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A Midsummer Night's Dream

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A Midsummer Night's Dream A Midsummer Night’s Dream Teacher’s Notes by Stuart Rathe 1. Welcome to Athens 3 Click to go to this episode online 2. The Rehearsal 5 Click to go to this episode online 3. Into the Woods 7 Click to go to this episode online 4. The Wrong Athenian 9 Click to go to this episode online 5. Oberon’s Revenge 11 Click to go to this episode online 6. The Lovers’ Quarrel 13 Click to go to this episode online 7. Lifting the Fog 15 Click to go to this episode online 8. A Wedding Play 16 Click to go to this episode online 9. Resource Pack 18 This teaching sequence provides a scheme of work to accompany A Midsummer Night’s Dream - an animated adaptation from BBC Teach. Activities are suitable for both KS2 and KS3. The KS3 ‘extension’ activities at the end of some lessons are suggested additional written activities for KS3 but may also be useful for pupils at KS2 who are exceeding expectations. Home-learing activities. Some of the activities in the lesson sequences work well as KS2 home-learning activities. These are presented in dark blue. Additional home-learning ideas are presented in dark blue at the end of some of the lesson sequences. www.bbc.co.uk/teach/school-radio © BBC 2020 www.bbc.co.uk/teach/school-radio © BBC 2020 A Midsummer Night’s Dream • Now ask the pupils to silently form their frozen pictures. Select some 1. Welcome to Athens to show back to the rest of the group - ensuring that you choose a In this episode we are introduced to the mischievous sprite Puck, who variety that represent different types of parent / child relationships. acts as a storyteller, linking the different worlds of A Midsummer Night’s (The rest of the class can relax out of their tableaus when watching Dream (fairies, Athenians and Mechanicals). He tells us of the impending another pairing). marriage of Duke Theseus and the Amazonian queen, Hippolyta. Their • Discuss the pictures of parenthood / childhood that emerge. It may nuptial plans are interrupted by the arrival of Egeus, furious that his be that some pupils have chosen to represent very young, dependent daughter Hermia is disobeying his orders to marry the man he has pupils with caring parents. Others may have chosen to show pupils chosen for her. being punished or admonished. Discuss the age ranges and the variety of relationships displayed. • Ask the class: ‘How does the relationship between child and parent Preliminary activity change throughout life?’ • Anticipate that pupils may think about babies, teenage ‘rebellion’, Watch the clip and discuss these preliminary questions (based on recip- about parents becoming grandparents and eventually about pupils rocal reading strategies) with your class to spark discussion: caring for parents as they enter old age. Prediction: What kind of story is this going to be? What type of charac- ters will we meet? What might happen next? Main activity: Theseus and Hermia Link making: Does it remind you of anything else you have seen or read? Read the original Shakespearean version of Theseus’ speech: Clarification: Is there any part of it that you didn’t understand? Was any of the vocabulary confusing? What say you, Hermia? be advised fair maid: To you your father should be as a god; Questioning: What will the themes of the story be? (Love, magic…) What are the qualities of a dream? Are dreams always enjoyable? One that composed your beauties, and one To whom you are but as a form in wax By him imprinted and within his power Drama starter activity: ‘Fathers and children’ To leave the figure or disfigure it. • Ask pupils to move slowly around the classroom or hall, trying to • Ask pupils to summarise the speech. Can they clarify anything they ensure they ‘balance the space’. Ask them to think of themselves do not understand? (Note that the argument is that fathers are like collectively as butter on a piece of toast. The toast must be evenly gods to their children, having created them. A father has the power buttered. Look for and fill any gaps! and the right to destroy a child, just as if they were a modelled wax • Now ask the pupils to pair up. figure). • Tell them that you want them to show you a frozen picture of ‘Father and child’ and give them some time to devise it. • Discuss the following: - Are parents always right? 3 www.bbc.co.uk/teach/school-radio © BBC 2020 www.bbc.co.uk/teach/school-radio © BBC 2020 A Midsummer Night’s Dream - Should you always obey your parents? When pupils have written their letters, they could swap letters with - Is it okay to disagree with your parents when you are an older a partner and pen a response from the Athens Tribune Agony Aunt, child or adult? advising Helena of what she should do in this situation. Does the Agony Aunt agree that telling Demetrius about Hermia and Lysander’s plans is a • Hand out the ‘Role on the wall’ sheet for Hermia (Page link to good idea? Resource Pack) based on the first episode of the animation. This is a sheet to show how a character’s inner and outer life differ. KS3 extension • The role on the wall is divided into space INSIDE the character outline and OUTSIDE the character outline. Research the full Shakespearean scene. Write an essay comparing the • Tell pupils that INSIDE the outline they should include the character’s draconian punishment of Hermia for disobeying her father (as evidenced private thoughts, feelings and desires. in Theseus’s speeches) and her expected servitude, with attitudes • OUTSIDE the outline they should include how the character shows towards women and daughters today. herself to the outside world. • Share the roles on the walls for the character of Hermia. What have Home-learning suggestions we learnt about her in this episode? Expect pupils to say that on the For every episode of the story use the reciprocal reading resource grid inside Hermia is wilful, independent, romantic, daring, defiant, fair, ( ) for pupils to complete after watching the passionate, loving’ etc. On the outside they might note that she is Page link to Resource Pack animation. On this grid, pupils can write a summary of what happened obedient, articulate, fair, intelligent, diplomatic, etc. in the animation, a prediction of what might happen next, make links to other things they have seen, read or experienced, and clarify the meaning • Pupils might write a character description of Hermia based on what of anything they did not fully understand. they have learnt in this episode. Further suggestions Hermia’s plight is contrasted with Helena’s. Her boyfriend Demetrius has deserted her in favour of Hermia. Show pupils examples of ‘Agony Aunt’ letters from local newspapers or online. Ask them to write an Agony Aunt letter from Helena to The Athens Tribune, complaining of her woeful experiences and telling the Agony Aunt what she has decided to do (tell Demetrius about Hermia and Lysander’s flight to the woods). 4 www.bbc.co.uk/teach/school-radio © BBC 2020 A Midsummer Night’s Dream 2. The Rehearsal • Pupils must choose one style of movement from each category, in order to create their unique character movement. (Younger In this episode we meet the ‘Mechanicals’, a group of Athenian pupils may need you to demonstrate them. ‘Indirect’ can be tradesmen and hapless amateur actors, who are meeting to thought of as moving to a fixed point in the room, but taking a rehearse a play they are planning for Duke Theseus’s wedding meandering, indecisive route to get there. Remind pupils that day. Principal among them are Mistress Quince (the play’s director) ‘Fast’ means walking quickly and not running). and Nick Bottom the weaver (who desperately wants to play all the • Once pupils have played around with this, you can start to parts). give very specific instructions - e.g. “I want you all to move in a ‘Fast’, ‘Direct’ and ‘Light’ way”. • Spotlight particular pupils. What character does this pupil seem Drama starter: creating a character to have created? (‘Slow’, ‘Indirect’, ‘Light’ might conjure a fairy, for example). Rudolf van Laban was a dance theorist who specialised in expres- • Give other instructions. Try out different combinations. sive forms of choreography. In drama, his unique ideas about a • Now ask the pupils to think about characters from the story so performer’s use of space, weight and time have led to the creation far. How could they apply Laban efforts to create their charac- of Laban ‘efforts’ which can help an actor create unique character- ters? What combinations of movements could be used? To help isations. In this drama starter, pupils explore a simplified version of pupils, you could summarise what we have learnt about the Laban’s theory to help them to define some of the characters in A characters’ personalities and physicality as follows, before they Midsummer Night’s Dream. apply their own movements: For the purposes of this starter, Laban’s ‘efforts’ are reduced to Bottom: extravagant, foolish, confident three sets of movement alternatives. Quince: long suffering, patient, efficient Helena: frustrated, miserable, tall Write the instructions on the board as below: Hermia: fierce, independent, romantic, little Theseus: wise, kingly, powerful FAST or SLOW • Take each character in turn, and spotlight individual pupils. Ask other pupils to see if they can guess what combination of Laban DIRECT or INDIRECT efforts the chosen pupil has used to create his or her part - eg “I think that your Helena is ‘Fast’, ‘Direct’ and ‘Light’ ”.
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