.9–10.4

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS G9_U5_SE_B1.indd 386 10/11/16 11:37 am G9_U5_SE_B1.indd 3874. Craft and Structure (RL.9–10.4) Why is it significant that 10/11/16 11:37 am Tony and Maria repeat the phrase “tonight, tonight” over and over in their song? For Tony and Maria, what happened “tonight”? How did this experience change their worlds? What reference (if any) does the couple make to the past or to the future? Why might this be significant? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 387

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 387387 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.8 continued What’s in a Setting? Friends and Foils ACTIVITY 5.8 13 Have students use a Venn continued diagram graphic organizer to organize details for a response to the question posed in the Working Working from the Text from the Text activity. Have them My Notes 5. Using a Venn diagram or similar graphic organizer, compare this scene with the write their responses in their balcony scene in Romeo and Juliet. How are the scenes similar? How are they different? Reader/Writer Notebooks. 14 Consider assigning the Check Your Understanding Independent Reading Link as How did the writer of West Side Story use Shakespeare’s play as inspiration for this homework. Offer students the option scene? of visualizing the scene through storyboards for the scene rather than a blocking chart. Writing to Sources: Explanatory Text ASSESS Write a review stating a preference for one of the three balcony scenes you have watched or read. Compare and contrast how the set design, blocking, and/or other Check the Venn diagrams that theatrical elements contribute to an emotional impact. Provide commentary on the students created in response to the three scenes. Be sure to: Working from the Text task (see • Clearly state your preference in a topic sentence or thesis. step 12). The overlapping part of the • Include evidence in the form of details comparing and contrasting all three balcony scenes. diagram should show similarities • Include appropriate transition words. between the two scenes, such as the similarity in setting (night, balcony/fire escape);=, the tone of the two scenes, the characters’ situations, and the declarations both characters make. The Writing to Sources assignment asks students to explain why they prefer a particular director’s (or writer’s) vision of the balcony scene. This exercise helps prepare them to write their commentary for Embedded Assessment 1 by requiring them to think critically about the effect of staging choices, particularly with regard to setting. INDEPENDENT

Make sure students’ responses meet READING LINK © 2018 College Board. All rights reserved. the criteria in the bullet list. Read and Connect Suppose that you are the director for a theatrical ADAPT version of your independent reading play. Make a chart If students need help responding to block one scene. Explain to Working from the Text, consider how your choices convey the emotional impact you adapting this part of the activity by think the author intended for simply having students view two film the scene. clips—a fairly traditional balcony scene from Romeo and Juliet, such as Franco Zeffirelli’s or Joan Kemp- Welch’s, and Scene V from the 1961 film of West Side Story.

To help students organize their G9_U5_SE_B1.indd 388 10/11/16 11:37 am G9_U5_SE_B1.indd 389 10/11/16 11:37 am response to the Writing to Sources prompt, have them add a third row to the graphic organizer in this activity in their Reader/Writer Notebooks, where they can add notes about the choices made by the writer of West Side Story (as indicated by dialogue and stage directions) as well as their

388 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 388388 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.9 What’s in a Setting? Friends and Foils ACTIVITY 5.9 PLAN

Materials: copies of the play Romeo Learning Targets LEARNING STRATEGIES: and Juliet by William Shakespeare, • Analyze the relationships between the protagonists and their foils, and sticky notes emphasize interactions in vocal and visual delivery. Role Playing, Oral Reading, Chunking the Text, Sketching Suggested Pacing: 1 50-minute class • Create a visual representation of a character’s motivation: thoughts, desires, actions, and obstacles. period plus homework

Practice Role-Play TEACH My Notes 1. Work with your acting company to take turns role-playing at least two of the following scenarios: 1 Read the Learning Targets and a. A student shows up in his teacher’s room one morning asking for help. He Literary Terms box with your class. is madly in love and wants to get married in secret. The teacher is doubtful Discuss any words that need because this same student was in love with a different girl the day before. clariﬁcation (protagonist, juxtaposed, b. Two friends are talking about a third friend who ditched them mysteriously attributes). Add foil to the Word Wall the previous night. The third friend shows up and they start teasing him about what he was doing the night before. as students copy it into their Reader/ Writer Notebooks. c. A girl sent her best friend on a mission to find out if the boy she likes will go out with her. The best friend returns but will not answer the girl’s questions. 2 Before you have students Instead, she just wants to talk about herself. role-play the scenarios with their acting companies, you may want to 2. Discuss: How did you use vocal and visual delivery to express the relationships between the characters? model role-playing scenario “a” with a student volunteer. Preview 3 As students work on the role play Now you and your acting group will conduct an oral reading of one of the scenes in their groups, have them identify listed below from Romeo and Juliet. the protagonist and foil in their scenario. After the role play, have Act II of Romeo and Juliet Literary Terms them consider the effectiveness of 3. Each of the scenarios at the beginning of this activity describe a situation similar their vocal and visual delivery before to a scene from Act II in which one of the protagonists interacts with a foil. A foil is a character whose With your Acting Company, choose a scene from the following that you are not actions or thoughts are the whole-group discussion. performing for your Embedded Assessment and conduct an oral reading. juxtaposed against those of a major character in order 4 Ask students to identify the a. Act II, Scene III: Romeo and Friar Lawrence to highlight key attributes protagonist and foil(s) in Scenes III–V b. Act II, Scene IV: Mercutio, Benvolio, Romeo (until the Nurse enters) of the major character. of Act II. After each acting company c. Act II, Scene V: Juliet and the Nurse has chosen a scene, make sure you have at least one group for each of Setting a Purpose for Reading the three scenes. Annotate the text for vocal and visual delivery.

© 2018 College Board. All rights reserved. 5 Read the preview and Setting a • Note any physical interactions between the characters (for example, one character shoves another). Purpose for Reading sections with • Mark facial reactions of one character to the words or action of another students. Clarify that in their oral character (for example, eye-rolling to express boredom or frustration). reading, they will use visual and • Circle unknown words and phrases. Try to determine the meaning of the words vocal delivery techniques to help by using context clues, word parts, or a dictionary. express their interpretation of the scene, but they do not need to memorize the text. Tell students to chunk the text, stopping every 20 or 30 lines to summarize meaning. Tell students that they should read through the text once in this manner before rehearsing their oral reading. COLLEGE AND CAREER READINESS STANDARDS discussion; and clarify, verify, or challenge 6 As students are reading in their ideas and conclusions. acting companies, monitor their G9_U5_SE_B1.indd 388 10/11/16 11:37 am G9_U5_SE_B1.indd 389Focus Standards: 10/11/16 11:37 am SL.9–10.2d: Respond thoughtfully to diverse progress. Make sure they are RL.9–10.3: Analyze how complex characters perspectives, summarize points of agreement chunking the text, diffusing (e.g., those with multiple or conflicting and disagreement, and, when warranted, unfamiliar vocabulary, and motivations) develop over the course of a text, qualify or justify their own views and annotating for visual and vocal interact with other characters, and advance the understanding and make new connections in delivery. plot or develop the theme. light of the evidence and reasoning presented. SL.9–10.2c: Propel conversations by posing Additional Standards Addressed: and responding to questions that relate the

Unit 5 • Coming of Age on Stage 389

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 389389 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.9 continued Friends and Foils A Wedding and a Brawl ACTIVITY 5.9 7 Make sure students have read continued through the text once before they rehearse their oral reading. Have each group perform their scene as Working from the Text they feel ready. My Notes 4. Rehearse the scene with an emphasis on the interactions between the protagonist and the foil and their reactions to each other. Perform your scene for at least one other group. 5. Choose one of the characters in your scene. On separate paper, create a visual representation of your character’s motivation. See the following TEACHER TO TEACHER example for Tybalt. Sketch an outline and annotate it with your analysis on the corresponding body parts as follows: Depending on the needs of your • Head: your character’s thoughts class, you may want to have at • Heart: your character’s desires least one group perform each scene • Arms: your character’s actions in front of the class as you act as • Legs: your character’s obstacles director, suggesting improvements. Alternatively, you may want to have more advanced students perform Thoughts: I can’t believe Romeo had the gall to their scenes for two other groups crash our party. I want to teach him a lesson. Stupid who analyzed different scenes; Desires: I love my family Montague dog! as the audience, these groups and I would do anything to protect the Capulet honor. will act as directors by making Risk my life? Get in trouble with the law? Bring it on! Actions: I just sent a letter suggestions to emphasize character to Romeo challenging relationships. Obstacles: My uncle told him to a duel. I’m waiting me to ignore Romeo and to hear if that coward is leave him alone. Also, the man enough to face 8 Have students create a visual last time I started a fight the Prince of Cats. the Prince threw a bit of a representation of one character from fit . . . something about “on the scene they just performed. This pain of death” and my uncle’s life. I wasn’t really task could be assigned as homework. listening—it was a pretty long speech. ASSESS Check Your Understanding Use the Check Your Understanding Briefly explain the purpose of a foil. task to assess students’ understanding of foils. Conduct the Writing to Sources: Explanatory Text assessment as a class discussion. Have students add notes about foils Choose one of the friend/foil relationships you read in Act II: Scene III, Romeo and to their definitions in their Reader/ Friar Lawrence; Scene IV, Mercutio, Benvolio, and Romeo; or Scene V, Juliet and the Nurse. Write a paragraph that explains how the protagonist interacts with the Writer Notebooks. foils. Explain the purpose that the foil(s) serve. Be sure to: © 2018 College Board. All rights reserved. The Writing to Sources activity • Identify the scene, and name the protagonist and the foils. assesses students’ ability to identify • Include direct quotations and specific examples from the text to support and describe the function of a foil in your explanation. a specific text. Make sure students’ • Use a coherent organization structure and make connections between specific responses meet the criteria in the words, images, and the ideas conveyed. bulleted list. ADAPT

If students need more help understanding the purpose of a foil, use the strategy of visual cues/ prompts to have them co-construct

a visual representation of Friar G9_U5_SE_B1.indd 390 10/11/16 11:37 am G9_U5_SE_B1.indd 391 10/11/16 11:37 am Lawrence, Tybalt, or the nurse in a think aloud. Solicit input from students as you read lines from this character’s scene that set his or her thoughts, actions, and desires against the protagonist’s. © 2018 College Board. All rights reserved.

390 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 390390 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.10 Friends and Foils A Wedding and a Brawl ACTIVITY 5.10 PLAN

Materials: copies of the play Romeo Learning Targets and Juliet by William Shakespeare, • Analyze a scene for dramatic irony. LEARNING STRATEGIES: Oral Reading, Close Reading, highlighters, DVD: one film version of • Compare and contrast the representation of a scene in two different media. Marking the Text, Sketching, Romeo and Juliet • Analyze characters’ interactions and evaluate how their conflicting motives Graphic Organizer, Chunking Suggested Pacing: 2 50-minute class advance the plot. the Text, Discussion Groups periods, plus homework Act II, Scene VI: Identifying Irony 1. Act II, Scene VI ends just as Romeo and Juliet are heading to church to be TEACH married. Why does Shakespeare have the wedding take place off stage? My Notes 1 Have students think-pair-share Preview their reasons why Shakespeare In this activity, you and your acting company will conduct an oral reading of Act II, may have had the wedding occur Scene VI. offstage. Responses may include budget, staging concerns, and Setting a Purpose for Reading pacing of the play. • Underline examples of dramatic irony. 2 To help students find examples of • Circle unknown words and phrases. Try to determine the meaning of the words dramatic irony in Act II, Scene VI, by using context clues, word parts, or a dictionary. have them review the term irony; Working from the Text then introduce the definition of dramatic irony. Add this term to the 2. Read of the Friar’s final words to Romeo before Juliet arrives. Highlight metaphors that reveal the Friar's true feelings about the wedding. Word Wall as students copy it into their Reader/Writer Notebooks. “These violent delights have violent ends 3 Discuss the dramatic irony in the And in their triumph die, like fire and powder, scene (such as Romeo’s saying that Which, as they kiss, consume. The sweetest honey he doesn’t care if he dies as long as Is loathsome in its own deliciousness he is married to Juliet first). And in the taste confounds the appetite. 4 In responding to question 2, have Therefore love moderately. Long love doth so. students reread the Friar’s last words Too swift arrives as tardy as too slow.” to Romeo, marking the text by highlighting the metaphors. Have 3. How does the Friar really feel about Romeo and Juliet’s wedding? Why do the Friar and Nurse, adults who care deeply about the young lovers, allow Romeo them think-pair-share what each and Juliet to act so quickly on their feelings? metaphor says about the Friar’s true feelings (for example: “like fire and powder” reveals how dangerous he © 2018 College Board. All rights reserved. thinks rash love is—powder refers to gunpowder). Point out that the last line could be an allusion to Aesop’s 4. Complete the following graphic organizer in a small group in which each group fable about the rabbit and the turtle. member takes a different character. 5 Have students work with their acting companies to complete question 3; divide large companies into groups offour4 so one student can take responsibility for each character, or combine small companies.

COLLEGE AND CAREER READINESS STANDARDS interact with other characters, and advance the plot or develop the theme. G9_U5_SE_B1.indd 390 10/11/16 11:37 am G9_U5_SE_B1.indd 391 Focus Standards: 10/11/16 11:37 am RL.9–10.5: Analyze how an author’s choices RL.9–10.2: Determine a theme or central idea concerning how to structure a text, order events of a text and analyze in detail its development within it (e.g., parallel plots), and manipulate over the course of the text, including how it time (e.g., pacing, flashbacks) create such emerges and is shaped and refined by specific effects as mystery, tension, or surprise. details; provide an objective summary of the text. RL.9–10.7: Analyze the representation of a subject or a key scene in two different artistic RL.9–10.3: Analyze how complex characters mediums, including what is emphasized or

Unit 5 • Coming of Age on Stage 391

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 391391 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.10 continued A Wedding and a Brawl ACTIVITY 5.10 6 After giving students time to continued ﬁnish the ﬁrst column of the graphic organizer, review responses in a class discussion. Character (What are the main Textual Evidence (What are the Commentary (What do these 7 Read the Preview and the Setting thoughts, desires, actions, and lines that reveal his thoughts, lines tell you about conflicts a Purpose for Reading sections with obstacles motivating him at the desires, actions and obstacles or shifts in the character’s your students. Let students know end of Act II?) in Act III, Scene I?) motivation?) that they should read the text once Romeo: “I do protest I never injured thee, He tries to make peace with Tybalt by themselves, annotating for visual But love thee . . .” at first, but when Tybalt kills He just got married to Juliet; Mercutio, he forgets all about Juliet and vocal delivery and diffusing he’s happy, in love, and looking “fire-eyed fury be my conduct now” and lets his anger take over. unfamiliar vocabulary. Then they forward to his wedding night. should conduct at least two oral readings with their group to fully grasp the meaning of the text. Mercutio: “Make it a word and a blow . . .” He wants to start a fight and goes “A plague o’ both your houses!” out of his way to defend Romeo’s He’s worried about Romeo who honor, but then he blames the has been acting strangely, and Montagues and Capulets for he is also concerned that Tybalt his fate. has challenged Romeo to a fight.

Tybalt: “Here comes my man . . . At first he seems willing to fight Romeo . . . thou art a villain.” Mercutio, but when Romeo shows He wants to punish Romeo for up, he switches focus. Later, he is crashing the Capulets’ party, “I am for you.” willing to fight Mercutio again. He but he knows that the Prince wants to fight more than he wants has forbidden fighting. revenge on Romeo specifically.

Benvolio: “I pray thee good Mercutio, He wants to avoid any more let’s retire . . .” trouble with the law. He shifts He is also worried about “Romeo, away, be gone!” from trying to talk Mercutio out Romeo’s strange behavior, but of a fight to encouraging Romeo he is confident that Romeo can to hide. beat Tybalt in a duel.

Preview © 2018 College Board. All rights reserved. My Notes In this part of the activity, you and your acting company will conduct an oral reading of Act III, Scene I and discuss character motivation. Rehearse the scene several times.

Setting a Purpose for Reading • Annotate the text for the character’s vocal and visual delivery. • Circle unknown words and phrases. Try to determine the meaning of the words by using context clues, word parts, or a dictionary.

COLLEGE AND CAREER READINESS STANDARDS G9_U5_SE_B1.indddes Beaux 392Arts” and Breughel’s Landscape with 10/11/16 11:37 am G9_U5_SE_B1.indd 393 10/11/16 11:37 am the Fall of Icarus). Additional Standards Addressed: RL.9–10.1; RL.9–10.4; RL.9–10.10; W.9–10.1a; W.9–10.1b; W.9–10.1c; W.9–10.8; W.9–10.10; SL.9–10.1a; SL.9–10.1b; SL.9–10.1c; SL.9–10.1d; L.9–10.5a; L.9–10.6 © 2018 College Board. All rights reserved.

392 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 392392 110/11/160/11/16 2:192:19 pmpm A Wedding and a Brawl ACTIVITY 5.10 continued ACTIVITY 5.10 continued TEACHER TO TEACHER

Drama If any of your students need support My Notes with English language development, from consider differentiating instruction with the corresponding ELD activities and available on SpringBoard Digital. Built around the excerpt from by William Shakespeare Romeo and Juliet, these activities offer a scaffolded approach to ROMEO: I do protest, I never injured thee, developing academic language 65 But love thee better than thou canst devise, devise: plan through vocabulary study (5.10a), Till thou shalt know the reason of my love: guided close reading (5.10b), And so, good Capulet,—which name I tender tender: love and collaborative academic As dearly as my own,—be satisf ed. discussion (5.10c). When planning differentiation, make sure to MERCUTIO: O calm, dishonourable, vile submission! vile: disgusting have students return to portions 70 Alla stoccata carries it away Draws of the ELA activity that provide Tybalt, you rat-catcher, will you walk? essential practice for the Embedded Assessment. TYBALT: What wouldst thou have with me?

MERCUTIO: Good king of cats, nothing but one of your nine 8 As students are reading, monitor their progress. Be sure they are lives; that I mean to make bold withal, and as you engaged with the text, annotating 75 shall use me hereaf er, drybeat the rest of the for visual and vocal delivery and eight. Will you pluck your sword out of his pitcher listening closely to each other as by the ears? Make haste, lest mine be about your they read it aloud. ears ere it be out. 9 After students have annotated TYBALT: I am for you. Drawing and rehearsed the chunk of Scene I, have at least two different groups 80 ROMEO: Gentle Mercutio, put thy rapier up. perform their interpretations for MERCUTIO: Come, sir, your passado. T ey f ght passado: Italian for “forward thrust” the class.

ROMEO: Draw, Benvolio; beat down their weapons. 10 Based on the observations you Gentlemen, for shame, forbear this outrage! made during the ﬁrst reading, you Tybalt, Mercutio, the Prince expressly hath may want to adjust the reading mode. For example, you may decide

© 2018 College Board. All rights reserved. 85 Forbidden bandying in Verona streets: bandying: fighting for the second reading to read aloud, Hold, Tybalt! good Mercutio! using the strategy of echo reading to TYBALT under ROMEO’s arm stabs MERCUTIO, and f ies with his followers support the pronunciation of MERCUTIO: I am hurt. challenging language and promote A plague o’ both your houses! I am sped. plague: horrible illness more ﬂuent reading, especially in 90 Is he gone, and hath nothing? complex passages. You may also group students differently.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 6. Key Ideas and Details (RL.9–10.2) How does this scene highlight the great conflict G9_U5_SE_B1.indd 392 10/11/16 11:37 am G9_U5_SE_B1.indd 393 5. Key Ideas and Details (RL.9–10.1) What 10/11/16 11:37 am in Romeo’s life? Who are the most important does Romeo mean when he says that he loves people in Romeo’s life? How does he show love Tybalt? What does it mean to love someone? or loyalty to them? What conflicts have been Are there different “loves” for different people? created as a result of these relationships? Can you love an enemy? How might Romeo’s feelings have changed since he met Juliet? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 393

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 393393 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.10 continued A Wedding and a Brawl ACTIVITY 5.10 11 SECOND READ: During the continued second reading, students will be returning to the text to answer the text-dependent comprehension Second Read questions. You may choose to have My Notes • Reread the scene to answer these text-dependent questions. students reread and work on the • Write any additional questions you have about the text in your Reader/Writer questions in a variety of ways: Notebook.

• independently 5. Key Ideas and Details: What does Romeo mean when he says that he • in pairs loves Tybalt? • in small groups Romeo and Juliet have just gotten married, although Tybalt is unaware of this. • together as a class When Romeo says that he loves Tybalt, he means this as an extension of his 12 Have students answer the love for Juliet. Now that he is married, Romeo loves all Capulets as much as he loves his blood family. RL.9–10.1 text-dependent questions. If they have difﬁculty, scaffold the 6. Key Ideas and Details: How does this scene highlight the great conflict in Romeo’s life? questions by rephrasing them or This scene highlights the way Romeo is divided between his two loves: his love breaking them down into smaller for his wife and his love for his family. He feels equally dedicated and loyal to parts. See the Scaffolding the each, yet they hate each other. This conflict forces Romeo to be a fierce fighter Text-Dependent Questions boxes as well as a tender lover. RL.9–10.3 for suggestions. 7. Key Ideas and Details: How does Mercutio feel about the fight 13 Question 8 requires students compared to Romeo? to complete the second and third Mercutio is ready to defend his honor and the honor of his friends by fighting columns of the graphic organizer to the death. He antagonizes Tybalt by calling him names, while Romeo tries to earlier in this activity. You may want keep peace between them. When Romeo claims to love Tybalt, Mercutio balks to have students complete the and calls on Romeo to fight instead. RI.9–10.1 graphic organizer individually or Working from the Text in their acting companies. 8. Revisit the textual evidence column of your graphic organizer, and add any 14 To complete question 9, have textual evidence or commentary. Then, choose one key line for each character. students work in their acting Copy these lines into the first column of the following graphic organizer. Be sure companies, dividing responsibility to choose lines from different chunks of Act III, Scene I, so that you are not trying to evaluate several lines in quick succession. for taking notes on the four 9. As you view a film interpretation of Act III, Scene I, take notes on how the actor’s characters’ lines amongst delivery and blocking communicate a character’s motivation. themselves. © 2018 College Board. All rights reserved.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS G9_U5_SE_B1.indd7. Key Ideas 394 and Details (RL.9–10.3) How does Mercutio feel 10/11/16 11:37 am G9_U5_SE_B1.indd 395 10/11/16 11:37 am about the fight compared to Romeo? What emotion words does Mercutio use when talking to Tybalt? What emotion words does Romeo use? How does Mercutio act when Romeo enters the scene and speaks with Tybalt? © 2018 College Board. All rights reserved.

394 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 394394 110/11/160/11/16 2:192:19 pmpm A Wedding and a Brawl ACTIVITY 5.10 continued ACTIVITY 5.10 continued 15 Before you play the film clip, give students time to copy their lines from the graphic organizer earlier in this activity into this one. Act III, Scene I—Director: Zeffirelli 16 As you show a film version of the fatal brawl, have students take notes Character Vocal Delivery (Describe Visual Delivery (Describe Blocking (How and in the graphic organizer on the (Key line) the tone, volume, the actor’s movements, where is the actor pitch, rate, and/or gestures, and positioned when character or characters determined pauses used.) facial expressions.) delivering the line?) in step 14. Below are suggested film versions (listed by director) and clip Romeo: He speaks softly and He holds his hands in front He is facing Tybalt with times: quietly, with a soothing of his heart and opens their friends lined up “I do protest I tone. He pauses after saying them as he speaks as if behind each of them, • Zeffirelli 1:12:08–1:27:00 never injured Tybalt’s name and seems to demonstrate the love as if facing off. They are • Luhrmann: 58:30–1:10:06 thee, But love standing about six feet very offhand and casual. and forgiveness he feels • Kemp-Welch: 1:18:34–1:33:40 thee . . .” for Tybalt. apart. Romeo walks past Tybalt after his line. Have students work in their acting companies, sharing notes to complete the graphic organizer. Mercutio: He uses a cheery, irreverent He is smiling, washing He is sitting in the drinking tone, speaking loudly off his handkerchief and fountain, at a low angle to 17 Remind students how they “Make it a word and clearly in contrast to dunking his head under Tybalt, not looking at him compared and contrasted balcony and a blow . . .” Tybalt’s seriousness. He the spigot. He acts like directly. He is the center scenes in Activity 5.8. Point out that pauses just before the joke: he could not care less of attention for all of in this activity, they are analyzing the the onlookers. “and a blow.” about Tybalt. actors’ choices more than the directors’.

Tybalt: He speaks with his mouth He smiles and nods at He is standing above half closed, almost through Mercutio, then looks stern Mercutio, seemingly “Here comes my his teeth, in a clipped tone, as he faces Romeo with about to fight when he man . . . as if he is holding back his hand on the hilt of notices Romeo’s arrival. Romeo . . . thou his anger. his sword. He walks toward Romeo to art a villain.” confront him.

Benvolio: He sounds annoyed and He shakes his head a He is walking alongside exasperated with Mercutio. little like he can’t believe Mercutio who has a “I pray thee He says the line quickly Mercutio is acting so silly. handkerchief over his good Mercutio, and soothingly, as if he He half smiles, but looks head, making nonsense let’s retire . . .” noises loudly.

Unit 5 • Coming of Age on Stage 395

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 395395 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.10 continued A Wedding and a Brawl Emotional Roller Coaster ACTIVITY 5.10 continued ASSESS

Use the Check Your Understanding Check Your Understanding: Collaborative Discussion questions to assess students’ skill at WORD collaborative discussion as well as CONNECTIONS With your acting group, write brief responses to the following questions. their understanding of • How do the actors emphasize key lines, and how is their interpretation different Roots and Affixes from yours? • the text Motive, motivate, and • the effect of the director’s motivation all come from the same Latin root, m¯ot¯ıvus, interpretation which means “serving to move” • How does the director use other theatrical elements, such as set design, sound, • the relationship between or “causing movement.” This music, and lighting, to indicate a shift in the mood of the scene? characters’ motivations and plot would be what causes a person to commit a crime (motive), Have students discuss the questions for example, or what prompts before sharing their observations in a teenage girl to marry her family’s enemy (motivation). • What is added to or absent from the scene in this interpretation? a group discussion. Whether emotional or Have students work individually physical, the words motive, motivate, and motivation all to complete the Writing to Sources suggest movement. activity. This activity prepares • How do the conflicting motives of the characters in this scene advance the plot of the drama? students for Embedded Assessment 1 by requiring them to analyze and evaluate the vocal delivery, visual My Notes delivery, and blocking of a scene. Make sure students’ responses meet Writing to Sources: Argument Text the criteria in the bulleted list. Write a critique of the film performance you have just watched. State your opinion about the effectiveness of the scene. Include the actors’ vocal delivery, visual ADAPT delivery, and blocking in your critique. Be sure to: • Begin with a topic sentence that clearly states your opinion. If students need additional • Support your claim by including one or more specific quotes or examples, their help completing the Check Your effect, and other related evidence from the film. Understanding activity, facilitate • Incorporate appropriate terminology to discuss theatrical elements and effective collaborative discussion. film techniques. Have the student(s) who tracked a given character’s lines in the film lead the group through the first three bulleted questions about that character.

If students need additional help © 2018 College Board. All rights reserved. completing the Writing to Sources activity, you could have them work in groups to co-construct a paragraph or essay, using guided writing to model a response. If they need additional time, have them complete the writing as homework.

TEACHER TO TEACHER

This activity focused on evaluating the performance of individual actors. You may help students G9_U5_SE_B1.indd 396 10/11/16 11:37 am G9_U5_SE_B1.indd 397 10/11/16 11:37 am synthesize their ideas about the actors’ performances into evaluation criteria. Place the criteria in a class rubric for evaluating student-actors’ performances in future activities. © 2018 College Board. All rights reserved.

396 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 396396 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.11 A Wedding and a Brawl Emotional Roller Coaster ACTIVITY 5.11 PLAN

Materials: copies of the play Romeo Learning Targets LEARNING STRATEGIES: and Juliet by William Shakespeare, • Analyze the development of a theme over the course of the play through an poster paper, markers, sticky notes, illustrated timeline. Oral Reading, Graphic Organizer, Chunking the Text, note cards (optional) • Make connections between plot events and their effect on Rereading, Paraphrasing, Suggested Pacing: 1 50-minute class characters’ emotions. Marking the Text period, plus homework Emotional Ups and Downs 1. Coming-of-age stories involve characters who are learning how to deal with TEACH the intense emotions of young adulthood. Using the following graphic My Notes organizer, brainstorm some of the events that have caused the “ups” and 1 Read the learning targets with “downs” of Juliet’s emotions. students. 2 Have students work on the Juliet’s Ups Juliet’s Downs graphic organizer in pairs to record events that contribute to the ups and downs in Juliet’s and Romeo’s emotions. Consider having one partner brainstorm on Juliet’s emotions and the other on Romeo’s. 3 Review the directions for the illustrated timeline on the following page. Have students begin numbering events listed on this page’s graphic organizer chronologically to transfer onto the illustrated timeline.

TEACHER TO TEACHER

To support students in creating the timeline, consider combining pairs to form small groups and assign a different act to each pair. Alternatively, have students create

COLLEGE AND CAREER READINESS STANDARDS motivations) develop over the course of a text, interact with other characters, and advance the G9_U5_SE_B1.indd 396 10/11/16 11:37 am G9_U5_SE_B1.indd 397Focus Standards: 10/11/16 11:37 am plot or develop the theme. RL.9–10.2: Determine a theme or central idea RL.9–10.5: Analyze how an author’s choices of a text and analyze in detail its development concerning how to structure a text, order events over the course of the text, including how it within it (e.g., parallel plots), and manipulate emerges and is shaped and refined by specific time (e.g., pacing, flashbacks) create such details; provide an objective summary of effects as mystery, tension, or surprise. the text. Additional Standards Addressed: RL.9–10.3: Analyze how complex characters

Unit 5 • Coming of Age on Stage 397

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 397397 110/11/160/11/16 2:192:19 pmpm ACTIVITY 5.11 continued Emotional Roller Coaster TWISTing Their Words ACTIVITY 5.11 4 Read the instructions for creating continued timelines with students. To illustrate each event, students can use drawings, symbolic images from 2. Work with a partner or small group to create an illustrated timeline on poster My Notes paper that graphs the emotional roller coaster of the protagonists’ emotions so magazines, or images printed from far in the play. the Internet. • Place events in chronological order (Act I on the far left). 5 Read the Preview and Setting a • Add images to illustrate each event. Purpose sections with your students. • Use two different colors (or symbols) to distinguish Juliet's emotions from Have students work with their Romeo's regarding each event. partners or groups to read the rest • Indicate whether the emotions they are feeling about each event are positive of Act III. Make sure students are or negative by placing events with positive emotions at the top of the timeline adding events to their timelines after and events with negative emotions at the bottom. each scene. • Leave room at the end for events from the remainder of the play. 6 Have students discuss question 3 Preview with their partners or groups before In this activity, you will read the remainder of Act III with your acting group. holding a class discussion. 7 Have students copy their thesis Setting a Purpose for Reading statements onto sentence strips. • Use strategies such as oral reading, chunking the text, paraphrasing, or marking the text to help you make meaning. • Circle unknown words and phrases. Try to determine the meaning of the words ASSESS by using context clues, word parts, or a dictionary. The Check Your Understanding task • After each scene, add new events to your timeline. assesses students’ ability to form Working from the Text a thesis based on the patterns in 3. In one color, draw a line connecting all of Juliet’s events. In another color, draw their timelines. Review the thesis- a line connecting Romeo’s events. What do the ranges of emotions reveal about statement sentence strips as a the characters and their situations? class, and elicit textual evidence supporting the different statements. Check Your Understanding Once students have viable thesis Work with your group to construct a thesis statement that answers the following question: What is Shakespeare’s theme relating to coming of age in statements, they can proceed to Romeo and Juliet? the Explanatory Writing Prompt. To develop their paragraphs, have students use the textual evidence Explanatory Writing Prompt and commentary you discussed in Write a paragraph explaining how Romeo and Juliet is a coming-of-age drama. reviewing their thesis statements. Explain what it has in common with other coming-of-age texts that you have Students’ responses should explain studied this year. Include issues that Romeo and Juliet face that teenagers today still deal with. Be sure to: © 2018 College Board. All rights reserved. how Romeo and Juliet fits the coming-of-age genre and meet the • Explain your ideas with reflective commentary. criteria in the bulleted list. • Use the best details from the text to clarify your explanation. • Correctly state the names and authors of any texts you reference. ADAPT

If you notice problems with thesis statements from the Check Your Understanding activity, or if students have trouble identifying evidence to back up their theses, review the timelines, as a class or with a small group, as needed. Remind students of any key events that are missing

and discuss their significance. Then, G9_U5_SE_B1.indd 398 10/11/16 11:37 am G9_U5_SE_B1.indd 399 10/11/16 11:37 am work with the class (or small group) to co-construct a thesis in a guided writing activity. © 2018 College Board. All rights reserved.

398 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 398398 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.12 Emotional Roller Coaster TWISTing Their Words ACTIVITY 5.12 PLAN

Materials: copies of the play Romeo Learning Targets and Juliet by William Shakespeare • Analyze soliloquies for performance cues. LEARNING STRATEGIES: Skimming/Scanning, Graphic Suggested Pacing: 1 50-minute • Examine how complex characters develop a theme. Organizer, Chunking the class period Text, Quickwrite, TWIST Monologue vs. Soliloquy TEACH 1. Review the literary term monologue. In your own words, explain the difference between a soliloquy and a monologue. Literary Terms 1 Have students review the Literary Monologue = talking BY myself with others listening A soliloquy is a long Term monologue and then examine Soliloquy = talking TO myself when I’m alone speech delivered by an the definition for soliloquy and add it actor alone on the stage, to their Reader/Writer Notebooks as 2. Work with a small group to skim and scan Acts II and III to find examples of usually representing his or soliloquies and monologues; add them to the following graphic organizer. her internal thoughts. you put it on the Word Wall. Identify them by act, scene, speaker, and first line as in the examples. Try to find 2 Give them a few minutes to skim/ two more of each. scan Acts II and III, looking for WORD examples of monologues and CONNECTIONS Monologues in Acts II and III Soliloquies in Acts II and III soliloquies. Monitor and adjust to be Roots and Affixes Act III, Scene II, Juliet: “Shall I speak Act II, Scene III, Friar Lawrence: sure they are placing them in the Soliloquy contains the root ill of him that is my husband?” “The grey-eyed morn smiles on the correct column and identifying them sol from the Latin word soli, Act III, Scene III, Romeo: “’Tis torture frowning night.” meaning “one,” “alone,” or correctly by act, scene, speaker, and and not mercy. Heaven Act II, Scene V, Juliet: “The clock “lonely.” This root also appears first line. Post examples in front of is here.” struck nine when I did send the in solo, solitary, and solitude. the class, adding more if needed. nurse.” Act III, Scene V, Lord Capulet: 3 Assign or have each acting “God’s bread! It makes me mad.” Act III, Scene II, Juliet: “Gallop apace, you fiery-footed steeds.” company choose a soliloquy. Be sure My Notes that there are a variety of soliloquies represented in the class. 4 Instruct each group to work together to review the TWIST strategy, defining each term. Then, have them apply the strategy to the soliloquy, citing textual evidence and making inferences.

3. With your acting company, choose a soliloquy that is not part of the scene you

4. Complete the following TWIST graphic organizer about your chosen soliloquy, citing textual evidence and making inferences about how Shakespeare intended the lines to be performed. Consider vocal and visual delivery.

COLLEGE AND CAREER READINESS STANDARDS analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the G9_U5_SE_B1.indd 398 10/11/16 11:37 am G9_U5_SE_B1.indd 399Focus Standards: 10/11/16 11:37 am language evokes a sense of time and place; RL.9–10.3: Analyze how complex characters how it sets a formal or informal tone). (e.g., those with multiple or conflicting Additional Standards Addressed: motivations) develop over the course of a text, interact with other characters, and advance the RL.9–10.1; RL.9–10.2; RL.9–10.10; SL.9–10.1c; plot or develop the theme. SL.9–10.1d; SL.9–10.3; L.9–10.5a ; L.9–10.5b RL.9–10.4: Determine the meaning of words and phrases as they are used in the text,

Unit 5 • Coming of Age on Stage 399

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 399399 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.12 continued TWISTing Their Words ACTIVITY 5.12 continued TEACHER TO TEACHER

Depending on the needs of Sample Act II, Scene V students, you may want to choose one soliloquy to model through a Literary Element Textual Evidence Inferences think aloud before students work in groups. For students who are Tone: more proficient, you might assign a writer’s or speaker’s “Oh, she is lame!” Juliet should sound exasperated and roll her eyes or throw the TWIST analysis as independent attitude about a subject her hands up in the air in desperation at how late the Nurse is. practice. 5 Model how to apply different memorization strategies to the text. Have students work independently to apply these strategies to their Word Choice (Diction): soliloquy. the writer’s choice “Unwieldy, slow, Juliet should say each of these words slowly, drawing them 6 Before students perform their of words; a stylistic heavy, and pale out to emphasize how slow the Nurse is. She could rock element that conveys as lead.” forward as she says each word. lines, have them generate a rubric. voice and tone If you created a class rubric at the end of Activity 5.10 (see Teacher to Teacher, page 396), students can refer to that. If not, have students Imagery: refer to the Activity 5.10 graphic the verbal expression “And therefore Juliet’s voice should sound lighter here, even organizers that they used to evaluate of sensory experience; hath the wind-swift sing-songy, with a quick pace to match her topic. actors’ performances. Based on their descriptive language Cupid wings” She should look up and smile to emphasize her notes, ask them to craft general used to create word wistful hopes. statements (in other words, criteria) pictures about effective vocal and visual delivery. Symbol: anything that represents “nimble-pinioned The dove is a symbol of peace and love. itself but also stands doves draw love” for something else on a TEACHER TO TEACHER figurative level You may want to have each group rehearse a choral reading of their soliloquy and have several groups © 2018 College Board. All rights reserved. perform different soliloquies in front Theme: of the class. a writer’s central idea or “Had she affections Love is for the young, and adults can’t feel or understand it. main message about life and warm youthful blood, She would be as swift in motion as a ball.”

400 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 400400 110/11/160/11/16 2:202:20 pmpm TWISTing Their Words ACTIVITY 5.12 continued ACTIVITY 5.12 continued Leveled Differentiated Instruction Performing a Soliloquy My Notes In this activity, students might need 5. Select a key segment of the soliloquy to deliver from memory. Try some of these support memorizing and performing strategies to help you memorize lines: a Shakespearean soliloquy. a. Visualize the lines by creating word pictures in your head in response to the imagery and diction. Assign students Juliet’s L2–L3 b. Chunk the text into phrases and lines. Learn them one chunk at a time, soliloquy from Act II, Scene V building on what you have memorized. (“The clock struck nine ...”), and have c. Say the lines out loud using the vocal and visual delivery that you would use small groups use the Paraphrasing in performance. and Summarizing Map graphic d. Write down the lines several different times during the process of committing organizer to restate each line in their them to memory. own words. Allow students the option 6. After you have rehearsed, perform your lines for your acting company. With of delivering the paraphrased version your group, develop a rubric for effective performance, including vocal delivery, from the organizer, and dedicate visual delivery, and other theatrical elements (including blocking). Use this time for partners to rehearse prior to rubric to evaluate your own and your peers’ performance rehearsals. Refer to performing. the performance section of the Scoring Guide for Embedded Assessment 1 for ideas. As an alternative, allow students to translate the soliloquy of their choice 7. Quickwrite: Choose at least one of the following prompts to respond to from English into their primary in writing. language. As they become more • What performance clues does Shakespeare provide within the language of his soliloquy? comfortable with the material, • What other purposes does a soliloquy serve? Why does Shakespeare encourage them to focus on include them? memorization and expressive delivery. • What does the audience learn from watching characters struggle aloud with Pair students, and assign L3–L4 conflicting motives (thoughts, desires, actions, obstacles)? them Juliet’s soliloquy from Act II, Scene V, to memorize. Provide the Paraphrasing and Summarizing Map graphic organizer to help them decode the language and better understanding the meaning behind the lines. Provide time for partners to Check Your Understanding rehearse, and give them the option of Identify several themes that Shakespeare develops in the soliloquies in Acts II consulting note cards as necessary. and III. Partner students who choose Nature is a dangerous force. L4–L5 © 2018 College Board. All rights reserved. to perform the same INDEPENDENT Adults can’t understand young love. soliloquy, and have them complete READING LINK the Paraphrasing and Summarizing Young love is impatient and rash. Read and Discuss Create and complete a TWIST Map graphic organizer as a way of chart for a section of your deepening their understanding of independent reading selection. what the characters are saying. Summarize the information in your chart to a small group. Encourage them to use this handout Answer any questions group to also jot down notes and reminders to members may have. aid their memorizations during partner rehearsals prior to performance.

7 Have students respond in a quickwrite and then share in a class ASSESS ADAPT discussion each of the questions. G9_U5_SE_B1.indd 400 10/11/16 11:37 am G9_U5_SE_B1.indd 401 10/11/16 11:37 am 8 Have students refer to their Use the Check Your Understanding task to If students need additional help identifying TWIST analyses to identify themes. assess students’ ability to identify and trace themes, try a new approach. Remind students Work together to craft theme a theme. Use students’ graphic organizers to that a theme is the writer’s general message statements. Challenge students to evaluate their ability to identify theme in the about life or the world. Ask students, What is ﬁnd other textual evidence in the soliloquy they memorized. To give students a the situation of the speaker of the soliloquy? play that develops these themes. chance to observe as many soliloquies from Acts Relate this situation, and the speaker’s 9 To provide more practice with the II and III as possible, have individuals or groups thoughts about it, to your own life or to TWIST strategy and identifying perform different soliloquies for the class. Then another story. What general message about

© 2018 College Board. All rights reserved. themes, assign the Independent ask students to look for common themes. See life do these situations/stories express? Reading Link as homework. the sample theme statements provided.

Unit 5 • Coming of Age on Stage 401

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 401401 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.13 ACTIVITY A Desperate Plan 5.13 PLAN

Materials: copies of the play Romeo Learning Targets and Juliet by William Shakespeare LEARNING STRATEGIES: Suggested Pacing: 1 50-minute class • Analyze the subtext of a passage to determine the true meaning and impact of a Graphic Organizer, character’s words. period, plus homework Summarizing, Marking the Text, Oral Reading • Plan, rehearse, and perform exaggerated visual delivery to communicate meaning to an audience. TEACH The Cost of Advice 1 Have students work in pairs My Notes 1. Part of the process of coming of age is learning and accepting that sometimes or small groups to complete the parents and other trusted adults make mistakes. Complete the following graphic organizer. Then, have them graphic organizer to identify how the adults in Juliet’s life are making mistakes share examples in a whole-group that contribute to her frustration by the end of Act III. discussion. 2 With the class, examine the Adult Decision or Advice Effect on Juliet deﬁnition of the Literary Term Juliet’s father threatens to disown She has the impossible choice of subtext. Add this term to the Word her if she refuses to marry Paris. breaking her wedding vows or losing Wall as students copy it into their her family and starving on the streets. Reader/Writer Notebooks. Juliet’s mother. . . refuses to talk to She feels like her mother would 3 Use student volunteers to model Juliet and says she is done with her. rather she were dead than the analysis of subtext in the disobedient. passage from Act III, Scene V, that The Nurse. . . advises Juliet to marry She has no one to confide in or trust. begins with Lady Capulet’s saying Paris because he’s a better match “Evermore weeping …” and ends with and Romeo is as good as dead. “make thee there a joyful bride.” Have two students read the parts for 2. As Juliet becomes more alienated from her family and friends, she relies more Juliet and Lady Capulet, while you Literary Terms frequently on the audience understanding the subtext. Revisit the passage in stand behind Juliet and say what she Subtext is the underlying or Act III, Scene V, in which Lady Capulet visits Juliet’s bedroom immediately after implied meaning in dialogue Romeo has left. really means (the subtext) after each or the implied relationship Summarize her statements to her mother about Romeo. of Juliet’s lines. between characters in a book, movie, play, or film. The subtext I want to kill him myself. 4 Read the Preview and the Setting of a work is not explicitly stated. a Purpose for Reading sections with Summarize the subtext of her statements (what she really means). students. Help realize that they can Let me be the one to kill him because I would never do it. understand subtext because they know more than the characters Preview (dramatic irony). Using this In this activity, you will read the beginning of Act IV. In this scene, Juliet seeks © 2018 College Board. All rights reserved. knowledge, plus clues in the text, advice from Friar Lawrence. allows readers to infer the subtext. 5 FIRST READ: Based on the Setting a Purpose for Reading complexity of the passage and your • Mark the text of the passage by putting Juliet’s subtext in parentheses. The first knowledge of your students, you line has been done for you as an example. may choose to conduct the ﬁrst • Circle unknown words and phrases. Try to determine the meaning of the words by using context clues, word parts, or a dictionary. reading in a variety of ways: • Use strategies such as oral reading, chunking the text, paraphrasing, or marking • independent reading the text to help you make meaning. • paired reading • small-group reading • read aloud 6 As students are reading, monitor their progress. Be sure they are COLLEGE AND CAREER READINESS STANDARDS RL.9–10.5: Analyze how an author’s choices concerning how to structure a text, order events engaged with the text and G9_U5_SE_B1.inddFocus Standards: 402 10/11/16 11:37 am G9_U5_SE_B1.indd 403 10/11/16 11:37 am within it (e.g., parallel plots), and manipulate annotating the subtext. Evaluate RL.9–10.3: Analyze how complex characters whether the selected reading mode time (e.g., pacing, flashbacks) create such (e.g., those with multiple or conflicting effects as mystery, tension, or surprise. is effective. motivations) develop over the course of a text, Additional Standards Addressed: interact with other characters, and advance the plot or develop the theme. RL.9–10.1; RL.9–10.2; RL.9–10.4; RL.9–10.7; W.9–10.10; SL.9–10.1c © 2018 College Board. All rights reserved.

402 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 402402 110/11/160/11/16 2:202:20 pmpm A Desperate Plan ACTIVITY 5.13 continued ACTIVITY 5.13 continued 7 Based on the observations you made during the ﬁrst reading, you may want to adjust the reading Drama mode. For example, you may decide My Notes for the second reading to read aloud from certain complex passages, or you and may group students differently. 8 SECOND READ: During the second reading, students will be returning to by William Shakespeare the text to answer the text-dependent PARIS: Happily met, my lady and my wife! comprehension questions. You may JULIET: T at may be, sir, when I may be a wife. (Which is never, because I’m choose to have students reread and already married.) work on the questions in a variety of ways: PARIS: T at may be must be, love, on T ursday next. • independently JULIET: What must be shall be. • in pairs 20 FRIAR LAWRENCE: T at’s a certain text. • in small groups • together as a class PARIS: Come you to make confession to this father? confession: admitting your sins to a priest 9 Have students answer the JULIET: To answer that, I should confess to you. text-dependent questions. If they PARIS: Do not deny to him that you love me. have difﬁculty, scaffold the JULIET: I will confess to you that I love him. questions by rephrasing them or breaking them down into smaller 25 PARIS: So will ye, I am sure, that you love me. parts. See the Scaffolding the JULIET: If I do so, it will be of more price, Text-Dependent Questions boxes for suggestions. Being spoke behind your back, than to your face.

PARIS: Poor soul, thy face is much abused with tears.

JULIET: T e tears have got small victory by that;

30 For it was bad enough before their spite. spite: hatred

PARIS: T ou wrong’st it, more than tears, with that report.

JULIET: T at is no slander, sir, which is a truth; slander: a maliciously false statement And what I spake, I spake it to my face.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 4. Key Ideas and Details (RL.9–10.3) How does Paris feel about Juliet? How does Paris react 3. Craft and Structure (RL.9–10.4) Why does G9_U5_SE_B1.indd 402 10/11/16 11:37 am G9_U5_SE_B1.indd 403 when he unexpectedly runs into his fiancée?10/11/16 11:37 am Juliet refuse to give Paris a direct answer to any How does Paris react when he sees that Juliet of his questions? What is Juliet saying under the has been crying? How would Paris describe his surface of her words? Is she lying or bending the relationship with Juliet? truth? Why doesn’t Juliet want Paris to know the truth about how she feels about him? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 403

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 403403 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.13 continued A Desperate Plan The Fault in Their Stars ACTIVITY 5.13 10 Circulate among the groups as continued they conduct their oral reading. Make sure they have correctly identiﬁed the subtext. Second Read My Notes 11 After students complete the • Reread the play to answer these text-dependent questions. graphic organizer, have volunteers • Write any additional questions you have about the text in your Reader/Writer Notebook. share lines and visual delivery plans in a class discussion for the rest of 3. Craft and Structure: Why does Juliet refuse to give Paris a direct answer to any Act IV, Scene I. of his questions? 12 After students perform with Juliet is already married to Romeo but doesn’t want Paris to know. She also exaggerated visual delivery in their doesn’t want to lie to him because she is in church, where she has come to groups, choose several students to speak to the priest. She has to speak in riddle and subtext. RL.9–10.4 perform in front of the class. 4. Key Ideas and Details: How does Paris feel about Juliet? 13 Assign the rest of Act IV in small Paris seems to be genuinely excited about marrying Juliet. He cares about Juliet’s emotional well-being. He views Juliet as his property, though, and thinks groups, as independent practice, or he should be able to control her emotions and order her around. RL.9–10.3 for homework. Depending on your pacing needs, you may want to Working from the Text assign Act V, Scenes I–II, for 5. In a small group, conduct an oral reading of the passage. In addition to Paris, Juliet, homework as well. and Friar Lawrence, assign one group member the role of Juliet’s subtext. After Juliet speaks, that group member will read aloud Juliet’s true thoughts.

ASSESS 6. In an actual performance, subtext has to be expressed through visual delivery. Use the following graphic organizer to make a plan for visual delivery as you Use the Check Your Understanding read the rest of Act IV, Scene I. discussion questions to measure students’ grasp of subtext and their What Juliet Would Rather Do Plan for Visual Delivery ability to think critically about the Than Marry Paris: Textual Evidence (movements, expressions, gestures) differences between performing “chain me with roaring bears” Hold out her arms as if offering for the stage vs. the camera. Have to be handcuffed. students think-pair-share responses before sharing their ideas in a group discussion. The Friar’s Plan for Juliet: Plan for Visual Delivery ADAPT Textual Evidence (movements, expressions, gestures) “The roses in thy lips and cheeks shall Reach out and touch her cheek with If students have trouble fade” one finger. understanding how to “read”

subtext, conduct a mini-lesson on © 2018 College Board. All rights reserved. making inferences using the scene 7. Choose a section of lines (either Juliet’s or the Friar’s) to rehearse and perform on the previous page. Display a with exaggerated visual delivery. graphic like the one below on chart paper and complete it with the class 8. As you continue to read Act IV, look for other examples of subtext. or small group. Remind students Check Your Understanding what they and Juliet know that other • Why is it important to keep the subtext in mind when you are performing a scene? characters in the scene do not. Then • Why do stage actors usually use more exaggerated visual delivery than film have them combine this knowledge actors, particularly when performing Shakespeare? with clues in Juliet’s dialogue to form an inference about what Juliet actually means (the subtext).

What What What Juliet Juliet Juliet G9_U5_SE_B1.indd 404 10/11/16 11:37 am G9_U5_SE_B1.indd 405 10/11/16 11:37 am and I says means know

Point out that in many cases throughout the play, the knowledge that we and Juliet share, and that other characters don’t comprehend, is simply the depth of her love for Romeo. © 2018 College Board. All rights reserved.

404 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 404404 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.14 A Desperate Plan The Fault in Their Stars ACTIVITY 5.14 PLAN

Materials: DVD: a film version of Learning Targets LEARNING STRATEGIES: Romeo and Juliet, copies of the • Plan an interpretation that emphasizes the emotional impact and dramatic irony play Romeo and Juliet by William of Act V. Skimming/Scanning, Graphic Organizer, Sketching Shakespeare • Compare a personal plan to a film director’s interpretation and evaluate the effectiveness of each. Suggested Pacing: 1 50-minute class period plus homework Victims of Fate My Notes 1. In the Prologue to Act I, Shakespeare calls Romeo and Juliet “star-crossed TEACH lovers.” In Act V, when Romeo thinks Juliet is dead, he declares, “Then I defy you, stars!” What accidental and unfortunate events in the play support the 1 In small groups, have students theme that Romeo and Juliet are the victims of fate, or “the stars”? think-pair-share textual evidence that Romeo and Juliet are victims Tybalt seeing Romeo at the Capulets’ party of fate. Mercutio’s death The timing of Juliet’s planned wedding to Paris 2 If students have not read Act V, Scenes I–II, have them conduct an Act V of Romeo and Juliet oral reading with their groups to 2. Scenes I and II: Gather more evidence that Romeo and Juliet are victims of fate. gather more evidence. If they have What key events, without which there could be no tragic ending, happen in read the scenes, have them skim/ these scenes? scan to gather evidence.

Balthasar sees Juliet’s funeral procession and tells Romeo that Juliet is dead. 3 Review the deﬁnition of dramatic The apothecary agrees to sell poison to Romeo. irony before instructing students to The letter from the Friar to Romeo is interrupted. conduct an oral reading of Scene III in their groups. Then have them work 3. Before you read Scene III, review the definition of dramatic irony. What key with their groups to complete the information does the audience have that Romeo is lacking? graphic organizer on the following Juliet is actually alive! page, noting the choices they would make as director to intensify the emotional impact and emphasize dramatic irony. Have students share ideas in a group discussion. 4. Scene III: Think like a director and take notes in the first three columns of the 4 ALTERNATE READING PLAN: Based following graphic organizer on how you would use vocal and visual delivery on the complexity of the passage and as well as other theatrical elements to intensify the emotional impact and emphasize the dramatic irony. your knowledge of your students, you may choose to conduct a ﬁrst reading © 2018 College Board. All rights reserved. of Act V, Scene III, in which students focus on comprehension and identifying examples of dramatic irony. You may wish to conduct this reading in a variety of ways: • independent reading • paired reading • small-group reading • read aloud 5 As students are reading, monitor their progress. Be sure they are engaged with the text, annotating COLLEGE AND CAREER READINESS STANDARDS W.9–10.1a: Introduce precise claim(s), visual and vocal delivery notes in the distinguish the claim(s) from alternate or graphic organizer on the following G9_U5_SE_B1.indd 404 10/11/16 11:37 am G9_U5_SE_B1.indd 405Focus Standards: 10/11/16 11:37 am opposing claims, and create an organization page (or if students will conduct two RL.9–10.5: Analyze how an author’s choices that establishes clear relationships among readings, annotating examples of concerning how to structure a text, order events claim(s), counterclaims, reasons, and evidence. dramatic irony). within it (e.g., parallel plots), and manipulate W.9–10.4: Produce clear and coherent writing in time (e.g., pacing, flashbacks) create such which the development, organization, and style effects as mystery, tension, or surprise. are appropriate to task, purpose, and audience. W.9–10.1: Write arguments to support SL.9–10.3: Evaluate a speaker’s point of view, claims in an analysis of substantive topics or reasoning, and use of evidence and rhetoric, © 2018 College Board. All rights reserved. texts, using valid reasoning and relevant and identifying any fallacious reasoning or sufficient evidence. exaggerated or distorted evidence. Unit 5 • Coming of Age on Stage 405

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 405405 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.14 continued The Fault in Their Stars ACTIVITY 5.14 6 As students work with their continued groups to complete the graphic organizer, circulate among the groups to make sure they are Theatrical How My Choices How My Director’s Intended Effect correctly applying the concept of Element/ Would Intensify Choices Would Choices dramatic irony. Remind them to fill My Choices as the Emotional Emphasize the out only the first three columns of Director Impact Dramatic Irony the chart. Vocal Delivery: ALTERNATE READING PLAN: 7 When Romeo Romeo’s Since the audience Based on the observations you delivers his desperation will knows that Juliet made during the first reading, you soliloquy, I come across in is still alive, they may want to adjust the reading will have him his tone. will recognize the irony that Romeo mode. For example, you may decide emphasize the lines in which he keeps mentioning for the second reading to read aloud refers to how alive how she still certain complex passages, or you Juliet looks and looks alive. may group students differently. use a hoarse tone of voice as if he 8 ALTERNATIE READING PLAN: can barely speak During the second reading, students for sorrow. will be returning to the text to complete the first three columns of the graphic organizer. You may Visual Delivery: choose to have students reread I will have Romeo Romeo’s love for It will emphasize Juliet and his regret the dramatic irony and work on the graphic organizer look at Juliet when he is speaking to over Tybalt’s death when the audience in a variety of ways: her, but then look will be emphasized sees Juliet move • independently away when he talks by his addressing and is reminded them directly. that she’s • in pairs to Tybalt’s corpse. While he is looking still alive. • in small groups away, Juliet will • together as a class move slightly.

Other Theatrical Elements: The lighting will It will emphasize I will use lighting have a halo effect the dramatic by keeping the and emphasize irony because the

stage dark except Juliet’s innocence audience will be © 2018 College Board. All rights reserved. for a spotlight on as well as isolating focused on Juliet Juliet’s body. the two lovers and will notice the in the center of slight movements the stage. that Romeo misses.

COLLEGE AND CAREER READINESS STANDARDS G9_U5_SE_B1.inddAdditional 406 Standards Addressed: 10/11/16 11:37 am G9_U5_SE_B1.indd 407 10/11/16 11:37 am RL.9–10.7; RL.9–10.10; W.9–10.1b; W.9–10.1c; W.9–10.5; W.9–10.7; W.9–10.8; W.9–10.10; SL.9–10.1a; SL.9–10.1c; SL.9–10.1d; L.9–10.6 © 2018 College Board. All rights reserved.

406 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 406406 110/11/160/11/16 2:202:20 pmpm The Fault in Their Stars ACTIVITY 5.14 continued ACTIVITY 5.14 continued 9 Have students pair up within their groups to sketch their visualizations of the scene. If the playbook approach Working from the Text does not work for students, suggest 5. Work with a partner to visualize Act III Scene V. On separate paper, one of My Notes that they storyboard the whole scene you should sketch the scene from the audience’s perspective while the other from the audience’s perspective. sketches an aerial view. Use the “playbook” approach to block your scene for character placement and movement. 10 Have students work individually to complete the final two columns of 6. Observe how a film director interprets the scene. In the fourth column, take the graphic organizer on the notes on choices the director makes concerning vocal delivery, visual delivery, previous page as you show at least and other theatrical elements. In the last column, make inferences about the effect you think the director intended to create. one version of the death scene. Below are suggested film versions Check Your Understanding (listed by director) and clip times: How effective are the director’s choices in intensifying the emotional impact and Zeffirelli: Scene 16: 2:00:53-2:12:36 emphasizing dramatic irony? Luhrmann: 1:41:55-1:51:22 Kemp-Welch: 2:43:32-3:04:55 11 In their groups, have students Explanatory Writing Prompt think-pair-share their notes in the In Activity 5.1, you thought about the Essential Question: How do actors and graphic organizer. directors use theatrical elements to create a dramatic interpretation? Now that you 12 Have groups discuss the Check have read and analyzed the play Romeo and Juliet and watched selections from Your Understanding and Reflect on various film versions, revisit your initial response. Write a paragraph explaining how your response has grown, changed, and developed throughout this unit. Be sure to: the Essential Question prompts. For • Include a summary of your initial response to the Essential Question. the latter, have students revisit their • Give examples that clearly compare and contrast your earlier thoughts with your responses from Activity 5.1. Then current thoughts. have groups share responses to both • Include reflective commentary in your response. questions in a class discussion. 13 Have students complete the Independent Reading Checkpoint Independent Reading Checkpoint. Review your independent reading. What have you learned about the ways a film director interprets scenes and actors deliver scenes? How might you apply this thinking about a dramatic interpretation to your independent reading text? How does studying the elements of film help you better understand and appreciate a play? TEACHER TO TEACHER

This death scene may be a sensitive topic for some students. Before

© 2018 College Board. All rights reserved. or after students read and view the death scene, you may wish to have an informal conversation with students about suicide prevention and/or have a professional such as your school counselor visit the class to provide information and answer questions. ASSESS

Use students’ responses to the Check Your Understanding question Based on your ongoing assessments to assess their ability to evaluate the ADAPT effect of a director’s choices. G9_U5_SE_B1.indd 406 10/11/16 11:37 am G9_U5_SE_B1.indd 407 throughout this half of the unit, revisit any10/11/16 skills 11:37 am Use the explanatory writing If students need additional help evaluating that students are not successfully applying to prompt to monitor students’ self- a director’s choices, replay the death scene their rehearsals and/or staging notebooks. assessment of their growth. Make from the DVD version of the play, stopping sure students’ responses meet the after key segments. At each stopping point, criteria in the bulleted list. elicit from students the visual, vocal, and other theatrical elements that they noted in the scene and their intended effect. © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 407

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 407407 110/11/160/11/16 2:202:20 pmpm EMBEDDED EMBEDDED Presenting a Dramatic Interpretation ASSESSMENT 1 ASSESSMENT 1

Suggested Pacing: 4 50-minute class periods 1 Planning: By now, students ASSIGNMENT should be familiar with their Your assignment is to work collaboratively with your acting company to interpret, rehearse, and perform a scene assignments for this assessment. from William Shakespeare’s Romeo and Juliet. In preparation, each member of the acting company will create a staging notebook providing textual evidence and commentary on the planned interpretation. Finally, you will write Remind them to review the a reflection evaluating your final performance. requirements for each staging notebook that are outlined in Activity 5.7. Planning: Take n How will you prepare a staging notebook that reflects your primary role in the 2 Rehearsing: Decide how much time to make a production? (See Activity 5.7 for guidelines.) performance plan. n How will your acting company effectively integrate theatrical elements such class time students will have for as vocal and visual delivery, blocking, props, costumes, lighting, music, rehearsal and communicate this sound, and set design into your final performance? clearly to students. Consider n As an actor, how will you learn your lines and prepare vocal and integrating rehearsal time with visual delivery? the reading of the play and the n As a director, how will you guide the acting company and prepare scaffolding activities after theatrical elements? n Activity 5.7. As a dramaturge, how will you research to provide background information? 3 Performing: Set a date for the Rehearsing: Collaborate n When and where will you meet to rehearse your scene several times? performances, but consider how you with your acting n How can the director’s feedback and the dramaturge’s research enhance the company to polish will deal with companies who have acting company’s performance? your performance. n students absent on that day. You How could you use a video recording of one of your rehearsals to help you improve the quality of the performance? may want to schedule a make-up day n How can another acting company help you rehearse by providing feedback on for these groups. your performance? 4 Evaluating: Make copies of the Performing: Perform n How will the director introduce the scene? performance evaluation rubric that your scene for an n Who will prompt actors who need assistance with their lines? your class created in Activity 5.10, audience of your peers. n After the performance, how will the dramaturge explain how the performance suggest an appropriate graphic reflects his or her research? organizer, or use the performance section of the Scoring Guide to help Evaluating: Write n What were the strengths of your performance? What challenges did you face? an evaluation students evaluate each other’s n How can you use the Scoring Guide to ensure your understanding of the of your group’s criteria for this piece? performances. final performance. Reflection Have students reflect on what they have learned about Technology Tip performance and interpretation. Reflection Remind them to consider other As you collaborate on this After completing this Embedded Assessment, think about how you went © 2018 College Board. All rights reserved. students’ performances as well as project, find ways to create about accomplishing this task, and respond to the following questions: collaborative documents using the film performances they analyzed wikis or online document • How did different acting companies use theatrical elements to enhance during this unit in order to evaluate sharing as a way of creating their performance in memorable ways? how performance enhanced their a rehearsal schedule, • How did performing a scene help you understand or appreciate the play? establishing a common understanding and appreciation of document format, and sharing the play. ideas with other members of your acting company.

COLLEGE AND CAREER READINESS STANDARDS details; provide an objective summary of the text. G9_U5_SE_B1.inddFocus Standards: 408 10/11/16 11:37 am G9_U5_SE_B1.indd 409 10/11/16 11:37 am RL.9–10.3: Analyze how complex characters RL.9–10.1: Cite strong and thorough textual (e.g., those with multiple or conflicting evidence to support analysis of what the text motivations) develop over the course of a text, says explicitly as well as inferences drawn from interact with other characters, and advance the the text. plot or develop the theme. RL.9–10.2: Determine a theme or central idea RL.9–10.4: Determine the meaning of words of a text and analyze in detail its development and phrases as they are used in the text, over the course of the text including how it including figurative and connotative meanings; emerges and is shaped and refined by specific © 2018 College Board. All rights reserved.

408 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 408408 110/11/160/11/16 2:202:20 pmpm EMBEDDED Presenting a Dramatic Interpretation EMBEDDED ASSESSMENT 1 ASSESSMENT 1 continued continued Portfolio Have students collect, review, and create a table of contents SCORING GUIDE for the work leading up to Embedded Scoring Assessment 1. Each student needs to Exemplary Proficient Emerging Incomplete Criteria be responsible for gathering all the Ideas The performance The performance The performance The performance work he or she has done during the • represents • represents a clear • shows an attempt to • is not coherent and planning, rehearsal, and evaluating an insightful interpretation of interpret the scene does not clearly of this Embedded Assessment. Once interpretation of the the scene and • may not clearly communicate the they have reviewed their work and scene and clearly communicates communicate the scene to the audience communicates the it effectively to scene to the audience • includes a reflection answered the Reflection questions, intended effect to the audience • includes a reflection that is minimal and be sure they add it to their portfolios. the audience • includes a reflection that summarizes the simply lists the • includes a reflection on the process of process rather than steps in the process; that represents the preparing for and the thinking behind it does not reflect SCORING GUIDE creative thinking performing the scene, the interpretation and the thinking of the When you score this embedded of the entire including commentary the performance. group or the effect of acting company, on challenges faced the performance. assessment, you may wish to with insightful and an evaluation of download and print copies of the commentary on the the final performance. Scoring Guide from SpringBoard challenges and the Digital. In this way, you can final performance. have a copy to mark for each Structure • The staging notebook • The staging notebook • The staging • The staging notebook student’s work. is detailed and contains all required notebook does not contains few if any of shows evidence of entries in a clearly contain all required the required entries a high degree of organized format entries and may be • The performance collaboration • An effective poorly organized shows a lack • The interpretive performance • The performance of planning for performance shows communicates shows some planning visual elements a high degree of planning for for visual elements and rehearsal for planning for visual visual elements and rehearsal for vocal delivery. and vocal delivery. and rehearsal for vocal delivery. vocal delivery.

Use of The performance The performance The performance The performance Language • demonstrates a • includes appropriate • attempts the use of • includes little creative use of diction and effective vocal appropriate dialogue evidence of an to communicate and visual delivery to communicate attempt to craft the scene of dialogue the scene appropriate dialogue • includes a thorough • includes a script (in • includes some for the scene script (in staging staging notebook) elements of a script • may not include a © 2018 College Board. All rights reserved. notebook) with annotated for (in staging notebook) script (in staging annotations for appropriate delivery annotated for delivery notebook) or effective delivery of lines. of lines. annotations for of lines. delivery of lines.

COLLEGE AND CAREER READINESS STANDARDS study; explicitly draw on that preparation by referring to evidence from texts and other G9_U5_SE_B1.indd 408 10/11/16 11:37 am G9_U5_SE_B1.indd 409analyze the cumulative impact of specific word 10/11/16 11:37 am research on the topic or issue to stimulate a choices on meaning and tone (e.g., how the thoughtful, well-reasoned exchange of ideas. language evokes a sense of time and place; how it sets a formal or informal tone). SL.9–10.6: Adapt speech to a variety of contexts and tasks, demonstrating command of RL.9–10.10: By the end of Grade 9, read and formal English when indicated or appropriate. comprehend literature, including stories, (See grades 9–10 Language standards 1 and 3 dramas, and poems, in the grades 9–10 text for specific expectations.) complexity band proficiently, with scaffolding Additional Standards Addressed: © 2018 College Board. All rights reserved. as needed at the high end of the range. SL.9–10.1a: Come to discussions prepared, RL.9–10.6; RL.9–10.7; W.9–10.2f having read and researched material under Unit 5 • Coming of Age on Stage 409

GG9_U5_TE_B1.indd9_U5_TE_B1.indd 409409 110/11/160/11/16 2:202:20 pmpm ACTIVITY 5.15 ACTIVITY Previewing Embedded Assessment 2: 5.15 PLAN Is Shakespeare Relevant?

Materials: computer lab with Learning Targets Internet access (unless the research LEARNING STRATEGIES: will be assigned for homework); • Analyze the skills and knowledge needed to complete Embedded Assessment 2 Debate, Note-taking, QHT Chart, successfully. SmartBoard, whiteboard, or chart Graphic Organizer • Analyze and evaluate reasons and evidence in an online debate. paper; handmade Agree and • Identify and apply rhetorical appeals in a debate. Disagree signs Suggested Pacing: 1.5 50-minute My Notes Making Connections class periods plus homework Describe one of the activities in the first half of the unit that helped prepare you to do well on Embedded Assessment 1. What did you do and learn in the activity, and TEACH how did it prepare you for success? 1 As a transition into the second Essential Questions half of the unit, this activity focuses How would you answer the questions now? students on Embedded Assessment 2 1. How do actors and directors use theatrical elements to create a and helps them reﬂect on their dramatic interpretation? learning so far in the unit. Have students think-pair-share their responses to the Making Connections task; then, hold a class discussion. 2. Why do we study Shakespeare? 2 You may want to have students respond to the Essential Questions before reviewing their initial responses and evaluating how their ACADEMIC VOCABULARY understanding has grown so far. Synthesis is the act of Developing Vocabulary combining ideas from different 3 Guide students to revisit the Return to the Table of Contents and note the Academic Vocabulary and Literary sources to create, express, Terms you have studied so far in this unit. Which words/terms can you now move Academic Vocabulary for the unit by or support a new idea. In this to a new category on a QHT chart? Which could you now teach to others that you revisiting their QHT chart from usage, synthesis refers to were unfamiliar with at the beginning of the unit? Activity 3.1. combining ideas from different sources to create, express, or 4 Draw students’ attention to the support a claim. Unpacking Embedded Assessment 2 Unpacking Embedded Assessment 2 Read the assignment for Embedded Assessment 2: Writing a Synthesis Argument. task, as well as the Academic Your assignment is to compose an argument for or against the inclusion of Vocabulary box on synthesis. Use a William Shakespeare’s Romeo and Juliet in the ninth-grade curriculum. You SmartBoard, whiteboard, or chart will evaluate research and gather evidence from a variety of sources about

Shakespeare’s relevance and influence in today’s world. Finally, you will © 2018 College Board. All rights reserved. paper to create an unpacking graphic synthesize and cite your evidence in an argumentative essay that maintains a that can be posted in the room so formal style and tone appropriate to your audience and purpose, uses rhetorical that students understand and appeals including logical reasoning, and includes all the organizational prepare for the targeted learning. elements of an argumentative essay. 5 Draw students’ attention to the In your own words, summarize what you will need to know to complete this Independent Reading Link. In assessment successfully. With your class, create a graphic organizer to represent addition to the suggested resources, the skills and knowledge you will need to complete the tasks identified in Embedded Assessment 2. consider the following short stories: “Romeo and Juliet” in Karel Capek’s^ Apocryphal Tales: With a Selection of Fables and Would-Be Tales, Catbird Press (1997); “Duty” in Pamela Raphael Berkman’s Her Inﬁnite COLLEGE AND CAREER READINESS STANDARDS SL.9–10.4: Present information, findings, and Variety: Stories of Shakespeare and supporting evidence clearly, concisely, and G9_U5_SE_B2.inddFocus Standards: 410 10/11/16 11:40 am G9_U5_SE_B2.indd 411 10/11/16 11:40 am the Women He Loved, Simon & logically such that listeners can follow the line of Schuster (2001). W.9–10.1: Write arguments to support claims reasoning and the organization, development, Make a plan and communicate to in an analysis of substantive topics or texts, substance, and style are appropriate to purpose, students how you will monitor and using valid reasoning and relevant and audience, and task. sufficient evidence. assess their independent reading Additional Standards Addressed: during the rest of this unit. W.9–10.1a: Introduce precise claim(s), RI.9–10.8; RI.9–10.10; SL.9–10.1a; SL.9– distinguish the claim(s) from alternate or 10.1b; SL.9–10.1c; SL9–10.3; SL.9–10.6; opposing claims, and create an organization W.9–10.1a; W.9–10.1b; W.9–10.1c; W.9– that establishes clear relationships among © 2018 College Board. All rights reserved. 10.10; L.9–10.4c; L.9–10.6 claim(s), counterclaims, reasons, and evidence.

410 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 410410 110/11/160/11/16 2:222:22 pmpm Previewing Embedded Assessment 2: ACTIVITY 5.15 continued ACTIVITY 5.15 Is Shakespeare Relevant? continued 6 For Choosing Sides, post a sign that reads “Agree” on one end of a wall and “Disagree” at the other end. Choosing Sides As you read each sentence out loud, 3. For each of the following sentences, circle your response, from 1 (Strongly My Notes have students share their responses Agree) to 5 (Strongly Disagree). If you are neutral or have no opinion, circle 3. to each sentence nonverbally by moving from one end of the wall to 1 2 3 4 5: I believe in love at first sight. the other, standing closer to the 1 2 3 4 5: Reading classical literature is important. middle to represent neutrality or 1 2 3 4 5: I like to perform onstage. indifference. 1 2 3 4 5: Teenagers often lie to their parents. 7 After students pick a statement 1 2 3 4 5: Friends are more important than boyfriends and girlfriends. for part 4 on this page, have them 1 2 3 4 5: My parents know what’s best for me. think-pair-share a list of reasons to support one of their opinions. 1 2 3 4 5: The government should support theater and the arts. 8 To assist students in completing 1 2 3 4 5: Teenagers can experience true love. part 5, review the deﬁnitions and 1 2 3 4 5: Romeo and Juliet is too violent. examples of the Academic 1 2 3 4 5: You should forgive your enemies. Vocabulary terms rhetorical appeals, 1 2 3 4 5: Murderers do not deserve to be citizens of society. pathos, ethos, and logos. 1 2 3 4 5: I would risk my life for someone I loved. 9 Have students share some of the 1 2 3 4 5: I doubt that Shakespeare wrote all his plays himself. reasons that support their opinions and identify the rhetorical appeal 1 2 3 4 5: I would try to get revenge if someone killed my friend. they used. 1 2 3 4 5: Music is important to me. 1 2 3 4 5: Getting married very young is a mistake. 1 2 3 4 5: I believe in fate. 1 2 3 4 5: I like to argue. TEACHER TO TEACHER

4. Choose one of the statements that you strongly agree or disagree with. List Assure students that they will have three reasons to support your opinion. other opportunities to discuss some of the issues raised in this activity. But try to be attentive to your pacing in not allowing students to engage in a debate of the issues at this time.

© 2018 College Board. All rights reserved. 5. Review the definitions of the rhetorical appeals that you studied previously in Unit 1. Consider the reasons you listed to support your opinion; label each with the type of rhetorical appeal your reason emphasized: pathos, logos, or ethos. Revise your support to include only valid or logical reasons.

Unit 5 • Coming of Age on Stage 411

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 411411 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.15 continued Previewing Embedded Assessment 2: ACTIVITY 5.15 continued Leveled Differentiated Is Shakespeare Relevant? Instruction 6. Together with a group of your peers, you will explore an online debate website Prior to the whole-group debate, My Notes to gather reasons and evidence for one side of an issue related to Shakespeare students might need support and/or Romeo and Juliet. Write down your issue and the website address and preparing responses for an issue take notes in the column for either PRO (in favor of) or CON (against) in the related to Shakespeare and/or following graphic organizer. Romeo and Juliet. Evaluate the validity of the arguments in the debate with the following Partner students on questions: L2–L3 opposing sides of the issue, • Is the reasoning valid? That is, is the reasoning sound and supported and provide them with the by evidence? Collaborative Dialogue graphic • Is the evidence relevant and sufficient? organizer to help them script out and • Are any of the statements false or illogical? rehearse their talking points for the Choose the reasons that best support your assigned side. Try to emphasize group debate. Provide these reasons that are logical first, then reasons that appeal to ethos. Avoid support sentence frames as support: What in that depends on pathos. the text makes you say that? Based on , I think that . I Issue:______disagree because . Website:______Partner students on L3–L4 opposing sides of the issue. PRO CON Have them plan their discussion using the Collaborative Dialogue graphic organizer to script out questions and responses for one another. Provide the following sample language as support: I have a question about . In other words, are you saying that ? Instead of , perhaps . Partner L4–L5 and Support students on opposing sides of the issue, and have them pose questions that challenge each other’s arguments. Then, have students work individually to © 2018 College Board. All rights reserved. complete the Collaborative Dialogue graphic organizer, responding to those questions and refuting the challenges. 7. Use your notes to stage an informal debate with the group that researched the opposing viewpoint. While you are listening to their side, take notes in the appropriate column so that you can respond to their points during rebuttal. 10 Form students into an equal number of “pro” and “con” groups, with four or ﬁve students in each group. Choose a debate site from the list below (all on the topic of whether Shakespeare should be taught in high school). Or choose a topic of your own. • debatewise.org (search “teaching G9_U5_SE_B2.inddTEACHER 412 TO TEACHER 10/11/16 11:40 am G9_U5_SE_B2.indd 413 10/11/16 11:40 am of Shakespeare should be compulsory”) If web access is an issue, download • createdebate.com (search “Should both sides of the debate from one of Shakespeare’s works continue the websites above and give paper to be studied at the high school copies to students. If all students level”) have home Internet access, consider assigning the evaluation of the online debate for homework. © 2018 College Board. All rights reserved.

412 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 412412 110/11/160/11/16 2:222:22 pmpm Previewing Embedded Assessment 2: ACTIVITY 5.15 continued ACTIVITY 5.15 Is Shakespeare Relevant? continued 11 Before students engage in an informal debate, establish guidelines and ground rules together, such as 8. As you listen to your classmates debate another issue related to Shakespeare, using a timer to set time limits for take notes in the following graphic organizer to record the different rhetorical My Notes each side’s argument and rebuttal. appeals used in the debate. Instruct students to take notes on Issue:______their graphic organizer to keep track of the opposition’s main points.

Rhetorical 12 As students debate, use the PRO CON Appeals ﬁshbowl strategy by placing the students who are debating one issue in an inner circle facing each other. Have the students who are waiting to Logos debate the second issue form an outer circle to observe. Have the outer circle take notes in the second graphic organizer to record rhetorical appeals used by both sides. 13 After each debate, have both Ethos circles reﬂect on the effectiveness of the arguments and the rhetorical appeals they heard and used during the debate. 14 As students engage in debates, Pathos be sure they are using a variety of rhetorical appeals. ASSESS

Check Your Understanding Have students respond to the Check What was the most convincing evidence that you heard or used today? Why? What Your Understanding prompt in their kind of appeals were used? Reader/Writer Notebooks. Use their responses to assess their ability to evaluate evidence and identify rhetorical appeals.

INDEPENDENT As students debate, circulate © 2018 College Board. All rights reserved. READING LINK through the room, spot checking the Read and Research outer circles’ Rhetorical Appeals Research and find another play graphic organizers to formatively by William Shakespeare, or a assess their understanding. novel that was inspired by his work. You may want to consult the Independent Reading list, ADAPT conduct a web search, or ask your teacher, librarian, or peers If students need help with the Check for suggestions. Your Understanding task, give them these questions for evaluating evidence: • Is the evidence relevant? (Is it closely related to the speaker’s claim or reason?) G9_U5_SE_B2.indd 412 10/11/16 11:40 am G9_U5_SE_B2.indd 413 10/11/16 11:40 am • Is it sufficient? (Is the evidence strong enough to “overpower” the evidence on the other side of the debate? Did the speaker leave out an obvious piece of evidence?) If students need help identifying rhetorical appeal, revisit texts that have strong examples of all three, like

Unit 5 • Coming of Age on Stage 413

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 413413 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.16 ACTIVITY Shakespeare in the Modern Age 5.16 PLAN

Materials: highlighters—at least Learning Targets two different colors; SOAPSTone LEARNING STRATEGIES: template and SmartBoard or chart • Analyze an article to evaluate whether the author’s tone is appropriate to the SOAPSTone, Drafting, Sharing audience and purpose. paper; Optional: bulletin board and Responding, Marking the • Identify reasons and gather evidence to support a claim. Suggested Pacing: 1.5 50-minute Text class periods plus homework Preview In this activity, you will read an article that questions Shakespeare’s relevance. TEACH My Notes Setting a Purpose for Reading 1 Read the Preview and the Setting a • In one color, highlight the text evidence that supports the inclusion of Romeo Purpose for Reading sections with and Juliet in ninth-grade curriculum. In another color, highlight the text that students. Remind students that challenges the inclusion of Romeo and Juliet. evidence could include facts, • Circle unknown words and phrases. Try to determine the meaning of the words statistics, examples, anecdotes, and by using context clues, word parts, or a dictionary. expert opinions. Model highlighting evidence, such as the “CON” example Article in paragraph 6, using a color code. Emphasize that students will use this On the Bard’s Birthday, same color code consistently throughout the rest of the unit. Is Shakespeare Still Relevant 2 FIRST READ: Based on the by Alexandra Petri ? complexity of the passage and your knowledge of your students, you 1 Whenever I want to depress myself, I make a list of Shakespeare plays and cross out may choose to conduct the ﬁrst all the ones whose plots would be ruined if any of the characters had a smartphone. It’s reading in a variety of ways: a depressingly short list. • independent reading 2 Soon, if we want to do a modern staging of his work, we’ll have to stipulate that “In • paired reading fair Verona, where we lay our scene/T e cell reception was spotty/From ancient grudge • small-group reading that brake the AT&T.” Well, not that. Something better. 3 “Romeo and Juliet would obviously text each other about the poison,” audiences Alternatively, you may want to read would point out. “Why doesn’t Hermia use her GPS?” “If he was so worried about the the text aloud, pausing occasionally Ides, Caesar should have just telecommuted.” to check students’ understanding. 4 Misunderstandings and missed communications now come in entirely dif erent Questions for this alternative reading f avors. We are all in touch all the time, and the confusions that blossom from that are plan are provided in the side margin. malapropism: misuse of words not quite the ones the Bard guessed at. Autocorrect replaces malapropism. You don’t leave your f ancée asleep in the woods unless you want to wind up on a “Dateline”

special. When your coworker implies that Desdemona is cheating on you with Cassio, © 2018 College Board. All rights reserved. Text Complexity you don’t go ballistic demanding handkerchiefs. You just log her keystrokes. Overall: Accessible 5 And the words. (“Words! Words! Words!” as Hamlet says.) What are we supposed Lexile: 840L to do with them? Qualitative: High Difficulty 6 To make it through his works, high school students are forced to consult books Task: Moderate (Analyze) like “No Fear Shakespeare,” which drains all the poetry out in the hopes of making him comprehensible: understandable moderately comprehensible. 3 As students are reading, monitor their progress. Be sure they are engaged with the text and annotating evidence for and against Shakespeare in high school. Evaluate whether the selected reading mode is effective. COLLEGE AND CAREER READINESS STANDARDS uses rhetoric to advance that point of view or purpose. G9_U5_SE_B2.inddFocus Standards: 414 10/11/16 11:40 am G9_U5_SE_B2.indd 415 10/11/16 11:40 am W.9-10.1: Write arguments to support claims in RI.9–10.4: Determine the meaning of words an analysis of substantive topics or texts, using and phrases as they are used in a text, valid reasoning and relevant and sufficient including figurative, connotative, and technical evidence. meanings; analyze the cumulative impact of specific word choices on meaning and tone W.9-10.1a: Introduce precise claim(s), (e.g., how the language of a court opinion distinguish the claim(s) from alternate or differs from that of a newspaper). opposing claims, and create an organization that establishes clear relationships among RI.9–10.6: Determine an author’s point of view © 2018 College Board. All rights reserved. claim(s), counterclaims, reasons, and evidence. or purpose in a text and analyze how an author

414 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 414414 110/11/160/11/16 2:222:22 pmpm Shakespeare in the Modern Age ACTIVITY 5.16 continued ACTIVITY 5.16 continued 4 Alterative reading plan: Pause at paragraph 7 and ask students: What is lost in translation between the 7 Insert Hamlet’s most famous soliloquy into the grinder of that book: original Shakespeare text and the My Notes “To be, or not to be? T at is the question— “No Fear” version? Whether ’tis nobler in the mind to suf er T e slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, TEACHER TO TEACHER And, by opposing, end them? To die, to sleep— No more—and by a sleep to say we end Later in this lesson and throughout this unit, students will be gathering T e heartache and the thousand natural shocks evidence for their Embedded T at f esh is heir to—’tis a consummation Assessments. You may wish to create Devoutly to be wished! To die, to sleep. a bulletin board where students To sleep, perchance to dream—ay, there’s the rub” can post their best evidence as they work through the unit. Create a sign and you get: “T e question is: is it better to be alive or dead? Is it nobler to put up with all the nasty things that luck throws your way, or to f ght against all those troubles reading “Should all ninth graders by simply putting an end to them once and for all? Dying, sleeping—that’s all dying study William Shakespeare’s Romeo is—a sleep that ends all the heartache and shocks that life on earth gives us—that’s an and Juliet?” Have students write the achievement to wish for. To die, to sleep—to sleep, maybe to dream. Ah, but there’s evidence and the author’s last name, the catch!” the title of the work, and the source on 8 “But Shakespeare is beautiful! Shakespeare is life glimpsed through the cut glass glimpsed: seen briefly an index card and post it under PRO of poetry!” or CON. 9 Ah, but there’s the catch! What’s the point, if the language is so far away that we have to do that to it? 10 Maybe Shakespeare has nothing to say to us. Nobody else from the early 1600s still sees himself so regularly adapted. When was the last time you watched a BBC version of Marlowe’s Tamburlaine?

11 Bardolatry1 seems inf nitely old, but it is of comparatively recent vintage. First, infinitely: neverendingly Bowdler had his way with the works, removing all the naughty bits and notably tacking on a happy ending to King Lear. T e apotheosis was not instant. T e sonnets weren’t apotheosis: the elevation of in vogue for years. Shakespeare has only gradually clawed his way up to the pinnacle someone to the highest status of English letters, shoving Chaucer and Tennyson and Melville and Dickens down in vogue: in fashion whenever they got grabby and even elbowing Jane Austen from time to time. pinnacle: peak 12 T ere’s a certain level of celebrity occupied by people who are famous primarily because they are famous. 13 Is Shakespeare one of them? Do we only read him because we’ve seemingly always

© 2018 College Board. All rights reserved. read him? 14 Why do we keep dragging class af er class, kicking and screaming, through the wilds of Romeo and Juliet? 15 We don’t even know who the guy was. 16 Perhaps Shakespeare was born today. 17 Possibly he died today.

1 Bardolatry: unquestioning admiration for Shakespeare (the Bard)

COLLEGE AND CAREER READINESS STANDARDS G9_U5_SE_B2.indd 414 10/11/16 11:40 am G9_U5_SE_B2.indd 415Additional Standards Addressed: 10/11/16 11:40 am RI.9–10.1; RI.9–10.2; RI.9–10.3; RI.9–10.5; RI.9–10.8; RI.9–10.10; W.9–10.1b; W.9–10.5; W.9–10.9b; L.9–10.6 © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 415

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 415415 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.16 continued Shakespeare in the Modern Age ACTIVITY 5.16 5 Alternative reading plan: Pause continued after paragraph 19 and have students paraphrase it. Then ask: How does the author use 18 He’s an awfully hard man to Shakespeare’s productivity to nail down. As a historical f gure, skittish: quick to startle he is proverbially skittish. He suggest that he should not be taken might have been Francis Bacon, seriously as a great writer? for Pete’s sake. You wouldn’t get 6 Based on the observations you in the car of a man who said he might be Francis Bacon but was made during the ﬁrst reading, you not sure. Why read one? may want to adjust the reading 19 Besides, the man was mode. For example, you may decide hack: an artist who produces obviously a hack. Jonathan for the second reading to read aloud poor work simply to make money Franzen clearly takes his craf certain complex passages, or you more seriously. Nobody is as may group students differently. prolific: producing a large prolif c as Shakespeare who amount of work thinks he’s producing Great Lasting Works of Genius. He’s more a P. G. Wodehouse or an Agatha Christie. Stephen King could learn a thing or two from Shakespeare when it comes to groundlings: audience members pleasing the groundlings. who sit in cheap seats 20 Why give him this place of honor? WORD 21 Look at his most famous play. Hamlet? A whiny college student, evidently CONNECTIONS overeducated and underemployed, comes home for break, sees a ghost and dithers. Etymology Eventually some pirates show up, but wouldn’t you know, they remain of stage. For Pete’s sake is a Shakespeare is one of the few writers in history who, given the option of including substitution for the pirates in a play, thinks, “Nah, you know what? I’d rather have this dithering hipster talk blasphemous phrase “for about mortality some more.” Christ’s sake.” People who did 22 Come to think of it, maybe he’s never been more relevant. not want to take the Lord’s name in vain substituted 23 People complain about their Millennials moving home. Try having Hamlet in your Pete (potentially short for basement for a semester. “Tis not alone my inky cloak, good mother, nor customary St. Peter) into the phrase. suits of solemn black . . .” T at would get old at breakfast, I imagine. Shakespeare was famous 24 His plays still tell the truth, boiled down to their essences. for inventing and altering well-known phrases, making 25 King Lear: Your kids put you in a home? You should be so lucky! them his own. While he didn’t 26 invent this one, it remains a Titus Andronicus (or, “Guess Who’s Coming As Dinner”?): Cannibalism is never popular idiom. the answer. 27 Romeo and Juliet: Check your messages before ingesting poison.

28 T e Tempest: Wizards pretty much get to do whatever they want. © 2018 College Board. All rights reserved. My Notes 29 And he’s one of the few writers we still have in common. We’re dragged through the thorns of his work so that we’ll have something to talk about on the other side. 30 T at is a def nite part of his charm. He’s a common vocabulary, a common set of heroes and villains and everyone in between.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 2. Craft and Structure (RI.9–10.5) What is the tone of this article? What adjectives does the G9_U5_SE_B2.indd1. Key Ideas 416 and Details (RI.9–10.2) What 10/11/16 11:40 am G9_U5_SE_B2.indd 417 10/11/16 11:40 am author use to describe Shakespeare’s legacy? is the central purpose of this article? What How does the author feel about Shakespeare’s question is the author answering in the article? celebrity? What does the author hope to teach audiences about Shakespeare and his work? © 2018 College Board. All rights reserved.

416 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 416416 110/11/160/11/16 2:222:22 pmpm Shakespeare in the Modern Age ACTIVITY 5.16 continued ACTIVITY 5.16 continued 7 SECOND READ: During the second reading, students will be returning to the text to answer the text- 31 T ese are not plays we read and see together as a generation or a country. T ey’re dependent comprehension works we enjoy as a species. Shakespeare of ers a roadmap to the human. And he does questions. You may choose to have it in verse—sometimes tightly knotted little ornate gardens of verse like Midsummer ornate: beautifully detailed Night’s Dream, other times vast prosy expanses like Hamlet. Before Sarah Palin was students reread and work on the coining new words, the Bard was on it. questions in a variety of ways: 32 In their proper place, the bright lines that have since sunk into cliche still retain cliche: trite or obvious • independently their power to dazzle. • in pairs 33 Write what you know? Shakespeare adamantly didn’t. But in the process, he wrote adamantly: refusing to change • in small groups what we all know. opinion • together as a class 34 And he didn’t need a smartphone to do it. 8 Have students answer the My Notes text-dependent questions. If they Second Read have difﬁculty, scaffold the • Reread the article to answer these text-dependent questions. questions by rephrasing them or • Write any additional questions you have about the text in your Reader/Writer breaking them down into smaller Notebook. parts. See the Scaffolding the 1. Key Ideas and Details: What is the central purpose of this article? Text-Dependent Questions boxes The purpose is to argue why Shakespeare is still relevant today. The author for suggestions. presents arguments on both sides as to why Shakespeare’s work remains popular. RI.9–10.2

2. Craft and Structure: What is the tone of this article? The tone of this article is sarcastic. The author makes her points with biting, ironic humor, often praising Shakespeare’s work while mocking its popularity at the same time. RI.9–10.5

3. Key Ideas and Details: According to the article, why does Shakespeare’s work remain important today? Shakespeare’s work remains full of truth. Even though the stories are complicated and the language often undecipherable, Shakespeare’s stories present human honesty and truth that are impossible to match. This is why his works continue to resonate with modern audiences. RI.9–10.2

4. Key Ideas and Details: How has reading Shakespeare changed for modern students? Modern students don’t understand the language. They rely on technology much more than they rely on language, which makes Shakespeare particularly difficult © 2018 College Board. All rights reserved. to digest. As a result, many students rely on “No Fear Shakespeare” books, which have drained all the poetry from the works. RI.9–10.1

5. Key Ideas and Details: What reasons might critics give as to why Shakespeare is no longer relevant? Critics might argue that the difficult language means Shakespeare is no longer relevant. To understand the texts, students read subpar translations that alter, edit, and water down Shakespeare’s language. They may also argue that Shakespeare only continues to be taught because he’s always been taught. RI.9–10.2

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS modes have been introduced to help modern students understand the complicated works? G9_U5_SE_B2.indd 416 10/11/16 11:40 am G9_U5_SE_B2.indd 417 3. Key Ideas and Details (RI.9–10.2) Why does 10/11/16 11:40 am Shakespeare’s work remain important today? 5. Key Ideas and Details (RI.9–10.2) What do modern students “get” from his work? What reasons might critics give as to why What is the difference between Shakespeare’s Shakespeare is no longer relevant? Why do work and the work of other 17th-century modern students struggle to understand authors? or enjoy Shakespeare’s work? How does Shakespeare’s legacy compare to the legacies 4. Key Ideas and Details (RI.9–10.1) How has of his contemporaries? How has reading reading Shakespeare changed for modern Shakespeare changed for modern audiences? students? What would make Shakespeare more © 2018 College Board. All rights reserved. popular for modern audiences? What methods/

Unit 5 • Coming of Age on Stage 417

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 417417 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.16 continued Shakespeare in the Modern Age ACTIVITY 5.16 9 Project the SOAPSTone analysis continued template using a SmartBoard, or draw one on chart paper. Form several groups of students. Assign a W orking from the Text different element of the SOAPSTone 6. Consider the tone, purpose, and intended audience of the article. Conduct a analysis to each group to deﬁne SOAPSTone analysis of the article using the graphic organizer below. (using their glossaries) and share. Record each group’s responses on SOAPSTone Analysis Textual Support the chart. As a class, co-create a list of questions to ask about each Speaker: She is a blog writer who has read a element and add them to the What does the reader know about lot of Shakespeare’s plays. the writer? left-hand column of the graphic organizer. Finally, have each group Occasion: Shakespeare’s birthday work through the six steps for the What are the circumstances Petri article, writing their responses surrounding this text? in the middle column of their charts. 10 Select, or have each group Audience: Modern readers or audiences of Shakespeare plays select, an online text or video that Who is the target audience? discusses Shakespeare’s relevance Purpose: To explore the idea that to today’s teenagers. A list of Why did the author write Shakespeare may not be relevant possible sources is provided. Locate this text? to today’s audiences the source by searching for the title: • PSA: “Why Shakespeare?” produced Subject: Shakespeare’s relevance by the NEA, available on YouTube What is the topic? (20 minutes) • Speech: Hip-Hop & Shakespeare: Tone: Questioning, curious, irreverent What is the author’s tone, or Akala at Tedx Aldeburgh, available attitude, toward the subject? online at tedxtalks.ted.com • Blog Post: “Should Shakespeare be compulsory in schools?” by 7. Do you think that the writer or speaker uses an appropriate tone for the Andrew Cowle, available online at My Notes audience and purpose? bloggingshakespeare.com • Blog Post: “How Spielberg and 8. How might the style change if the author were rewriting it for a different Shakespeare Found Their Groove” medium (book, newspaper, magazine, speech, e-mail, Twitter post, letter ...)? by Todd Klick, available online at huffingtonpost.com

• Blog Post: “Why Study Shakespeare?” 9. How might the style change if the author were rewriting it for a different © 2018 College Board. All rights reserved. by Ross Farrelly, available online at audience (children, teenagers, lawmakers, college professors . . .)? rossfarrelly.blogspot.com After students read and discuss the text or video, have them conduct another SOAPSTone analysis, writing their responses in the right-hand column of the graphic organizer. 11 Have partners pair up with another set of partners to respond to the Working from the Text questions. Then have small groups share their responses in a class discussion. 12 In their groups, have students G9_U5_SE_B2.indd 418 10/11/16 11:40 am G9_U5_SE_B2.indd 419 10/11/16 11:40 am read the instructions in the Language and Writer’s Craft. To check understanding, ask students to provide everyday examples of rhetorical questions (e.g., “Why do I bother?”). For Practice, have groups work together to identify more examples from the essay. After

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 418418 110/11/160/11/16 2:222:22 pmpm Shakespeare in the Modern Age ACTIVITY 5.16 continued ACTIVITY 5.16 continued Leveled Differentiated Instruction

My Notes In this activity, students might Language and Writer’s Craft: Rhetorical Questions need support prewriting an In an argument, writers use rhetorical questions to appeal to an audience. A argument and supporting it with rhetorical question is one for which no answer is expected or required. It may quotations as evidence. direct readers’ thoughts to an implied answer, point out the absurdity of an Have students in small opposing point of view, emphasize a point, or otherwise nudge readers in the L2–L3 direction the writer wants them to go. For example, in “On the Bard’s Birthday, groups use the Persuasive/ Is Shakespeare Still Relevant?” Petri asks the following rhetorical question: Argument Writing Map graphic “What’s the point, if the language is so far away that we have to do that organizer to help them plan an to it?” argument and research quotations Notice how the writer embeds the main question—that of Shakespeare’s that support it. Guide the groups to relevance today—into this question. In the next paragraph, notice how Petri work collaboratively on writing a continues to expand on this question of Shakespeare’s relevance: claim based on a universal issue “When was the last time you watched a BBC version of Marlowe’s from Activity 5.15, such as “true Tamburlaine?” love is real” or “true friends are PRACTICE Identify three other rhetorical questions in the essay, and explain more important than how each one relates to the main point of the text. How do these rhetorical relationships.” questions shape the argument? Have partners settle on an L3–L4 argument from Activity 5.15 to explore, and support them as Check Your Understanding they craft a thesis statement plus Write a thesis statement for or against the inclusion of Romeo and Juliet in the ninth-grade curriculum, citing specific text evidence from the essay for support. one or two reasons for why they hold that opinion. Provide them with the Persuasive/Argument Writing Map graphic organizer to help them record quotations that Explain How an Author Builds an Argument support their thesis statements. Have students use the Explain how Petri structures her argument either for or against the relevancy of L4–L5 Shakespeare. Then write a paragraph evaluating the effectiveness of her argument. Persuasive/Argument Be sure to: Writing Map graphic organizer • Identify the claim made by the writer and analyze how clear and direct it is. as prewriting support for the • Explain what reasons and supporting evidence the writer uses and how Embedded Assessment. Circulate counterclaims are addressed. Evaluate the effectiveness of the reasons, to double-check the effectiveness evidence, and refutations of counterclaims. of their thesis statements, and © 2018 College Board. All rights reserved. • Include full citations and attribution for quotations. encourage them to evaluate the quotations they chose for how strongly they support their argument.

ASSESS

Check Your Understanding assesses students’ ability to use evidence from a text to develop a claim, or thesis statement. Students should essay for the Embedded Assessment. not be included in the ninth grade make their claim based on their Make sure students’ responses meet curriculum because (reason 1) and evaluation of the evidence they’ve G9_U5_SE_B2.indd 418 10/11/16 11:40 am G9_U5_SE_B2.indd 419 10/11/16 11:40 am the criteria in the bulleted list. (reason 2). Although students should found. Have students write their not include specific evidence in thesis statements on sentence strips ADAPT their thesis statements, they should and post them on a wall. As a class, mention reasons, which are general review some of the thesis statements If students need additional help statements based on evidence. to help them form an idea of what writing a thesis statement, provide Encourage students to back their works and what doesn’t. the following sentence frame: claim with at least two evidence- The Writing Prompt helps students Romeo and Juliet should/should based reasons. analyze the way an author structures

Unit 5 • Coming of Age on Stage 419

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 419419 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.17 ACTIVITY Shakespeare’s Globe 5.17 PLAN

Materials: highlighters—at least two Learning Targets different colors LEARNING STRATEGIES: Suggested Pacing: 1.5 50-minute • Gather and evaluate evidence from two articles as well as synthesize Marking the Text, Drafting, information to make inferences. class periods Graphic Organizer • Write a synthesis paragraph about Shakespeare’s global influence.

TEACH Shakespeare’s Global Influence 1 Have students think-pair-share My Notes 1. Before becoming the first black president of South Africa, Nelson Mandela spent 27 years in prison for his struggles against his country’s racist policies their interpretation of the quotation of apartheid. While in prison, he signed his name next to his favorite quotation from Julius Caesar and its possible from a copy of The Complete Works of William Shakespeare: significance to Nelson Mandela. “Cowards die many times before their deaths, The valiant never taste of Then, have them share ideas in a death but once.”—from Julius Caesar class discussion. What does this quote mean to you? What significance might it have had for 2 In the first reading, students will Nelson Mandela? be asked to look for evidence of Shakespeare’s global influence. Work with the class to generate definitions that distinguish modern relevance—the focus of the previous Preview activity—from global influence. In this activity, you will read two articles that examine Shakespeare’s global influence. 3 Read the Preview and the Setting a Purpose for Reading sections with Setting a Purpose for Reading students. Remind students that in • Using your color codes, highlight evidence for or against the importance of addition to highlighting evidence for Shakespeare. and against the inclusion of • Circle unknown words and phrases. Try to determine the meaning of the words Shakespeare in the ninth-grade by using context clues, word parts, or a dictionary. curriculum, they should mark the • Underline parts of the text that emphasize the connection between Shakespeare text for connections between and the world. Shakespeare and the global community. Article 4 FIRST READ: Based on the Britain Puts on a Shakespeare complexity of the passage and your knowledge of your students, you Marathon as World Arrives may choose to conduct the first reading in a variety of ways: for the © 2018 College Board. All rights reserved. • independent reading by Jill Lawless, T e Washington Post/Associated Press (2012) • paired reading • small-group reading 1 LONDON — As the world comes to Britain for the Olympics, Britain is celebrating arguably its greatest gif to the world—the plays of William Shakespeare. Alternatively, you may want to read 2 Anyone who doubts that accolade for the playwright dead almost 400 years the text aloud, pausing occasionally might want to go to the new “Shakespeare: Staging the World” exhibition at the to check students’ understanding. British Museum, and look at the f nal exhibit, a well-worn, one-volume collection of Questions for this alternative reading Shakespeare’s plays. plan are provided in the side margin.

Text Complexity Complex Overall: W.9–10.1: Write arguments to support 1410L COLLEGE AND CAREER READINESS STANDARDS Lexile: claims in an analysis of substantive topics or Medium Difficulty G9_U5_SE_B2.inddFocus Standards: 420 10/11/16 11:40 am G9_U5_SE_B2.indd 421 10/11/16 11:40 am Qualitative: texts, using valid reasoning and relevant and Moderate (Analyze) Task: RI.9–10.2: Determine a central idea of a text sufficient evidence. and analyze its development over the course W.9–10.1c: Use words, phrases, and clauses of the text, including how it emerges and is to link the major sections of the text, create shaped and refined by specific details; provide cohesion, and clarify the relationships between an objective summary of the text. claim(s) and reasons, between reasons RI.9–10.6: Determine an author’s point of view and evidence, and between claim(s) and or purpose in a text and analyze how an author counterclaims. uses rhetoric to advance that point of view or © 2018 College Board. All rights reserved. purpose.

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 420420 110/11/160/11/16 2:222:22 pmpm Shakespeare’s Globe ACTIVITY 5.17 continued ACTIVITY 5.17 continued 5 As students are reading, monitor their progress. Be sure they are engaged with the text and 3 T e book is the property of Sonny Venkatrathnam, a former South highlighting evidence for and against African anti-apartheid prisoner. He secretly kept it in the notorious Shakespeare in the ninth-grade Robben Island prison but shared it with other inmates, who underlined and autographed the passages that meant the most to them. classroom and annotating connections between Shakespeare 4 T e book lies open at lines from Julius Caesar—“Cowards die many times before their deaths/T e valiant never taste of death but and the world. Evaluate whether the once”—signed “N. R. D. Mandela.” selected reading mode is effective 5 “In a way, Nelson was the Caesar of the ANC,” said Venkatrathnam, 6 Alternative reading plan: After who spent several years in the prison with African National Congress paragraph 7, ask: How did the leader Mandela in the 1970s. “I think it resonated with his philosophy.” Robben Island prison inmates get 6 Mandela— now the revered 94-year-old former president of around the banning of nonreligious post-apartheid South Africa—is one of more than 30 inmates whom books? Venkatrathnam asked to sign the volume. It became known as the “Robben Island Bible,” because Venkatrathnam told prison warders— who had banned nonreligious books—that it was “the Bible by William Shakespeare.” He plastered its cover with cards celebrating the Hindu festival of Diwali in a successful bid to disguise the contents from My Notes guards. 7 “T ey would come and say, ‘What’s that?’ I’d say, ‘It’s my Bible,’” said Venkatrathnam, a dapper 76-year-old who traveled to London for the opening of the exhibition. “For all the years on the island they wouldn’t touch it.” 8 British Museum director Neil MacGregor said the book is “a wonderful symbol of what Shakespeare means to all of us.” 9 T e exhibition, which opens T ursday, is part of an outpouring of Shakespearean activity in Britain that includes the opening ceremony of the July 27–Aug. 12 Olympic Games. Director Danny Boyle’s ceremony, entitled “Isles of Wonder,” is inspired by the strange and enchanted island of T e Tempest. 10 Other helpings of the Bard include a cycle of history plays, currently being shown on Saturday night prime-time BBC television, and the Royal Shakespeare Company’s epic World Shakespeare Festival. Since April, the RSC, based in Shakespeare’s home town of Stratford-upon-Avon, has been bringing companies from around the world to stage his plays in Britain. 11 T e productions, in more than 40 languages, have ranged from an Iraqi Romeo and Juliet to a Russian Midsummer Night’s Dream and a Brazilian circus Richard III. 12 American director Peter Sellars, whose contribution to the festival is Desdemona—a reimagining of Othello by U.S. writer Toni Morrison and Malian singer reimagining: thinking about in a Rokia Traore—said Shakespeare is truly a writer for the whole world. new, creative way

© 2018 College Board. All rights reserved. 13 “He was a guy who—and not for reasons of branding—called his theater ‘T e Globe,’” Sellars said. 14 T e British Museum show, which runs through Nov. 25, combines artifacts from Shakespeare’s time—including the only surviving manuscript in the playwright’s handwriting—with recorded readings by actors to evoke an era that seems both familiar evoke: produce and alien. 15 In Shakespeare’s day, London was just beginning to attract people from around the world, emerging as the center of a nascent empire. nascent: beginning to develop

COLLEGE AND CAREER READINESS STANDARDS SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS G9_U5_SE_B2.indd 420 10/11/16 11:40 am G9_U5_SE_B2.indd 421Additional Standards Addressed: 2. Craft and Structure (RI.9–10.4) What10/11/16 11:40 am RI.9–10.1; RI.9–10.4; RI.9–10.5; RI.9–10.10; does the author mean when he says that W.9–10.1b; W.9–10.1c; W.9–10.4; W.9–10.5; Shakespeare was a “global figure”? When W.9–10.9b; W.9–10.10; L.9–10.6 does the author reference people or places around the world? What do they have to do with Shakespeare? Consider Shakespeare’s stories, messages, and influence. © 2018 College Board. All rights reserved.

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 421421 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.17 continued Shakespeare’s Globe ACTIVITY 5.17 7 Based on the observations you continued made during the ﬁrst reading, you may want to adjust the reading mode. For example, you may decide 16 “As the world comes to London in 2012, this Olympic summer, we are going to for the second reading to read aloud look at how the world came to London and how London saw the world 400 years ago,” co-curator: one of two or more said Jonathan Bate, co-curator of the exhibition. certain complex passages, or you people in charge may group students differently. 17 T e exhibition roams through Shakespeare’s inf uences, from the rural English landscapes of his youth to the country’s dynastic power struggles, the discoveries 8 SECOND READ: During the second emerging from the New World, the arrival of visitors from abroad and the creation reading, students will be returning to of Britain as a country with the union of the crowns of England and Scotland under the text to answer the text-dependent James I. comprehension questions. You may 18 Some items suggest a cold, violent world a long way from our own. T ere’s King choose to have students reread and excavated: dug out of the earth Henry V’s jousting helmet, a bear skull excavated from the site of an Elizabethan theater—where bear-baiting went on alongside drama—and an iron “witch’s collar” and work on the questions in a variety of sorcery: witchcraft metal gag used to punish women accused of sorcery. ways: 19 But the parallels with our own era of migration, globalization and political • independently uncertainty are ever-present. • in pairs 20 It is hard to nail down the secret of Shakespeare’s genius. It rests on some • in small groups exuberance: enthusiasm combination of the exuberance of his language and the resonance of the human • together as a class resonance: deep meaning predicaments he depicts, from lovers battling family disapproval to kings struggling to predicaments: difficult situations live up to the burdens of power. 9 Have students answer the 21 Shakespeare set plays in Venice and Verona, Denmark and Egypt—places he had text-dependent questions. If they read about but never visited. His plays in turn helped create the world view of his My Notes have difﬁculty, scaffold the audience, and have been inf uencing audiences around the world ever since. questions by rephrasing them or 22 “He was genuinely a global f gure—perhaps the greatest global export this country breaking them down into smaller has ever produced,” Bate said. parts. See the Scaffolding the 23 His ability to speak to audiences around the world is undimmed. Text-Dependent Questions boxes for suggestions. 24 “T e great thing about Shakespeare is that he speaks to everyone,” Venkatrathnam ideological: relating to someone’s said. “Regardless of your political or ideological position, you can f nd something that personal views and beliefs speaks directly to you. To me, he is the universal philosopher.”

Second Read • Reread the article to answer these text-dependent questions. • Write any additional questions you have about the text in your Reader/Writer Notebook.

2. Craft and Structure: What does the author mean when she says that Shakespeare was a “global figure”? What the author means when she says that Shakespeare was a global figure is that his works resonate with audiences around the world. Regardless of © 2018 College Board. All rights reserved. someone’s background or culture, there are human truths to be found in his stories, which influence audiences and their world views. RI.9–10.4

3. Craft and Structure: What is the significance of the name of Shakespeare’s theater? Shakespeare’s theater is named “The Globe,” which reflects his influence and his role as a global figure. It’s possible that Shakespeare chose the name because theater was his whole world, or that he chose it because he already knew the scope of his influence. RI.9–10.4

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 5. Key Ideas and Details (RI.9–10.1) Why was 2012 a perfect time to create the exhibition G9_U5_SE_B2.indd3. Craft and 422 Structure (RI.9–10.4) What is the 10/11/16 11:40 am G9_U5_SE_B2.indd 423 10/11/16 11:40 am about Shakespeare? What other event was significance of the name of Shakespeare’s happening at that time? What parallels can be theater? What does the name suggest about drawn between the audience in 2012 and the the way Shakespeare felt about his work? audience in Shakespeare’s day? 4. Key Ideas and Details (RI.9–10.1) What is the scope of the exhibition Bate curated? What made the exhibition relevant to audiences in 2012? How did the exhibition connect Shakespeare with an international audience? © 2018 College Board. All rights reserved.

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 422422 110/11/160/11/16 2:222:22 pmpm Shakespeare’s Globe ACTIVITY 5.17 continued ACTIVITY 5.17 continued 10 FIRST READ: Have students pair up to read the following text. Remind students to highlight points for and 4. Key Ideas and Details: What is the scope of the exhibition Bate curated? against including Shakespeare in the The exhibition Bate curated covered the scope of Shakespeare’s influence My Notes ninth-grade curriculum. In addition, around the world. The exhibition also covered the history at the time and how have students mark the text for that related to Shakespeare’s most popular works—such as bear-baiting, witch evidence of Shakespeare’s global hunts, and jousting. RI.9–10.1 inﬂuence. Record your evidence in 5. Key Ideas and Details: Why was 2012 a perfect time to create the exhibition the graphic organizer. about Shakespeare? 2012 was the perfect time to create the Shakespeare exhibition because London Text Complexity was hosting the Summer Olympic Games, an event that brought audiences from Overall: Complex around the world to Shakespeare’s stomping grounds. The exhibition showed Lexile: 1260L the connection Shakespeare had to international audiences, and the way he influenced the world. The exhibition also showed the parallels between modern Qualitative: Moderate Difficulty politics and the issues of Shakespeare’s day. RI.9–10.1 Task: Moderate (Analyze) 11 As students read the text with Article their partners, monitor their On progress. Be sure they are engaged and in highlighting evidence and Love War, annotating evidence of Iraq Learns from Shakespeare Shakespeare’s global inﬂuence. by Shelina Zahra Janmohamed, Daily Star 1 As part of the 2012 Summer Olympics hosted in London, the Royal Shakespeare Company challenged theater groups around the world to create contemporary contemporary: modern; from the re-imaginings of 16th century playwright William Shakespeare’s classics. Of the many present time TEACHER TO TEACHER unique and creative performances, Romeo and Juliet in Baghdad, performed by the Iraqi T eatre Company, caught my eye. Could one of Europe’s greatest romantic tragedies, If any of your students need support written in the 16th century, tell us something about Iraq in the 21st century? with English language development, 2 Adapted into colloquial Arabic and performed by an Iraqi cast with English subtitles colloquial: ordinary or familiar consider differentiating instruction above the stage, the story, while written in an Iraqi context, is a familiar one. It opens (language) with the corresponding ELD activities with two brothers, Montague and Capulet, who have feuded for nine years over who available on SpringBoard Digital. will steer their family’s pearl-diving ship. T is serves as an apropos metaphor for Iraq at apropos: fitting Built around the text “On Love and the beginning of the war. Romeo and Juliet, who like all the play’s characters retain their original Shakespearean names, have already met and fallen in love before the feud. T ey War, Iraq Learns from Shakespeare,” have been kept apart by the cycle of violence resulting from the feud between their fathers. these activities offer a scaffolded approach to developing academic language through vocabulary

© 2018 College Board. All rights reserved. study (5.17a), guided close reading (5.17b), and collaborative academic discussion (5.17c). When planning differentiation, make sure to have students return to portions of the ELA activity that provide essential practice for the Embedded Assessment.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 7. Key Ideas and Details (RI.9–10.2) What universal truths and themes are present in the G9_U5_SE_B2.indd 422 10/11/16 11:40 am G9_U5_SE_B2.indd 423 6. Key Ideas and Details (RI.9–10.1) What 10/11/16 11:40 am Iraqi version of this play? Reread the article major changes did the director make in this and create a list of morals the director hoped version of the play compared to the original? to portray in this version. What makes these What was the director’s main focus when lessons universal? adapting this play? How did he ensure it would be accessible to a wide audience? What changes were made to make the play relevant in modern times? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 423

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 423423 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.17 continued Shakespeare’s Globe ACTIVITY 5.17 12 Have students pause after continued paragraph 4 to respond to this question: Why does Romeo and Juliet in Baghdad focus less on the 3 T e play focuses less on their romance and more on how families, communities romance and more on war? My Notes and nations can easily and quickly be torn apart. T e story prompts the audience to ref ect on how pride, regret, a lack of mutual understanding and interference from the outside are obstacles to resolving conf icts peacefully. Once blood has been spilled, we are never sure if peace can be restored. 4 T e play’s director, Monadhil Daood, f ed Iraq in his 20s af er staging a play under Saddam Hussein about the Iran-Iraq war. In 2008, he founded the Iraqi T eatre Company to “bring a contemporary cultural voice of unity and inclusiveness into the civic discourse in Iraq.” Monadhil says that “I think my [play] Romeo and Juliet in Baghdad will be a mirror. T e audience will see themselves on the stage.” 5 In the buzzing auditorium, I saw his prediction come true. T e emotional ef ect the play had on its audience was clear. During the performance, many had eyes f lled with tears. At joyous moments, audience members tapped along to the wedding songs and laughed at the inclusion of an old Iraqi folk story about a beetle looking for love. 6 During the most emotional moment of all, I felt almost swept of my chair at the imposter: a deceptive person audience’s roar of approval as the imposter, who was betrothed to Juliet against her betrothed: engaged to marry will, and who had stoked the tension between the two families, was cast out by Juliet’s father, Capulet. T is character, a miserable hard-liner, represents the presence of Al-Qaeda in Iraq. T rough Capulet’s action, the betrothal is reversed and his presence is no longer accepted. 7 T e real story of Romeo and Juliet in Baghdad is of the audience, who see their lives played out before their eyes. T e drama was a chance to create enough distance from their own stories so that they could look at the ef ect of the last nine years on their immense: huge homeland, with its immense loss, death, and suf ering. It was an opportunity to move catharsis: the release of built-up on, make sense, f nd catharsis, and even laugh. emotions 8 T e play at its heart is a universal story of the birth and development of conf ict, stoked by fear, misunderstanding, and pride. It shows how outside forces can stoke conf ict and divide groups of people, and ref ects on the need for unity. portal: gateway; entrance 9 In this case, a love story is a portal into a world that audiences might otherwise never be able to begin to understand. By connecting with the story of young lovers—a theme transcends: rises above that transcends time and culture—we can learn about the nuances of today’s Iraqi society. nuances: slight variations T e play helps viewers understand tight-knit family structures and the once strong historic relationships between Sunni and Shiite Muslims that are now being broken down. In fact, people around the world might f nd a lot in common with the ordinary folk of Iraq and their aspirations to bring an end to violence and live better lives. 10 But more importantly, through such plays, we are confronted with universal truths: conf ict persists across human societies and it must be addressed before it spirals out of control. But most of all, the aspiration to love and be loved is present in all times and

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 9. Craft and Structure (RI.9–10.4) What was the central metaphor in this version of the play, G9_U5_SE_B2.indd8. Key Ideas 424 and Details (RI.9–10.1) Why did 10/11/16 11:40 am G9_U5_SE_B2.indd 425 10/11/16 11:40 am and what did it represent? Politically, what this version of the play resonate so strongly was happening in Iraq during the staging of with its audience? What changes did the director this play? How might this struggle have been make to ensure the play would make sense to a represented in the play? modern Iraqi audience? Emotionally, how did the audience respond to these changes? Would the play have had the same effect if it were staged in America? Why or why not? © 2018 College Board. All rights reserved.

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 424424 110/11/160/11/16 2:222:22 pmpm Shakespeare’s Globe ACTIVITY 5.17 continued ACTIVITY 5.17 continued 13 SECOND READ: Have students work with their partners to answer the text-dependent questions. Second Read Monitor their progress. If they have • Reread the article to answer these text-dependent questions. My Notes difﬁculty, scaffold the questions by • Write any additional questions you have about the text in your Reader/Writer rephrasing them or breaking them Notebook. down into smaller parts. See the Scaffolding the Text-Dependent 6. Key Ideas and Details: What major changes did the director make in this version of the play compared to the original? Questions boxes for suggestions. The major changes the director made in this version of the play were to translate the language into modern Arabic and to change the focus of the story. This version centered on a pair of feuding brothers whose children (Romeo and Juliet) were kept apart by the feud. This version focuses more on how families and communities can be destroyed by fighting. RI.9–10.1

7. Key Ideas and Details: What universal truths and themes are present in the Iraqi version of this play? This version of the play focuses heavily on how quickly families and communities can be destroyed by fighting. This allows modern audiences to clearly reflect on the losses in their countries due to war and conflict. In the end, all viewers are left with an appreciation for the need for unity in the world. RI.9–10.2

8. Key Ideas and Details: Why did this version of the play resonate so strongly with its audience? This version of the play resonated strongly with its audience because it allowed them to step back and reflect on the effects of nine years of war in their homeland. They saw themselves and their struggles represented on the stage, from the silly inclusion of a well-known folk song, to the unwelcome imposter in their community. RI.9–10.1

9. Craft and Structure: What was the central metaphor in this version of the play, and what did it represent? The central metaphor in this version of the play was the feud between the brothers over control of their family’s pearl-diving ship. The pearl-diving ship obviously represents the country of Iraq and the feud with Al-Qaeda for control over it. RI.9–10.4 © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 425

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 425425 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.17 continued Shakespeare’s Globe ACTIVITY 5.17 14 Have students work in their continued groups to complete the graphic organizer. The ﬁrst row of the organizer relates to the article “On Working from the Text Love and War, Iraq Learns from My Notes 10. Meet with a partner. Summarize the key points and share your textual evidence Shakespeare.” Have students use and commentary to complete the graphic organizer. the second row of the organizer to note and comment on the global Article Textual Evidence Commentary on his connections they found in the article of Shakespeare’s Relevance to the “Britain Puts on a Shakespeare Influence on the Community Marathon as the World Arrives for Community the Olympic Games.” After giving “On Love and “The story prompts The play helps the students time to complete the chart, War . . .” the audience to reflect community reconsider have them share their responses in a (Janmohamed) on how pride, regret, some of the issues class discussion. Community: a lack of mutual they are facing and Baghdad, Iraq understanding, and the underlying causes interference from the of conflicts. outside are obstacles to resolving conflicts peacefully.”

426 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 426426 110/11/160/11/16 2:222:22 pmpm Shakespeare’s Globe ACTIVITY 5.17 continued ACTIVITY 5.17 continued 15 Conduct a mini-lesson on using and citing sources based on the Language and Writer’s Craft feature. Check students’ comprehension by Language and Writer’s Craft: Using and Citing Sources My Notes taking the Teacher Edition examples of textual evidence and commentary Using quoted and paraphrased text from sources is an important way to support the main points of your argument or analysis. There are several ways from the Working with the Text chart to integrate quoted text smoothly into your own writing. (or use a student’s examples). Then You can use a transitional word or phrase to introduce a quote that supports work with the class to generate a point you are making: sentences that cite the evidence, Shakespeare’s plays have become irrelevant because they have lost using the examples in the feature as their original context. The world of Shakespeare is not our world. As Petri models. points out, students today “don’t even know who the guy was.” 16 Draw students’ attention to the You can use a quote in a sentence that provides commentary or explanation Independent Reading Link on this of the quote: page. You may want to assign the Although we are far removed from Shakespeare’s time, and, as Petri says, activity in the link as homework. “don’t even know who the guy was,” we can still apply the universal truths found in his writing to our own context. ASSESS You can also paraphrase another writer to support your point. If you do not need the exact words, this is a fine option, but you must still give credit to Have students think-pair-share the the source: Check Your Understanding task in As Petri notes in the essay, students today do not even know who small groups before sharing their Shakespeare was—neither his birthday nor the date on which he died. responses with the class. Use their PRACTICE Use each of these three methods to incorporate a quotation from responses to assess their readiness one of the texts in this activity into your own writing. Choose from these to form a thesis in response to the methods to support the claim in your argument. Embedded Assessment task. The Argument Writing Prompt Check Your Understanding helps students develop their What is the difference between relevance and influence? draft arguments for or against the inclusion of Romeo and Juliet in the high school curriculum by practicing defending a claim. Make sure students correctly cite evidence in Argument Writing Prompt their drafts. Write a draft of a paragraph to support the claim that Shakespeare has a significant global influence. Be sure to: INDEPENDENT ADAPT

© 2018 College Board. All rights reserved. READING LINK • Use a topic sentence that states your claim. Read and Discuss If students need additional help • Use parenthetical or in-text citations for at least one quote of support from each Think about your independent text. responding to the Check Your reading selection. Discuss Understanding task, remind them of • Integrate the evidence with commentary from both texts that explains how the with a peer whether the text evidence supports your claim. has a significant influence the essay they read in Activity 5.16. on the world, and whether Ask them to summarize the topic of or not it should. Explain the this essay (Shakespeare’s relevance central ideas of your selection . Ask them to as you argue for or against to today’s students) its influence. relate this topic to the two articles they just read (While the first essay focused on Shakespeare’s relevance high school students, these two essays focus on Shakespeare’s influence on different audiences around the globe). G9_U5_SE_B2.indd 426 10/11/16 11:40 am G9_U5_SE_B2.indd 427 10/11/16 11:40 am If students need additional help writing their draft paragraphs, use guided writing to co-construct a class response as students copy the paragraph into their own Reader/ Writer Notebooks for later revision. © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 427

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 427427 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.18 ACTIVITY Did Shakespeare Invent Teenagers? 5.18 PLAN

Materials: highlighters—at least two different colors Learning Targets LEARNING STRATEGIES: • Analyze how an author’s point of view is developed and supported by evidence. Suggested Pacing: 1.5 50-minute Quickwrite, Chunking the class periods plus homework Text, Sharing and Responding, • Write an argumentative paragraph that distinguishes claims and counterclaims. Graphic Organizer Teenagers Today TEACH 1. Quickwrite: Compare and contrast the teenagers in Romeo and Juliet with teenagers today. What do you and your peers have in common with Romeo, 1 Have students share their ACADEMIC VOCABULARY Juliet, Mercutio, Benvolio, and Tybalt? How are you different? quickwrite responses with a partner A counterclaim is an alternate or or small group. Then, elicit responses opposing claim with concessions that the opposing side has in a whole-group discussion. valid points and/or refutations Alternately, use the four corners explaining why the writer’s Preview position is more valid. strategy for students to receive In this activity, you will read an article that argues that Shakespeare “invented” feedback on their quickwrite teenagers as we know them today. Consider his claim, and then work with your comparisons between teenagers in class to develop a counterclaim. Romeo and Juliet and teenagers today. My Notes Setting a Purpose for Reading 2 Have students examine the • Using your color codes, highlight evidence for or against the idea that deﬁnitions for the Academic Vocabulary Shakespeare invented teenagers. terms counterclaim, concessions, and • Circle unknown words and phrases. Try to determine the meaning of the words refutations and copy them into their by using context clues, word parts, or a dictionary. Reader/Writer Notebooks as you add them to the Word Wall. ABOUT THE AUTHOR Stephen Marche is a novelist who writes a monthly column about culture for Leveled Differentiated Esquire magazine. Ten years ago he chose Shakespeare as the subject of his Ph.D. dissertation because he believed that Shakespeare would never bore Instruction him. He was correct. In the introduction to How Shakespeare Changed If your class includes Spanish- Everything, he writes: “I learned when I was a professor that teaching L1 Shakespeare to undergraduates is one of the easiest gigs in the history speaking students who are of the world. If you can’t make a room full of young people care about at an early stage in their English Shakespeare, then you probably shouldn’t be around young people language development, you may or Shakespeare.” find it useful to have them look up the vocabulary terms from this Article activity using the Spanish/English glossary in the Resources section of from How Shakespeare

3 Read the Preview with students. Work with students to co-construct a by Stephen Marche counterclaim statement to Stephen Marche’s claim. Chunk 1 1 Shakespeare described the terrifying beauty of the adolescent so early in its 4 Read the Purpose for Reading development, and so def nitively and so thoroughly, that it is only a slight exaggeration section with students. Note that the to say that he invented teenagers as we know them today. Romeo and Juliet, his excerpt from “How Shakespeare extended study of the humiliations and glories of adolescence, is the biggest hit of all Changed Everything” has been divided into chunks. Ask students to mark and annotate the text for each chunk in the My Notes column. W.9–10.1a: Introduce precise claim(s), 5 FIRST READ: Based on the COLLEGE AND CAREER READINESS STANDARDS G9_U5_SE_B2.indd 428 distinguish the claim(s) from alternate or 10/11/16 11:40 am G9_U5_SE_B2.indd 429 10/11/16 11:40 am complexity of the passage and your Focus Standards: opposing claims, and create an organization knowledge of your students, you may RI.9–10.1: Cite strong and thorough textual that establishes clear relationships among choose to conduct the ﬁrst reading in evidence to support analysis of what the text claim(s), counterclaims, reasons, and evidence. a variety of ways: says explicitly as well as inferences drawn from W.9–10.1b: Develop claim(s) and counterclaims • independent reading the text. fairly, supplying evidence for each while • paired reading W.9–10.1: Write arguments to support pointing out the strengths and limitations • small-group reading claims in an analysis of substantive topics or of both in a manner that anticipates the • read aloud texts, using valid reasoning and relevant and audience’s knowledge level and concerns. sufficient evidence. © 2018 College Board. All rights reserved.

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 428428 110/11/160/11/16 2:222:22 pmpm Did Shakespeare Invent Teenagers? ACTIVITY 5.18 continued ACTIVITY 5.18 continued Text Complexity Overall: Complex time; everybody knows the story even if they haven’t seen the play. Just one year af er its f rst performance in 1596, the Quarto publication proclaimed that “it hath been of en My Notes Lexile: 1040L (with great applause) plaid publiquely.” Unlike most of Shakespeare’s plays, it has never Qualitative: Moderate Difficulty slipped out of fashion. Hamlet—Shakespeare’s other great play about adolescence—is Task: Moderate (Analyze) the only piece performed more regularly onstage, and when you consider how of en and how successfully Romeo and Juliet has been adapted into other media, into operas and ballads and musicals, its popularity is even more staggering. T e most popular brand of Cuban cigars? Romeo y Julietta. People just love to watch a couple of dumb kids make out and die. And they are awfully young, these dumb Veronese kids who make out for TEACHER TO TEACHER us and then die. Shakespeare doesn’t ever tell us Romeo’s exact age, but we know about Juliet. In the f rst act, her nurse discusses her age at length, and it’s creepy. In two weeks To support students, use think aloud she will be fourteen. to model reading, summarizing, Chunk 2 evaluating, and responding to 2 Romeo and Juliet has to be fudged. In the eighteenth century, David Garrick understood that his audiences wanted a pure and innocent Romeo and Juliet, and he Marche’s argument in Chunk 1. Then, gave them a sentimentalized version of the play, which was so much to their liking continue to read and respond to the that his version survived intact for over a century. To make the young lovers totally text together. Alternatively, have heroic, he had to make them less complicated—the f rst thing to go was Romeo’s students who are prepared conduct an love for Rosaline at the beginning of the play. Romeo’s mooning over another girl is embarrassing to everybody; he seems unreliable, and it’s a bit insulting to Juliet. oral reading in groups in which each Garrick’s audience wanted Romeo and Juliet to be proper f rst lovers. He gave the member is responsible for evaluating audience what it wanted. He also f ddled with several lines, in order to remove, in and responding to a different chunk his words, “the Jingle and Quibble which were always thought a great objection to and then presenting their findings to performing it.” He cut the dirty jokes…. And he also cut down on the rhyming—it made the lovers seem too silly and too unrealistic. T e biggest change, however, was the the group as the group takes notes. death scene. Garrick let Juliet wake up before Romeo is properly dead—a f amboyant flamboyant: bold; showy ef ect that is not in the original. 6 As students are reading, monitor 3 Garrick created teenagers who were icons of purity in a corrupt adult world. But purity: state of being free of their progress. Be sure they are Shakespeare, unlike Garrick, never spares his adolescents their ridiculousness. T e f rst anything that pollutes or dirties engaged with the text and annotating snatch of dialogue between Romeo and Juliet is beautiful and absurd. Notice that the evidence for and against the inclusion dialogue follows the rhyme pattern of a Shakespearean sonnet. of Shakespeare in the ninth-grade ROMEO: If I profane with my unworthiest hand profane: treat irreverently curriculum. Evaluate whether the T is holy shrine, the gentle sin is this, selected reading mode is effective. My lips, two blushing pilgrims, ready stand 7 After students ﬁnish reading To smooth that rough touch with a tender kiss. Chunk 1, ask them to consider this question and note their responses in JULIET: Good pilgrim, you do wrong your hand too much, the My Notes column: Why does the Which mannerly devotion shows in this, author consider Romeo and Juliet a

© 2018 College Board. All rights reserved. For saints have hands that pilgrims’ hands do touch, topic of interest? And palm to palm is holy palmers’ kiss. ROMEO: Have not saints lips, and holy palmers too? JULIET: Ay, pilgrim, lips that they must use in prayer. ROMEO: O, then, dear saint, let lips do what hands do; T ey pray, grant thou, lest faith turn to despair. JULIET: Saints do not move, though grant for prayers’ sake. ROMEO: T en move not, while my prayer’s ef ect I take. T ey kiss.

COLLEGE AND CAREER READINESS STANDARDS SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS G9_U5_SE_B2.indd 428 10/11/16 11:40 am G9_U5_SE_B2.indd 429Additional Standards Addressed: 2. Key Ideas and Details (RI.9–10.2) How 10/11/16did 11:40 am RI.9–10.2; RI.9–10.4; RI.9–10.5; RI.9– Romeo and Juliet help define adolescence? What 10.6; W.9–10.1c; W.9–10.1d; W.9–10.1e; was special about Romeo and Juliet’s situation W.9–10.4; W.9–10.5; L.9–10.6 that audiences connected with? What has kept their story fresh to modern audiences? 3. Craft and Structure (RI.9–10.4, RI.9–10.6) How does the central purpose of the article influence its tone? What question is the author answering © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 429

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 429429 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.18 continued Did Shakespeare Invent Teenagers? ACTIVITY 5.18 8 Based on the observations you continued made during the ﬁrst reading, you may want to adjust the reading mode. For example, you may decide for the purged: cleansed T us from my lips, by yours, my sin is purged. second reading to read aloud certain JULIET: T en have my lips the sin that they have took. complex passages, or you may group ROMEO: Sin from thy lips? O trespass sweetly urged! students differently. Give me my sin again. He kisses her. JULIET You kiss by the book. vague: unclear 4 T e vague but palpable ef ect of this sudden advent of ABAB CDCD EFEF palpable: obvious GG rhyme is inexplicable beauty. Only the sharpest members of the audience could conceivably be sharp enough to notice that the lovers have dipped into sonnet form, but Shakespeare leaves us with an inarticulate impression that the young lovers are My Notes somehow strange and magical. Garrick took the sonnet out of the scene exactly because it made their love seem too ridiculous and artif cial. But Shakespeare wants them ridiculous. T at’s how kids are. And the last line is perfect: “You kiss by the book.” It sounds to me exactly like what a thirteen-year-old girl says af er a f rst kiss, like she’s been kissing forever, like she knows all about kissing, like she’s read the book. Chunk 3 5 Nothing could seem more natural to us than the rebellion of teenagers, which explains why Romeo and Juliet has f t easily into twentieth-century pop culture. Irving Berlin referred to the pair in a bunch of dif erent songs, as have Bob Dylan, Bruce Springsteen, Madonna, Tom Waits, Dire Straits, Alanis Morissette, Aerosmith, Elvis Costello, and the Indigo Girls. Lou Reed’s “Romeo Had Juliette” is a surprisingly conservative retelling of the story. On the street, the young crack dealers dream of automatic weapons, random murder, and the decline of Western civilization. Inside, harbingers: foreshadowers Romeo clutches a cross and Juliet. T e young in Lou Reed’s song are the harbingers of apocalyptic: predicting imminent apocalyptic social decay, and their only redemption is the love they preserve against the disaster despair everywhere around them. 6 In T e Wild One, a woman at a bar asks Marlon Brando what he’s rebelling against. “Whaddaya got?” he slurs back. T e teenage rebel cannot say: “I believe that the incidental tax rate is too high for local corporations,” or “our agribusiness policies are short-sighted.” No. T at would not be nearly stupid or grand enough. T e most important feature of adolescent rebellion is that it’s doomed. It must come to an end. In this, as well, Shakespeare was right at the beginning. He def ned what it means to be “star-cross’d.” T e opposition between the adolescent and the mature orders of the world can have only two possible endings. One is comic: T e teenager grows up, develops a sense of humor, gets married, has kids, moves to the suburbs, gets fat, and becomes boring. T at’s what happens to most Romeos and Juliets. T e other is tragic: T e teenager blows up in a blaze of glory. We much prefer to live in the comedy. We much prefer to watch the tragedy. absurdity: foolishness 7 Shakespeare loves his teenagers as he paints them in all their absurdity and nastiness. T at basic honesty, neither idealizing nor afraid, has kept Romeo © 2018 College Board. All rights reserved. and Juliet fresh. Leonardo DiCaprio and Claire Danes became the dominant young actors of their generation through their performances in Baz Luhrmann’s Romeo + Juliet. Justin Bieber, with his swagger coach and overwhelming fame, comes appropriately from Stratford, the home of North America’s biggest Shakespeare festival. 8 Shakespeare created this category of humanity, which now seems as organic to us nostalgia: wistful desire for as the spring. In place of nostalgia and loathing, Shakespeare would have us look at the past teenagers in a spirit of wonder, even the spotty ones and the awkward ones and the wild loathing: strong dislike ones. T ey’re us before we fall into categories: not children, not adults, not monsters, not saints. T ey’re beautiful because they do not f t. T ey’re too much themselves and not enough.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 5. Craft and Structure (RI.9–10.5) Why is it significant that Romeo and Juliet’s first G9_U5_SE_B2.inddin the article? 430 What does the author hope to teach 10/11/16 11:40 am G9_U5_SE_B2.indd 431 10/11/16 11:40 am dialogue is written in sonnet form? What is the audiences about Shakespeare and his work? primary purpose of sonnets? How does this 4. Key Ideas and Details (RI.9–10.1) Why form affect the dialogue as it is written and as did David Garrick think he had to change the the audience responds to it? What does this characterization of Romeo and Juliet? What form highlight about the characters and their aspects of Romeo’s and Juliet’s characters did relationship? Garrick change? Why did he make those changes? What did audiences at the time want from the story, and how did Garrick give it to them? © 2018 College Board. All rights reserved.

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GG9_U5_TE_B2.indd9_U5_TE_B2.indd 430430 110/11/160/11/16 2:222:22 pmpm Did Shakespeare Invent Teenagers? ACTIVITY 5.18 continued ACTIVITY 5.18 continued 9 SECOND READ: During the second reading, students will be returning to the text to answer the text-dependent Second Read comprehension questions. You may • Reread the nonfiction text to answer these text-dependent questions. My Notes choose to have students reread and • Write any additional questions you have about the text in your Reader/Writer work on the questions in a variety of Notebook. ways:

2. Key Ideas and Details: How does Romeo and Juliet help define adolescence? • independently Romeo and Juliet helps define adolescence for audiences by having • in pairs sentimentalized characters that audiences feel emotionally connected to. • in small groups Shakespeare highlights the characters’ absurdity and passion, which neither • together as a class idealizes nor shies away from the beauty of their age. In this way, Shakespeare 10 Have students answer the “created this category of humanity.” RI.9–10.2 text-dependent questions. If they 3. Craft and Structure: How does the central purpose of the article influence have difﬁculty, scaffold the its tone? questions by rephrasing them or The tone of this article is informational, with dashes of humor. The main breaking them down into smaller purpose of the article is for the author to state his opinion about Shakespeare’s parts. See the Scaffolding the influence on modern culture and our views of adolescents, and this is reflected Text-Dependent Questions boxes in the article’s tone. RI.9–10.4, RI.9–10.6 for suggestions.

4. Key Ideas and Details: Why did David Garrick think he had to change the characterization of Romeo and Juliet? He felt he had to make Romeo and Juliet more sympathetic to the audience. Audiences at the time—and arguably still today—wanted to watch pure and innocent characters combust on stage. The fact that Romeo was in love with another woman first, and that Juliet was only 13 years old, had to be changed in order for that to happen. RI.9–10.1

5. Craft and Structure: Why is it significant that Romeo and Juliet’s first dialogue is written in sonnet form? It is significant that Romeo and Juliet’s first dialogue is written in sonnet form because it symbolizes the everlasting romance in their relationship. Even their first words to each other are immortalized in poetry. It is also significant because it highlights the ridiculousness and absurdity of their characters. RI.9–10.5

6. Key Ideas and Details: How has Romeo and Juliet influenced modern culture? Romeo and Juliet is one of the most widely performed plays in Shakespeare’s

© 2018 College Board. All rights reserved. canon. It has been adapted and reimagined more times than can be counted and is the story that everybody knows “even if they haven’t seen the play.” Its influence can be found in music (Bob Dylan, Bruce Springsteen, Lou Reed, etc.), film (Romeo + Juliet, The Wild One, West Side Story, etc.), and even cigars (Romeo y Julietta). RI.9–10.1

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS G9_U5_SE_B2.indd 430 10/11/16 11:40 am G9_U5_SE_B2.indd 431 6. Key Ideas and Details (RI.9–10.1) How has 10/11/16 11:40 am Romeo and Juliet influenced modern culture? What adaptations or re-imaginings does the article mention? How has the film influenced other arts (not just film)? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 431

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 431431 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.18 continued Did Shakespeare Invent Teenagers? ACTIVITY 5.18 11 Tell students that for this continued activity’s writing prompt, they will be arguing against Stephen Marche’s central claim. To do so successfully, Working from the Text they must analyze his claims, My Notes 7. In the graphic organizer, summarize the purpose of each chunk in developing reason, and evidence and generate Marche’s argument. After taking notes on the reasons and evidence the author provides, generate your own reasons and evidence to support a counterclaim. their own counterclaims by refuting Use rhetorical appeals emphasizing logos and ethos. Examples include the each of his reasons. The following following: graphic organizer will help them do • Logos: Most teenagers know more about technology than their parents. that. Have students work individually • Ethos: My friends and I are more level-headed than Romeo and Juliet. or in pairs to complete the graphic • Pathos: It is unkind and unfair to call teenagers ignorant. organizer. 12 After students complete the Example Claim: Shakespeare invented teenagers as we know them today. graphic organizer in pairs or small Example Counterclaim: Teenagers today are very different from the characters in groups, instruct them to mark the Shakespeare’s plays. text of the example paragraph on the next page as you read it aloud. Objective Summary Claim (Reasons and Concessions and (Main idea of the text) textual evidence the Refutations (Reasons author uses to support and personal evidence his argument) why the argument is valid or not) Chunk 1: Romeo and Juliet is so “People just love to Yes, Romeo and Juliet popular because people watch a couple of dumb is popular, but I don’t are fascinated with the kids make out and die.” think it’s because the upsetting and confusing Teenagers are “all so characters are dumb, world of teenagers. ignorant and they think and I don’t think they know everything.” kids are dumb today. Most teenagers today understand technology better than adults.

Chunk 2: Revisionists changed “But Shakespeare wants Not all teenagers are the play to make Romeo them ridiculous. That’s ridiculous; some of them and Juliet seem less how kids are.” are very goal-oriented ridiculous and more pure. and mature.

Chunk 3: © 2018 College Board. All rights reserved. Romeo and Juliet created “Nothing could seem If Romeo and Juliet had the archetype of the more natural to us been true rebels, they rebellious teen. than the rebellion would have left Verona of teenagers, which and run away together. explains why Romeo and Juliet has fit easily into twentieth-century pop culture.”

432 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 432432 110/11/160/11/16 2:222:22 pmpm Did Shakespeare Invent Teenagers? ACTIVITY 5.18 continued ACTIVITY 5.18 continued TEACHER TO TEACHER Responding to Counterclaims If you have the technology to project 8. Review your graphic organizer with a partner or small group and identify the My Notes the sample paragraph, you can strongest reasons and evidence in support of both the claim and counterclaim. model marking the text. 9. The paragraph that follows supports Marche’s claim by acknowledging and 13 Draw students’ attention to the responding to counterclaims. Mark the text as follows: Independent Reading Link. • Underline sentences or clauses that support Marche’s claim. • Put brackets around sentences or clauses that acknowledge counterclaims. ASSESS • Circle transition words that clarify the relationship between claims and counterclaims. To assess students’ understanding of Shakespeare presents teenagers who seem true to life and realistic even though they counterclaims, use students’ responses were portrayed 500 years ago. Even though today’s teen is more likely to be carrying an iPhone than a broadsword, they act exactly the same. As Stephen Marche observes, to the graphic organizer to check “T e opening scene of Romeo and Juliet shows young men terrorizing the streets their ability for generate concessions/ of Verona with instantly recognizable teenage nastiness” (Marche). T e modern refutations for Marche’s claims. Use the teenager did not invent the practice of bullying, although that doesn’t make it any annotations on this page to evaluate less of a problem. Teenagers today continue to make rash decisions and struggle with the consequences. T ey also endure parental meddling that is less than helpful students’ ability to identify claims, just as in Romeo and Juliet. Teenage accessories and fashion may have changed since counterclaims, and transitions. Shakespeare’s day, but adolescence itself is still the same ordeal. Use students’ responses to the writing prompt to assess their Argument Writing Prompt abilities to identify and present a counterargument, which will Write a paragraph against Stephen Marche’s argument by stating your own claim and responding to his ideas with your own reasons and evidence. (The reasons and help them prepare for Embedded evidence in the counterclaim column of your graphic organizer will now become the Assessment 2. Be sure they reasons and evidence to support your claim.) Be sure to: understand that their claim is • Include a topic sentence that states your claim. “Teenagers today are different from • Use transitions and properly cited textual evidence to introduce counterclaims. those in Shakespeare’s play” and • Respond to Marche’s counterclaims, using transitions and rhetorical appeals of that Marche’s arguments provide the logos and ethos. counterclaims to which they must respond. Have students peer respond to each other’s papers by marking examples INDEPENDENT of pathos, ethos, and logos. Ask READING LINK students to share examples of each. Read and Connect Create a chart similar to the © 2018 College Board. All rights reserved. one used in this activity to ADAPT document how the author of your independent reading If students need additional help selection treats characters of different ages. Include generating counterclaims for the columns for main ideas about graphic organizer, ask them to break age groups, quotations down the ethos, logos, and pathos of that support the ideas, and Marche’s argument. how this might compare to Shakespeare’s treatment Ethos: Who is Stephen Marche? An of teenagers. adolescent psychologist? A teenager? Does he speak for teenagers? Logos: Marche claims that in adapting Romeo and Juliet for 18th-century audiences, Garrick got its heroes wrong. But Marche’s G9_U5_SE_B2.indd 432 10/11/16 11:40 am G9_U5_SE_B2.indd 433 10/11/16 11:40 am examples from 20th-century pop culture were also created to appeal to their audiences. Might they not also have gotten Romeo and Juliet wrong? Pathos: Marche appeals to our sense of wonder in citing the gorgeous pilgrim lines, but do these lines reflect the way teenagers speak and interact? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 433

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 433433 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.19 ACTIVITY Shakespeare Behind Bars 5.19 PLAN

Materials: highlighters—at least two different colors, Reader/Writer Learning Targets LEARNING STRATEGIES: • Evaluate evidence and make inferences. Notebooks, note cards (optional) Metacognitive Markers, Note- Suggested Pacing: 1 50-minute class taking, Graphic Organizer, • Use the elements of an argument in writing. period plus homework Discussion Groups Preview TEACH In this activity, you will read an article about prisoners who perform Shakespeare. My Notes 1 Read the Preview and the Setting Setting a Purpose for Reading a Purpose for Reading sections with • Mark the text with metacognitive markers: students. Help them understand the • ? = Questions about the text purpose of using metacognitive • ! = Reactions related to the text markers, which is to note passages • * = Comments about the text for further exploration. • Circle unknown words and phrases. Try to determine the meaning of the words by using context clues, word parts, or a dictionary. 2 FIRST READ: Begin by chunking the text into the sections, marked by Article the subheads. Have students summarize each chunk in the My Kentucky Inmates Turned Actors Notes column as they complete it. Explore Selves Through Shakespeare Play Based on the complexity of the passage and your knowledge of your by Sean Rose, Courier Journal students, you may choose to conduct the ﬁrst reading in a variety of ways: 1 Gene Vaughn waited nervously behind two swinging doors in the prison chapel of the Luther Luckett Correctional Complex. • independent reading 2 On any other day this would be just a chapel and Vaughn would be just one of the • paired reading 1,072 inmates locked in the medium security Oldham County prison. • small-group reading 3 But on a recent June night, Vaughn and 23 other inmates became characters in • read aloud Shakespeare’s Merchant of Venice, reviewing their lines in the f nal moments before the curtain drew back on opening night. foray: venture 4 For some, the nine months they spent preparing marked their f rst foray into Text Complexity acting. For others, it was a journey into self-exploration, a chance to review past Overall: Complex mistakes and analyze an uncertain future. Lexile: 1060L 5 “I used to think that acting was acting, that it was something I’d be good at, that Qualitative: Moderate Difficulty all of us convicts would be good at,” said cast member Jerry Guenther, who is serving Task: Challenging (Create) 45 years for murder. “We live a lie. But in here, our acting is not acting: it’s telling

the truth.” © 2018 College Board. All rights reserved. 3 As students are reading, monitor 6 Each year the Shakespeare Behind Bars program at Luther Luckett takes on a new their progress. Be sure they are converted: changed play. T eir stage is converted from a chapel within the razor wire-ringed state prison engaged with the text, highlighting near La Grange. PRO and CON evidence, and using 7 “Shakespeare understood the human condition like nobody else,” said Matt metacognitive markers. Evaluate Wallace, now in his third year directing the program of inmate performances. “T e themes that are in these plays resonate so deeply in these guys. T rough these plays whether the selected reading mode they’re digging up some of the most painful and horrif c parts of their lives.” is effective.

TEACHER TO TEACHER

You may want to show clips from the COLLEGE AND CAREER READINESS STANDARDS particular sentences, paragraphs, or larger documentary Shakespeare Behind portions of a text (e.g., a section or chapter). Bars, directed by Hank Rogerson, to G9_U5_SE_B2.inddFocus Standards: 434 10/11/16 11:40 am G9_U5_SE_B2.indd 435 10/11/16 11:40 am RI.9–10.6: Determine an author’s point of view supplement or replace the text in this RI.9–10.4: Determine the meaning of words or purpose in a text and analyze how an author activity. While the entire film would and phrases as they are used in a text, uses rhetoric to advance that point of view not be appropriate for most student including figurative, connotative, and technical or purpose. audiences, the use of preselected meanings; analyze the cumulative impact of clips could enhance the activity. specific word choices on meaning and tone Additional Standards Addressed: (e.g., how the language of a court opinion RI.9–10.1; RI.9–10.2; RI.9–10.3; RI.9–10.8; differs from that of a newspaper). RI.9–10.10; W.9–10.1a; W.9–10.1b

434 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 434434 110/11/160/11/16 2:222:22 pmpm Shakespeare Behind Bars ACTIVITY 5.19 continued ACTIVITY 5.19 continued 4 If students are reading the text individually, in pairs, or in groups, remind them to pause and 8 Since October, the cast and crew has gathered three times a week to prepare for summarize after paragraph 12. performances that began June 2 and will wrap up T ursday—eight shows put on to My Notes entertain other inmates, the cast members’ families, and state correction of cials. 5 After reading paragraph 23, ask students to consider this question: 9 T e actors are a varied group, serving sentences from 4 years to life without parole for a host of crimes, including sex of enses, robbery, and murder. Why would rehearsing and performing Shakespeare make a 10 And those backgrounds help them identify with Shakespeare’s characters in a way many outside prison walls can’t. prison inmate feel “safe”? 11 At the heart of the play is Shylock, a Jewish money lender played by Vaughn, a convicted murderer serving a 40-year sentence. Ostracized because of his religion, ostracized: excluded from society Shylock tries to exact revenge upon a hateful rival who comes to him for a loan, demanding that he wager his life against the loan. 12 “It deals with race. It deals with discrimination. It deals with gambling, debt, discrimination: treating someone cutting people. It deals with it all,” Tim Jett, an inmate serving as assistant director, said differently from all others in an interview during early rehearsal. “And we were all living that some way, somehow. We were all living it.” Every man must play a part 13 Putting on a full-length Shakespeare production in a prison setting brings a host of unique challenges. 14 Rehearsals rarely last more than two hours because of the prison’s daily schedule. Some men quit, and others are forced to drop out if they’re sent to solitary conf nement or shipped to another institution. 15 Some f nish their sentences and are released. 16 Jett, af er f ve years behind bars for sexual abuse, served out his term in April. To the rest of the crew, he was the luckiest man in Shakespeare Behind Bars. 17 But Jett thought otherwise, and decided to write a letter asking Secretary of Justice and Public Safety J. Michael Brown to defer his release for 60 days so he could stay until defer: delay the end of the show. He received no response and was released in March. 18 Unlike other prison programs, Shakespeare Behind Bars of ers no “good time” or credits for early release. 19 “T e only thing they get for being in this is the satisfaction of completing something,” said Josh Lewis, a classif cation and treatment of cer who is the program’s sponsor. sponsor: a person who is responsible for another person Do we not bleed? or event 20 Early rehearsals were rough. T e prison radios drowned out the actors’ lines. And the Elizabethan speech taxed some of the play’s eight new members. © 2018 College Board. All rights reserved. 21 But the cast and crew eventually formed a bond that turned the gatherings into a mix of theater work and group therapy. Although many of them have trusted few people in their lives, they increasingly conf ded in each other. confided: discussed private matters with a trusted person 22 Before opening night, with all on edge, Wallace sought to refocus their attention on what’s important. He asked everyone to go around and explain why they joined the program. Up went the hand of Guenther, a 13-year member and one of the elder statesmen of Shakespeare Behind Bars. 23 “T is is the safest place in the world,” Guenther told the other inmates.

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS lives before going to prison? How has acting helped them tell the truth about themselves? G9_U5_SE_B2.indd 434 10/11/16 11:40 am G9_U5_SE_B2.indd 435 1. Key Ideas and Details (RI.9–10.2) What is 10/11/16 11:40 am the central purpose of this article? Why did 3. Key Ideas and Details (RI.9–10.1) Why are Sean Rose write this article? How did he want inmates the perfect cast for many of Shakespeare’s audiences to feel after reading his report? What plays? Create a list of adjectives used to describe might he have wanted them to do? the inmates in this program. How do they compare/contrast with the characters in many 2. Craft and Structure (RI.9–10.4) What do you of Shakespeare’s plays? What difficult themes, think Jerry Guenther meant when he said, “But actions, and events occur in Shakespeare’s plays in here our acting’s not acting; it’s telling the that inmates might be able to relate to personally? truth”? How are acting and lying similar? What © 2018 College Board. All rights reserved. did men like Guenther have to lie about in their

Unit 5 • Coming of Age on Stage 435

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 435435 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.19 continued Shakespeare Behind Bars ACTIVITY 5.19 6 As students summarize the chunk continued ending at paragraph 31, have them draw connections between Guenther’s words and the 24 Guenther is one of the more experienced actors in the group, having played Hamlet catastrophes in Romeo and Juliet. parole: release from prison before in a previous performance, but took a minor role this season because of a parole hearing the end of a sentence in February. He hoped to be released af er 25 years of a 45-year sentence for killing an botched: gone wrong undercover Shively police of cer during a botched drug deal. 25 Instead the parole board ruled that he wouldn’t be eligible for release for another 10 years. My Notes 26 T e news hit Guenther and his fellow Shakespeare cast hard. 27 At 6-feet-5 and 330 pounds, the former star high school of ensive lineman brings an enthusiasm to the play that is contagious. 28 “T e thing I always f ash back to is how fast a bad decision can lead to complete catastrophe,” Guenther told the group. “T e only thing I can say is I was a kid and I didn’t mean for it to happen. You can’t f x what’s already broken. And God knows I wish I could.” 29 Vaughn, a close friend of Guenther, spoke up. 30 “Regardless of what you do, you’re always going to be reminded of what you did,” he said. 31 T ose in the circle nodded silently in agreement. Quality of mercy is not strain’d 32 Within each man’s sentence is a separate punishment, one that many of them see as inescapable even af er leaving prison. For the rest of their lives they will be convicted felons. 33 It’s a burden they recognize as unavoidable, as much a part of their lives as prison meals and daily dorm counts. 34 Months into rehearsal, the members are quick to connect with Shylock’s status as a second-class citizen amid his Christian neighbors. When Shylock lashes out, a small debate stirs among the men as to whether he is victim or villain. 35 Judging a character outright is damaging, Wallace said. And the same applies to the Shakespeare Behind Bars members, he said. 36 “Society has already judged them,” Wallace said. “It’s going to do no good if I come in here and judge them for what they’ve done.” 37 Reading over T e Merchant of Venice, Vaughn said “it just reminds you of yourself, of the things you’ve done in your life.” 38 As the season progressed, inmates dug deeper into their own lives through their instances: individual occurrences characters, in some instances making peace with a past they’d rather forget. 39 T at was the case for Vaughn, who saw his link to Shylock through abuse. © 2018 College Board. All rights reserved. 40 Vaughn said he was 6 years old when two neighbors sexually abused him. Until last year he never told anyone, though, and the burden of the secret bore on him. 41 Vaughn doesn’t blame his situation in life on that, but he’s sure he’s acted more recklessness: state of acting recklessly because of it. T e recklessness reached critical mass on March 22, 1989, unconcerned with consequences when Vaughn was involved in the death of a Louisville woman he met at a night club. critical mass: the amount needed He was sentenced to 40 years. to produce a result 42 “I didn’t care,” Vaughn said of his life then. “I didn’t care what people thought about me. I didn’t care what happened to me. At that point you feel like nothing is going to change for you anyway. But that’s where I was totally wrong.”

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS 5. Key Ideas and Details (RI.9–10.1) What do inmates gain from partaking in projects like G9_U5_SE_B2.indd4. Key Ideas 436 and Details (RI.9–10.1) Why did 10/11/16 11:40 am G9_U5_SE_B2.indd 437 10/11/16 11:40 am Shakespeare Behind Bars? What do the quotes The Merchant of Venice in particular resonate from the inmates tell you about their experience with the inmates performing it? What parallels with the program? How does the program can be found between the characters in the prepare them for life upon release? play and the inmates? What themes are present in The Merchant of Venice that might be meaningful to the inmates? © 2018 College Board. All rights reserved.

436 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 436436 110/11/160/11/16 2:222:22 pmpm Shakespeare Behind Bars ACTIVITY 5.19 continued ACTIVITY 5.19 continued 7 Based on the observations you made during the ﬁrst reading, you may want to adjust the reading 43 In prison and through Shakespeare, Vaughn said he has had time to contemplate contemplate: thoughtfully mode. For example, you may decide mercy, and how it of ers something to aspire toward. consider for the second reading to read aloud 44 “When you have done something in your life so bad, you try to go about the right certain complex passages, or you way to tell people that you’re sorry,” he said. “But there’s certain people you’re not going My Notes may group students differently. to be able to say you’re sorry to, like my victim, my victim’s family. So I can only hope that somewhere in their life they can say I forgive you to a certain extent. To me that’s 8 SECOND READ: During the second some type of mercy.” reading, students will be returning Outside to behold to the text to answer the text- 45 About 50 inmates turned out for opening night, and af er the f nal scene they gave dependent comprehension the performance a standing ovation. questions. You may choose to have 46 “For those two hours, those three hours, you don’t even feel like you’re in prison,” students reread and work on the said inmate Kevin Hesson, a new Shakespeare member. “You feel like you’re in a theater questions in a variety of ways: outside of here. You don’t feel the razor wire.” • independently 47 Af er congratulations, the men hurried to change out of their costumes and get • in pairs back to their dorms, f rst spreading their arms and legs at the chapel entrance to • in small groups be frisked. • together as a class 48 T ere would be more performances, but for now they were back on the prison schedule—and the 9 P.M. head count was just 10 minutes away. 9 Have students answer the text-dependent questions. If they Second Read have difﬁculty, scaffold the • Reread the article to answer these text-dependent questions. questions by rephrasing them or • Write any additional questions you have about the text in your Reader/Writer breaking them down into smaller Notebook. parts. See the Scaffolding the Text-Dependent Questions boxes 1. Key Ideas and Details: What is the central purpose of this article? for suggestions. The central purpose of this article is to present the benefits of prison theater programs. The article discusses why inmates choose to partake in the program, the way Shakespeare affects them personally, and how it prepares them for life behind bars and upon release. RI.9–10.2

2. Craft and Structure: What do you think Jerry Guenther meant when he said, “But in here our acting’s not acting; it’s telling the truth”? In this quote, Guenther is referring to the fact that as criminals, many of the inmates in the play are used to lying. In a way, acting is like lying—actors are pretending to be someone that they’re not—but this play is full of so many universal truths that the inmate actors are finally able to express their darker

3. Key Ideas and Details: Why are inmates the perfect cast for many of Shakespeare’s plays? Inmates are the perfect cast for many of Shakespeare’s plays because they have a more complex personal history than some other people. Many of Shakespeare’s lead characters are tormented, confused, and emotional, and many commit crimes such as theft, violence, and murder. This resonates on a personal level for inmates. RI.9–10.1

SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS

G9_U5_SE_B2.indd 436 10/11/16 11:40 am G9_U5_SE_B2.indd 437 6. Key Ideas and Details (RI.9–10.1) What 10/11/16 11:40 am challenges did the inmates at Luther Luckett have to overcome in order to stage their production? Why might it be more difficult to stage a play in a prison than in a professional theater setting? What struggles might they encounter with the text, the setting, and the cast? © 2018 College Board. All rights reserved.

Unit 5 • Coming of Age on Stage 437

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 437437 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.19 continued Shakespeare Behind Bars ACTIVITY 5.19 10 After students have read the continued article for the second time and completed the text-dependent questions, use the 5Ws and an H to 4. Key Ideas and Details: Why did The Merchant of Venice in particular resonate check for understanding. Ask for My Notes with the inmates performing it? examples of metacognitive markers The Merchant of Venice deals with themes of hatred, laws, and revenge. The central character is ostracized and violent. All of these elements resonate with and discuss any text questions that inmates who, by nature of their punishment, are forced to contemplate what students may still have. they have done and the laws that they may have broken. RI.9–10.1 11 Have students think-pair-share question 7 in groups of four. Then 5. Key Ideas and Details: What do inmates gain from partaking in projects like Shakespeare Behind Bars? have each group pair up with another group to discuss question 8. There are many benefits for inmates partaking in projects like Shakespeare Behind Bars, including looking at the world in a new way, making new friendships, and gaining confidence. The themes of certain plays give inmates the opportunity to “review past mistakes and analyze an uncertain future.” RI.9–10.1 TEACHER TO TEACHER 6. Key Ideas and Details: What challenges do the inmates at Luther Luckett have If you have created a class bulletin to overcome in order to stage their production? board for PRO/CON evidence that There are many obstacles that the inmates have to overcome in order to stage relates to Embedded Assessment 2, their production at Luther Luckett. Rehearsals have to be kept short, the cast is have each group write up one piece constantly changing, the actors don’t always have the educational background of evidence for each side of the to understand the text, and outside forces (like noise) interfere with rehearsals. RI.9–10.1 argument on a note card and add it the board. Working from the Text 12 After introducing the task for 7. Consider the following quotations about prisons. Analyze what each one means and to what extent do you agree or disagree. Add your responses to the graphic question 9, have groups return to organizer below. their original pairs from the think- pair-share to work on the graphic Quote Meaning Agree or Disagree organizer on the next page. and Why “The degree of civilization in a society can be judged by entering its prisons.” —Fyodor Dostoyevsk

“All in all, punishment hardens and renders people more insensible; it concentrates; it increases the feeling of estrangement; it strengthens the power of resistance.” —Friedrich Nietzsche © 2018 College Board. All rights reserved. “One is absolutely sickened, not by the crimes that the wicked have committed, but by the punishments that the good have inflicted; and a community is infinitely more brutalized by the habitual employment of punishment than it is by the occasional occurrence of crime.” —Oscar Wilde

“And where the offence is, let the great axe fall.” —William Shakespeare

438 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 438438 110/11/160/11/16 2:222:22 pmpm Shakespeare Behind Bars ACTIVITY 5.19 continued ACTIVITY 5.19 continued 13 Have students examine the deﬁnitions for the Academic Vocabulary terms hook, concluding 8. Discuss: Two of the primary purposes of our criminal justice system are statement, and call to action. Add punishment and rehabilitation. For prisoners, rehabilitation means to restore a My Notes these terms to the Word Wall as person to a useful life, often through education. Which purpose do you think is more important? Why? students copy them into their 9. Prepare to write a letter to a representative from the state or federal government Reader/Writer Notebooks. either in support of or against funding for programs like Shakespeare Behind 14 Introduce each section of the Bars by completing the following graphic organizer. graphic organizer as students take notes to prepare a letter to Congress. Hook : How could a program that brings Shakespeare into prisons benefit society? 15 Have student groups present their letter to another group. Instruct Claim: Funding the Shakespeare Behind Bars program is worthwhile. that other group to identify Reasons and evidence to support the claim: Counterclaim: Some people may think that inmates don’t counterclaims that the presenting It is much better for society to try to change a prisoner deserve educational enrichment programs. group could respond to in a revised into a better person than to merely punish him or her. version of the letter. “In prison and through Shakespeare, Vaughn said he has had time to contemplate mercy, and how it offers ASSESS something to aspire toward.” Reasons and Concessions and refutations: Check Your Understanding evidence to support Some inmates may not deserve assesses students’ ability to counterclaim: the program, but fueling hope write a persuasive letter with Some of the inmates rather than anger is still better for society. claims, reasons, evidence, and have committed counterclaims. Check the graphic unforgiveable crimes. organizers and/or letters to be sure that students understand and Concluding statement/call to action: Please do what you can to fund educational programs for inmates such as use the elements of an effective Shakespeare Behind Bars. argument. The Writing Prompt assesses students’ readiness to approach Embedded Assessment 2 by having Check Your Understanding them write an entire argument Present your letter to another group. If possible, find a group that disagrees with ACADEMIC VOCABULARY of a type similar to Embedded your claim. As you listen to their letter, add new reasons and evidence to the In an argument, the hook Assessment 2. Make sure their graphic organizer or write notes in the My Notes space. is an opening that grabs responses meet the criteria in the the reader’s attention and establishes a connection bulleted list. © 2018 College Board. All rights reserved. Argument Writing Prompt between the reader and the writer. ADAPT Find a partner or small group that agrees with your claim and work together to The concluding statement write a letter of argument. Be sure to: should follow from and support the argument. It If students need additional help • Include an introduction that uses a hook and states your claim. may include a call to action completing their letters, co-construct • Defend your claim and respond to the counterclaims with support that depends or plea for the reader to do a letter in a class or small-group primarily on logic and ethos. something about the issue. guided writing activity. Use the • Use transitions and properly cited textual evidence. model responses provided in the Teacher Edition to complete the prewriting/planning stage of the process, or create your own responses.

Unit 5 • Coming of Age on Stage 439

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 439439 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.20 ACTIVITY Give Up the Bard 5.20 PLAN

Materials: highlighters—at least two different colors Learning Targets LEARNING STRATEGIES: • Identify the essential elements of an argument in an article. Suggested Pacing: 1 50-minute Graphic Organizer, Note-taking, class period Marking the Text, Discussion • Create a graphic organizer and a writer’s checklist, in preparation for writing a Groups synthesis argument.

TEACH Preview In this activity, you will read an article that argues for giving Shakespeare the 1 Read the Preview and the Setting My Notes “heave-ho.” a Purpose for Reading sections with students. Setting a Purpose for Reading 2 FIRST READ: Based on the • Using your color codes, highlight evidence for or against the studying of complexity of the passage and your Shakespeare. knowledge of your students, you • Circle unknown words and phrases. Try to determine the meaning of the words may choose to conduct the ﬁrst by using context clues, word parts, or a dictionary. reading in a variety of ways: • independent reading Article • paired reading • small-group reading • read aloud Why It’s Time to Give the the Heave-ho Text Complexity Bard ! Overall: Complex by Brandon Robshaw, T e Independent Lexile: 1140L Qualitative: Moderate Difficulty 1 As a tribute to Shakespeare this St George’s day, isn’t it time we dropped him from Task: Moderate (Analyze) curriculum: regular classes the National Curriculum? T e Bard is a national monument. Nor is there anything 3 As students are reading, monitor taught in a school or program wrong with that. Along with a f ag, an anthem, and a football team, a national writer trappings: characteristic signs is part of the trappings of nationhood. T e Italians have Dante, the Germans have their progress. Be sure they are pantheon: a place where heroes Goethe, the French have a pantheon which includes Molière, Racine, Victor Hugo, and engaged with the text and congregate Proust. annotating evidence for and against 2 And Shakespeare is peculiarly well-suited to be ours, for both literary and non- Romeo and Juliet in the classroom. putative: commonly regarded literary reasons. T e date of his death and the putative date of his birth neatly fall on Evaluate whether the selected as right our patron saint’s day; he belongs to the golden age of Elizabethan expansionism; his reading mode is effective. gobbets: fragments; pieces history plays chronicle our kings and queens and contain quotable patriotic gobbets (“T is precious stone set in the silver sea,” “We few, we happy few,” etc.). His output is 4 Based on the observations you staggeringly prolif c—38 dramatic works in all the genres, several long poems and over © 2018 College Board. All rights reserved. made during the ﬁrst reading, you 150 sonnets—and his plays work well enough dramatically to be constantly performed may want to adjust the reading today. He had, as George Orwell put it, an amazing skill at putting one word beside acute: severe another; as well as acute psychological insight, the largeness of mind to give great lines mode. For example, you may decide uncanny: mysterious; even to minor or unfavored characters, an unmatched ear for rhythm, and an uncanny for the second reading to read aloud inexplicable ability to coin memorable phrases which, in many cases, have passed into general usage. certain complex passages, or you 3 One might even say that appreciation of Shakespeare is the touchstone of an may group students differently. educated literary taste. If you don’t like him, you don’t get it. Voltaire and Tolstoy famously didn’t, but then English wasn’t their mother tongue. TEACHER TO TEACHER

If any of your students need support with English language development, particular sentences, paragraphs, or larger consider differentiating instruction COLLEGE AND CAREER READINESS STANDARDS portions of a text (e.g., a section or chapter). with the corresponding ELD activities G9_U5_SE_B2.inddFocus Standards: 440 10/11/16 11:40 am G9_U5_SE_B2.indd 441 10/11/16 11:40 am RI.9–10.6: Determine an author’s point of view available on SpringBoard Digital. RI.9–10.8: Delineate and evaluate the or purpose in a text and analyze how an author Built around the text “Why It’s Time argument and specific claims in a text, uses rhetoric to advance that point of view to Give the Bard the Heave-Ho!,” assessing whether the reasoning is valid and or purpose. these activities offer a scaffolded the evidence is relevant and sufficient; identify approach to developing academic false statements and fallacious reasoning. Additional Standards Addressed: language through vocabulary Analyze in detail how an author’s RI.9–10.1; RI.9–10.2; RI.9–10.10; W.9–10.4; study (5.20a), guided close reading RI.9–10.5: ideas or claims are developed and refined by W.9–10.5; W.9–10.10; L.9–10.5a; L.9–10.6 (5.20b), and collaborative academic discussion (5.20c). When planning © 2018 College Board. All rights reserved.

440 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 440440 110/11/160/11/16 2:222:22 pmpm Give Up the Bard ACTIVITY 5.20 continued ACTIVITY 5.20 continued differentiation, make sure to have students return to portions of the ELA activity that provide essential practice 4 T e trouble is that most schoolchildren today don’t like him and don’t get it. And this for the Embedded Assessment. isn’t their fault. Shakespeare wrote over 400 years ago. Few people realize how much English My Notes has changed in just the last generation. Grammar and vocabulary have altered to the extent 5 SECOND READ: During the second that teenagers tend to dismiss anything written before about 1960 as “Old English.” reading, students will be returning to 5 Besides, the large and increasing number of second-language speakers are in the text to answer the text- the same boat as Voltaire and Tolstoy from the start. We don’t have anything like the dependent comprehension unif ed national culture we had when I f rst studied Shakespeare in the 1970s. T en, questions. You may choose to have most schoolchildren had at least some exposure to the King James Bible, the Book of students reread and work on the Common Prayer and Hymns Ancient and Modern. We still didn’t f nd Shakespeare easy, but at least we didn’t need to have “thee” and “thou” explained to us. questions in a variety of ways: 6 Even the key selling point that many Shakespearisms have entered common usage • independently is gradually losing its force as the years go by. I was recently taken aback to discover that • in pairs virtually none of a class of London teenagers had encountered the expression “one fell • in small groups swoop.” Well, you might say, here’s your chance to teach them, then. But that cannot be • together as a class the justif cation for making Shakespeare compulsory—to teach outdated idioms that no compulsory: required one under the age of 40 uses. 6 Have students answer the 7 We need to think more clearly about the purpose of enshrining Shakespeare in enshrining: preserving with text-dependent questions. If they this manner. If it’s to preserve his national monument status, this is an unnecessary and respect have difﬁculty, scaffold the counter-productive way of going about it. If it is to teach those things that literature is questions by rephrasing them or supposed to teach—aesthetic pleasure, understanding of character, moral sensitivity, aesthetic: concerned with notions breaking them down into smaller liberal humanist values, an inkling of the techniques by which literary texts work their of beauty magic—then Shakespeare is simply not delivering. It’s like handing pupils treasure in a inkling: hint parts. See the Scaffolding the locked chest. More contemporary texts may not of er quite such riches, but at least the Text-Dependent Questions boxes kids could open the box. for suggestions. 8 Making today’s school children read Shakespeare is about as sensible as compelling them to read Ulysses or Tristram Shandy. For all but a few—the brightest and best-read—it is a form of torture. Yet it’s laid down in the National Curriculum that all British children of secondary school age must study not one but two Shakespeare Leveled Differentiated plays. It is, as Will himself would say, a custom more honored in the breach than in the Instruction observance—and in practice, many teachers circumvent the dif culty by teaching a circumvent: get around fragment of Romeo and Juliet and then showing the class West Side Story. In this activity, students might 9 By the time students come to choose their AS-levels [preparation for college], those need support in answering with a liking for literature should be ready to appreciate the riches Shakespeare has to of er. text-dependent questions. Let them wait until then. T is isn’t “dumbing down.” Force-feeding children Shakespeare For the first reading, can only induce nausea and a lifelong aversion. If we want Shakespeare to be for all time as induce: cause L2–L3 well of an age, we must let students come to him when they are willing and able to make the aversion: strong feeling of dislike strategically group ef ort needed to enjoy him. Surely this is a tribute our national writer deserves? proficient readers with struggling readers. Distribute the Idea and Second Read Argument Evaluator graphic © 2018 College Board. All rights reserved. • Reread the article to answer these text-dependent questions. organizer, and guide students to the • Write any additional questions you have about the text in your Reader/Writer author’s argument that Shakespeare Notebook. might be outdated. Have groups use the organizer as a note-taking tool 1. Key Ideas and Details: Why do many schools continue to put Shakespeare in the curriculum? for the Second Read. Many schools continue to put Shakespeare in the curriculum because his works Have small groups take L3–L4 have always been studied—his works are unifying: everyone knows them. turns for the First Read. Teachers also want to honor Shakespeare’s legacy and the impact he has had Have them identify the author’s on the English language. RI.9–10.1 argument. Provide the Idea and Argument Evaluator graphic organizer for completion during the Second Read. Allow students to SCAFFOLDING THE TEXT-DEPENDENT QUESTIONS metaphor, if Shakespeare is a treasure chest, answer the text-dependent what might be the key? Why is the treasure questions together. G9_U5_SE_B2.indd 440 10/11/16 11:40 am G9_U5_SE_B2.indd 441 1. Key Ideas and Details (RI.9–10.1) Why do 10/11/16 11:40 am chest hard for students to unlock? After the First Read, provide many schools continue to put Shakespeare L4–L5 in the curriculum? Who makes curriculum 3. Key Ideas and Details (RI.9–10.1) According the Idea and Argument decisions? What aspects of Shakespeare’s life, to the author, what is the best way for students Evaluator graphic organizer, and works, and legacy do teachers feel is important to be exposed to Shakespeare? Which students have pairs identify the author’s for students to learn about? should be required to study Shakespeare? What argument before beginning the is the benefit of removing Shakespeare from Second Read. As they read, 2. Key Ideas and Details (RI.9–10.2) What mandatory curriculum? encourage them to complete the does the author mean when he compares organizer to help them answer the In this © 2018 College Board. All rights reserved. Shakespeare to a locked treasure chest? text-dependent questions.

Unit 5 • Coming of Age on Stage 441

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 441441 110/11/160/11/16 2:222:22 pmpm ACTIVITY 5.20 continued Give Up the Bard Writing a Synthesis Argument ACTIVITY 5.20 7 Point out the Essential Elements continued of an Argument section on this page. Tell students to make sure their graphic organizers include spaces 2. Key Ideas and Details: What does the author mean when he compares and labels for these elements. My Notes Shakespeare to a locked treasure chest? The author is suggesting that many students don’t have the background information (the key) to unlock the rich and rewarding plays. Students are often incapable of experiencing the multilayered joy in his works. Without understanding the language, students won’t be able to follow the plot, identify TEACHER TO TEACHER themes, or appreciate the figurative language in his works. RI.9–10.2

Have students create two copies of 3. Key Ideas and Details: According to the author, what is the best way for their graphic organizer template— students to be exposed to Shakespeare? one to analyze the argument According to the author, the best way for students to be exposed to they just read and the other to Shakespeare is on their own time. He believes that only students who show an organize ideas for their Embedded affinity or interest for literature should be required to study his works. RI.9–10.1 Assessment argument. Working from the Text 8 Have students work in pairs or 4. Consider the essential elements of an argument. On separate paper, create a small groups to create the Writer’s graphic organizer that represents each of these elements and leaves sufficient room for notes as you plan a synthesis argument. Checklist. Ask them to share ideas in 5. Using the Scoring Guide for Embedded Assessment 2, create a Writer’s order to co-construct a checklist that Checklist to evaluate a synthesis argument. they will share with the class. 6. Work with a partner or small group to evaluate Robshaw’s argument using your 9 Have students use the checklist to Writer’s Checklist. What suggestions would you make to strengthen his writing evaluate the text. Point out that one through revision? does not have to agree with an Essential Elements of an Argument argument to recognize its • Hook: an opening that grabs the reader’s attention and establishes a effectiveness. connection between the reader and the writer. 10 Instruct students to complete • Claim(s): a clear and straightforward statement of the writer’s belief and what is their graphic organizers by taking being argued. notes on the elements of an • Reasons and Evidence: in support of a claim, reasons are developed through argument represented in the text. the use of evidence and rhetorical appeals (pathos, ethos, and logos). • Counterclaim(s): alternative or opposing claims with concessions that the 11 Have students complete the opposing side has valid points and/or refutations explaining why the writer’s Independent Reading Checkpoint. position is more valid. • Concluding Statement: a summary or call to action that follows from and ASSESS supports the argument.

Return to the essay and find text evidence for each element of an argument.

Check that students have complete © 2018 College Board. All rights reserved. graphic organizers and Writer’s Checklists to support the writing of Independent Reading Checkpoint their argument. The Writer’s Checklist Review your independent reading. Analyze how reading the works of William Shakespeare, and/or novels that were based on his work, has influenced you as a should be based on the Exemplary reader. Reflect on the ways you might observe Shakespeare’s themes in daily life. column of the Scoring Guide. Students’ graphic organizers should include all of the parts labeled under the section Essential Elements of an Argument. To assess their understanding of these essential parts, evaluate their responses to question 6. Students should be able to identify Robshaw’s claim (that Shakespeare should not be compulsory for all students); the Alternatively, scaffold the task by providing reasons and evidence in paragraphs G9_U5_SE_B2.indda partially 442 completed graphic organizer 10/11/16 11:40 am G9_U5_SE_B2.indd 443 10/11/16 11:40 am 4, 5, 7, and 8; and the counterclaim in template; have students complete the paragraph 6. template by filling in the correct labels or completing the graphic elements. ADAPT If students express concern over any key element of the argument, consider If students need more help creating revisiting those areas of concern before the graphic organizers, post some of the Embedded Assessment. better class examples as templates © 2018 College Board. All rights reserved. for text analysis and prewriting.

442 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 442442 110/11/160/11/16 2:222:22 pmpm EMBEDDED Give Up the Bard Writing a Synthesis Argument EMBEDDED ASSESSMENT 2 ASSESSMENT 2

Materials: computer lab (if you choose to have students word ASSIGNMENT process their arguments) Your assignment is to compose an argument for or against the inclusion of William Shakespeare’s Romeo and Suggested Pacing: 2 50-minute Juliet in the ninth-grade curriculum. You will evaluate research and gather evidence from a variety of sources class periods about Shakespeare’s relevance and influence in today’s world. Finally, you will synthesize and cite your evidence in an argumentative essay that maintains a formal style and tone appropriate to your audience and purpose, uses 1 Planning: Review the assignment rhetorical appeals including logical reasoning, and includes all the organizational elements of an argument. and Scoring Guide criteria with students to be sure they understand the expectations for this Embedded n What is your position on the topic? Planning: Take time Assessment. to make a plan for n How can you state your claim as a preliminary thesis statement? your essay. n How can you use the print and nonprint texts in this unit as possible evidence 2 Drafting and Revising: Have for your claim? students compose their essays in a n How will you evaluate evidence to be sure that the reasoning is valid and the classroom or computer lab setting evidence relevant as support for both your claim and the opposing viewpoint? as a timed writing. Be sure that n How will you develop reasons for and against your claim and be sure that you students have access to the texts are using a variety of rhetorical appeals (logos and ethos)? from which they have gathered n How can you use an outline or other graphic organizer to plan your essay and be sure that you include all the elements of an effective argument: a hook, evidence during the activities. claim, reasons, evidence, counterclaim(s), and a concluding statement or You may wish to use the timed call to action? writing as a first draft and give Drafting and Revising: n How can you be sure you’re not plagiarizing? How will you use parenthetical or students additional time to revise Compose your in-text citation to credit the sources of your evidence and quotes? and edit their work to prepare a synthesis argument. n How will you develop and strengthen your draft through revision to produce polished piece. clear and coherent writing? n How will you check that you have maintained a formal style and tone 3 Editing and Publishing: You may appropriate to your audience and purpose? want to allow students to consult a n How can you use transitional words, phrases, and clauses to link ideas and peer for revision suggestions. clarify relationships? Be sure that students have access Editing and n How will you proofread and edit your essay for proper conventions of standard to necessary editing tools, such as a Publishing: Prepare English capitalization, punctuation, spelling, grammar, and usage? dictionary or style guide. a final draft n What tools are available for you to further polish and refine your work, such as Reflection Have students reflect on for publication. a dictionary, thesaurus, spell-check, or grammar check? what they have learned about writing n How can the Scoring Guide help you evaluate how well you have met the requirements of the assignment? a synthesis argument. Remind them to consider which sources were the most useful for constructing their

© 2018 College Board. All rights reserved. Reflection own argument and how they could After completing this Embedded Assessment, think about how you went about accomplishing this task, use this understanding to inform and respond to the following question: Which articles from this unit did you select to support your argument, their selection of research materials and why? What made a source useful for your purpose? in the future. Portfolio 4 Once again ask students to collect and organize their work and create a table of contents for the work leading up to Embedded Assessment 2. Once they have answered the Reﬂection question, be sure they add all the work to their portfolios.

COLLEGE AND CAREER READINESS STANDARDS pointing out the strengths and limitations of both in a manner that anticipates the G9_U5_SE_B2.indd 442 10/11/16 11:40 am G9_U5_SE_B2.indd 443Focus Standards: 10/11/16 11:40 am audience’s knowledge level and concerns. W.9–10.1a: Introduce precise claim(s), W.9–10.1c: Use words, phrases, and clauses distinguish the claim(s) from alternate or to link the major sections of the text, create opposing claims, and create an organization cohesion, and clarify the relationships between that establishes clear relationships among claim(s) and reasons. claims(s), counterclaims, reasons, and evidence. W.9–10.1d: Establish and maintain a formal style and objective tone while attending to W.9–10.1b: Develop claim(s) and counterclaims the norms and conventions of the discipline in © 2018 College Board. All rights reserved. fairly, supplying evidence for each while which they are writing.

Unit 5 • Coming of Age on Stage 443

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 443443 110/11/160/11/16 2:222:22 pmpm EMBEDDED EMBEDDED Writing a Synthesis Argument ASSESSMENT 2 continued ASSESSMENT 2 continued 5 To this reflective activity, add the reflection asked at the end of Embedded Assessment 1. Students SCORING GUIDE should respond to the question after Scoring Exemplary Proficient Emerging Incomplete reviewing their notes and research Criteria projects. Ideas The argument The argument The argument The argument 6 Decide how you want to conduct • skillfully presents a • supports a claim that • states a thesis • states a vague or an end-of-year Portfolio assessment. claim and provides is clearly presented but does not unclear thesis and appropriate with appropriate adequately explain does not explain Depending on time and resources, background for background details the issue or provide the issue or provide consider some of the following the issue • synthesizes evidence background details background details approaches: • synthesizes evidence from multiple sources • attempts to • contains no synthesis from a variety of to support the claim synthesize evidence of evidence from • Have students prepare a brief sources that strongly • develops claims from several sources different sources to presentation for their peers, and support the claim and counterclaims to support the claim support the claim give them class time in small • summarizes and fairly and uses valid • develops some • may not develop groups to share and respond to one refutes counterclaims reasoning, relevant counterclaims, but counterclaims, and with relevant and sufficient reasoning may not be reasoning may not be another’s portfolios. reasoning and clear evidence, and a variety completely relevant relevant or sufficient • Have students share their evidence of rhetorical appeals or sufficient for the for the evidence cited portfolios with a parent or another • concludes by clearly • concludes by evidence cited • concludes without adult with a prepared list of talking summarizing the main revisiting the main • concludes by listing restating the main points to guide the discussion. points and reinforcing points and reinforcing the main points of points of the thesis. the claim. the claim. the thesis. • Meet with students for individual or small-group conferences Structure The argument The argument The argument The argument as the rest of the class works • follows a clear • establishes clear • demonstrates an • does not follow a independently in preparation for structure with a relationships awkward progression logical organization logical progression between the essential of ideas, but • includes some details final exams. of ideas that connect elements of hook, the reader can and elements of an • Have students self-assess by the essential claim, evidence, understand them argument, but the responding in writing to a list of elements of hook, counterclaims, and • uses some elements writing lacks clear questions that will guide them claim, evidence, conclusion/call of hook, claim, direction and uses counterclaims, to action evidence, and no transitions to help toward metacognitive reflection. and conclusion • uses transitions conclusion readers follow the • Have students prepare a digital • links main points with to link the major • spends too much time line of thought. portfolio reflection as a webpage effective transitions sections of the essay on some irrelevant or blog with links to work that establish and create coherence. details and uses from throughout the year that coherence. few transitions. represents significant growth Use of The argument The argument The argument The argument or learning. Language • uses a formal style • uses a formal style • mixes informal and • uses mostly informal 7 However you approach this, and tone appropriate and tone appropriate formal writing styles writing style © 2018 College Board. All rights reserved. to audience to the audience • cites some textual • uses some textual remember that the goal of the and purpose and purpose evidence but citations evidence but does not portfolio assessment is to have • smoothly integrates • correctly cites textual may be missing include citations students engage in metacognitive and cites textual evidence from at least or inaccurate • includes incorrect reflection by explaining and evidence from three sources • includes some capitalization, multiple sources • follows conventions incorrect punctuation, spelling, evaluating their own growth as a • shows excellent of Standard English. capitalization, grammar, or usage learner throughout the school year. command of punctuation, spelling, that interfere Standard English. grammar, or usage. with meaning. SCORING GUIDE When you score this Embedded Assessment, you may wish to download and print copies of the Scoring Guide from SpringBoard COLLEGE AND CAREER READINESS STANDARDS Digital. In this way, you can have a G9_U5_SE_B2.inddW.9–10.1e: 444 Provide a concluding statement 10/11/16 11:40 am copy to mark for each student’s work. or section that follows from and supports the argument presented. Additional Standards Addressed: RI.9–10.1; RI.9–10.7; RI.9–10.8; W.9–10.4; W.9–10.5; W.9–10.8; W.9–10.9b © 2018 College Board. All rights reserved.

444 SpringBoard® English Language Arts Grade 9

GG9_U5_TE_B2.indd9_U5_TE_B2.indd 444444 110/11/160/11/16 2:222:22 pmpm