IMPROVISED SHAKESPEARE COMPANY: SHAKE IT UP!
Applause Series CURRICULUM GUIDE CIVIC CENTER OF GREATER DES MOINES
May 10-11, 2012
GUIDE CONTENTS
About the Civic Center Dear Teachers, Page 3
Thank you for joining us for the Applause Series presentation of Going to the Theater and the Improvised Shakespeare Company’s school performance of Theater Etiquette SHAKE IT UP! This unique improvisation group displays a Page 4 lightning quick wit and an incredible sense of comedic timing. Even more impressive, they do so while channeling the language Civic Center Field Trip and themes of the greatest poet and playwright in the history of Information for Teachers the English language — William Shakespeare! In doing so, they Page 5 manage to make Shakespeare feel exciting, accessible, and relevant to even the most reluctant young readers. About the Performance Pages 6 As you prepare your students for this experience, we hope that this study guide SHAKE IT UP! Glossary helps you connect the performance to your Page 7 classroom curriculum in ways that you find valuable. In the following pages, you will About Shakespeare find contextual information about the Pages 8-9 performance and related subjects, as well as a variety of discussion questions and The Globe and London Theaters activities. Some pages are appropriate to Page 10 reproduce for your students; others are designed more specifically with you, their Pre-Show Exploration Activities teacher, in mind. As such, we hope that Pages 11-12 you are able to “pick and choose” materials and ideas from the study guide to meet Guide: How to Write a Sonnet your class’s unique needs. Page 13 ISC members improvise a scene in Shakespearean Guide: How to Write a Play See you at the theater, style. Page 14 Civic Center Education Team Post-Show Discussion and Assessment Activities
Pages 15
Support for Civic Center education programs and the Applause Series is provided by: Resources and Sources Page 16 Alliant Energy, American Republic Insurance Company, Bradford and Sally Austin, Bank of America, EMC Insurance Companies, Greater Des Moines Community Foundation, Hy-Vee, John Deere Des Moines Operations, Iowa Department of Cultural Affairs, Richard and Deborah McConnell, Pioneer Hi-Bred - a DuPont business, Polk County, Prairie Meadows, Sargent Family Foundation, Target, U.S. Bank, Wells Fargo & Co., Willis Auto Campus, Windsor Charitable Foundation and more than 200 individual donors.
This study guide was compiled by Karoline Myers; edited by Kristen Darrah. Based on The Improvised Shakespeare Company Shake It Up! Study Guide © The Improvised Shakespeare Company
Civic Center of Greater Des Moines Page 2 of 16 Improvised Shakespeare Company Curriculum Guide ABOUT THE CIVIC CENTER
The Civic Center of Greater Des Moines is a cultural landmark of DID YOU KNOW? central Iowa and is committed to engaging the Midwest in world-class entertainment, education, and cultural activities. The Civic Center has More than 250,000 patrons achieved a national reputation for excellence as a performing arts center visit the Civic Center each and belongs to several national organizations, including The Broadway year. League, the Independent Presenters Network, International Performing Arts for Youth, and Theater for Young Audiences/USA. The Civic Center opened in Five performing arts series currently comprise the season— the Willis 1979. Broadway Series, Prairie Meadows Temple Theater Series, Wellmark Blue Cross and Blue Shield Family Series, the Dance Series, and the Applause The Civic Center has three Series. The Civic Center is also the performance home for the Des Moines theater spaces: Symphony and Stage West.
The Civic Center is a private, nonprofit organization and is an important Main Hall, 2744 seats part of central Iowa’s cultural community. Through its education Stoner Studio, 200 seats programs, the Civic Center strives to engage patrons in arts experiences Temple Theater, 299 seats that extend beyond the stage. Master classes bring professional and (located in the Temple for local artists together to share their art form and craft, while pre- the Performing Arts) performance lectures and post-performance Q&A sessions with company members offer ticket holders the opportunity to explore each show as a living, evolving piece of art. No seat is more than 155 feet from center stage in the Main Through the Applause Series— curriculum-connected performances for Hall. school audiences— students are encouraged to discover the rich, diverse world of performing arts. During the 2011-2012 season, the Civic Center Nollen Plaza, situated just west will welcome more than 40,000 students and educators to 13 professional productions for young audiences. of the Civic Center, is a park and amphitheater that is also part of the Civic Center complex. The space features Want an inside look? Request a tour. the Brenton Waterfall and Reflection Pool and the Crusoe Group tours can be arranged for performance and Umbrella sculpture. non-performance dates for groups grades 3 and above. The Applause Series started in Call 515-246-2355 or visit CivicCenter.org/education 1996. You are joining us for to check on availability or book your visit. our 16th season of school performances.
Civic Center of Greater Des Moines Page 3 of 16 Improvised Shakespeare Company Curriculum Guide GOING TO THE THEATER . . .
YOUR ROLE AS AN THEATER ETIQUETTE AUDIENCE MEMBER Here is a checklist of general guidelines to follow Attending a live performance is a unique and exciting when you visit the Civic Center: opportunity. Unlike the passive experience of watching a movie, audience members play an Leave all food, drinks, and chewing gum at school important role in every live performance. As they act, or on the bus. sing, dance, or play instruments, the performers on Cameras, recording devices, and personal stage are very aware of the audience’s mood and listening devices are not permitted in the theater. level of engagement. Each performance calls for a different response from audience members. Lively Turn off and put away all cell phones, pagers, and bands, musicians, and dancers may desire the other electronic devices before the performance audience to focus silently on the stage and applaud begins. only during natural breaks in the performance. Do not text during the performance. Audience members can often take cues from performers on how to respond to the performance Respect the theater. Remember to keep your feet appropriately. For example, performers will often off of the seats and avoid bouncing up and down. pause or bow for applause at a specific time. When the house lights dim, the performance is As you experience the performance, consider the about to begin. Please stop talking at this time. following questions: Talk before and after the performance only. Remember, the theater is designed to What kind of live performance is this (a play, a amplify sound, so the other audience members dance, a concert, etc.)? and the performers on stage can hear your voice! What is the mood of the performance? Is the Use the restroom before the performance or wait subject matter serious or lighthearted? until the end. If you must leave the theater during the show, make sure the first set of doors closes What is the mood of the performers? Are they before you open the second — this will keep happy and smiling or somber and reserved? unwanted light from spilling into the theater. Are the performers encouraging the audience to Appropriate responses such as laughing and clap to the music or move to the beat? applauding are appreciated. Pay attention to the Are there natural breaks in the performance artists on stage — they will let you know what is where applause seems appropriate? appropriate. Open your eyes, ears, mind, and heart to the A SPECIAL EXPERIENCE entire experience. Enjoy yourself! Seeing a live performance is a very special experience. Although it is not required, many people enjoy dressing up when they attend the theater. GOING TO THE THEATER information is adapted from the Ordway Center for the Performing Arts study guide materials.
Civic Center of Greater Des Moines Page 4 of 16 Improvised Shakespeare Company Curriculum Guide CIVIC CENTER FIELD TRIP INFORMATION FOR TEACHERS
Thank you for choosing the Applause Series at the Civic Center of Greater Des Moines. Below are tips for organizing a safe and successful field trip to the Civic Center.
ORGANIZING YOUR FIELD TRIP PARKING Please include all students, teachers, and chaperones Police officers stationed at the corner of Tenth and in your ticket request. Locust Streets will direct buses to parking areas with After you submit your ticket request, you will receive a hooded meters near the theater. Groups traveling in confirmation e-mail within five business days. Your personal vehicles are responsible for locating their own invoice will be attached to the confirmation e-mail. parking. Payment policies and options are located at the top of Buses will remain parked for the duration of the show. the invoice. (Complete payment and cancellation poli- cies may be viewed at civiccenter.org/education.) Buses are not generally permitted to drop off or pick up The Civic Center reserves the right to cancel unpaid students near the theater. If a bus must return to school during the performance, prior arrangements reservations after the payment due date. must be made with the Civic Center Education staff. Tickets are not printed for Applause Series shows. Your invoice will serve as the reservation confirmation ARRIVAL for your group order. Schedule buses to arrive in downtown Des Moines at When arriving at the theater, please have an adult least 30 minutes prior to the start of the performance. lead your group for identification and check-in This will allow time to park, walk to the Temple for the purposes. A Civic Center staff member may be Performing Arts, and be seated in the theater. stationed outside the building to direct you. Performances are approximately 60 minutes unless Civic Center staff will usher groups into the building as otherwise noted on the website and printed materials. quickly as possible. All school groups with reservations to the show will Seating in the theater is general admission. Ushers will receive an e-mail notification when the study guide is escort groups to their seats; various seating factors posted. Please note that study guides are only printed including group size, grade levels, arrival time, and and mailed upon request. special needs seating requests may determine a group’s specific location in the theater. DIRECTIONS We request that an adult lead the group into the The Civic Center’s Temple Theater is located in the theater and other adults position themselves Temple for the Performing Arts located at Tenth and throughout the group; we request this arrangement Locust Streets in downtown Des Moines. for supervision purposes, especially in the event that a Directions from I-235: Take Exit 8A (downtown exits) group must be seated in multiple rows. and the ramp toward Third Street. Travel south on Please allow ushers to seat your entire group before Third Street approximately six blocks to Grand Avenue. rearranging seats or taking groups to the restroom. Turn west on Grand Avenue and travel to Thirteenth Street. Turn south on Thirteenth Street and then east IN THE THEATER on Locust Street. Buses will park on the south side of Locust Street in In case of a medical emergency, please notify the front of the Nationwide building. See next column for nearest usher. additional parking information. We ask that adults handle any disruptive behavior in their groups. If the behavior persists, an usher may request your group to exit the theater. QUESTIONS? Please contact the Education department at Following the performance groups may exit the theater 515.246.2355 or [email protected]. and proceed to the their bus(es). Thank you! If an item is lost at the Temple Theater, please see an usher or call 515.246.2355.
Civic Center of Greater Des Moines Page 5 of 16 Improvised Shakespeare Company Curriculum Guide ABOUT THE PERFORMANCE
For many students, the language SHOW DESCRIPTION COMPANY HISTORY of William Shakespeare can Based on one audience The Improvised Shakespeare seem intimidating, difficult to suggestion (a title for a play that Company, founded in 2005, has comprehend, and out of touch has yet to be written) The been performing its with the contemporary reader. Improvised Shakespeare critically-acclaimed show every SHAKE IT UP!, from the Company creates a fully Friday night at the world famous Improvised Shakespeare improvised play in Elizabethan iO Theater in Chicago for over five Company, is designed to break style. Each of the players has years and continues to entertain down these barriers. The goal of brushed up on his “thee’s” and audiences around the globe with the performance is to make “thou’s” to bring you a show filled its touring company. The ISC has Shakespeare feel exciting, with off-the-cuff comedy using the been featured at the Piccolo accessible, and relevant to the language and themes of William Spoleto Fringe Festival, Off young reader. Shakespeare. Broadway in New York City, the Bumbershoot Music and Arts Actors Performing: Likely 3-4 Any performance could be filled Festival, UCB’s Del Close with a combination of: Marathon, and the prestigious Length: Approximately 1 hour Power struggles Just For Laughs festival in Mon- Star-crossed lovers treal and Chicago. It has been “Staggeringly brilliant” Sprites named Chicago's best improv —Time Out Chicago Kings, Queens, or Princesses group by both the Chicago Reader Fools and the Chicago Examiner “On-the-spot soliloquies and Sword-play and has received a New York perfect pentameter … Go Rhyming couplets Nightlife Award for "Best Comedic laugh your iams off.” Asides Performance by a Group". The ISC was recently honored by the —New York Times Insults Chicago Improv Foundation as its Persons in disguise "Ensemble of the Year". “The chemistry among the Other tropes that we’ve come performers was amazing, and to expect for the Great Bard In addition to performing, ISC also their play came together leads workshops in schools with seamlessly. By the time they Nothing is planned out, the goal of teaching readers of all started to speak in rhyming rehearsed, or written. Each play is ages how they too can create their couplets, the crowd was completely improvised, so each very own Elizabethan prose and totally sold…” play is entirely new! verse. —Time Out New York
Civic Center of Greater Des Moines Page 6 of 16 Improvised Shakespeare Company Curriculum Guide SHAKE IT UP! GLOSSARY alas: used to express regret or mountebanks: a con-man who welkin: sky; heavens. sadness. “Alas, she is going to sells fake medicine. prom with another.” wherefore: why? ninny: a fool; a simpleton. anon: soon, in a moment. yesternight: last night. oft: often. “How oft I think of bodkin: a dagger thee.” yonder: over there. “Yonder lies my backpack.” century: one hundred. “I have a perchance: perhaps; possibly; century of assignments to finish.” maybe. “Perchance we shall meet zenith: the highest point of again.” something. cut-purse: thief. prithee: please. “Prithee pass the zephyr: a gentle breeze. don: to put on. “I shall don a hat salt.” for the ballgame.” dismount thy tuck!: take your posy: a short line of poetry, often sword out of its sheath! dram: a little bit, a small amount. inscribed inside a ring. drops of sorrow: tears. forsooth: in truth, truly. remembrances: memories; or “Forsooth, Hercules is very love-tokens, keepsakes. Dun’s the mouse!: stay quiet! strong!” saucy: naughty. God gi’ good-e’en: God give you gaskins: loose-fitting breeches. a good evening. slug-abed: a lazy person. gleek: a taunt, an insult. “Sticks have at thee: on guard! and stones may break my bones, smilets: little smiles. but thy gleek shall never hurt me.” man of wax: a man who is so spongy: drunk; soaked with perfect and handsome it’s as harpy: mythical creature with the alcohol. though he was molded out of wax. head of a woman and the wings and talons of a vulture; usually surmount: exceed; surpass. “Thy methinks: I think. used to symbolize revenge. beauty surmounts the sun.” perpetual wink: endless sleep; henceforth: from now on; from taper: a candle. death. this time forward. “Henceforth, I shall never forget to floss.” ‘tis: it is. rest you merry: “farewell!” or “be well!” jack: a man with mean and lousy trimmed: dressed up. manners. reverb no hollowness: be quiet. tristful: sad, sorrowful. kicky-wicky: girlfriend or wife sift him: question him; find out (used in a merry way). truepenny: an honest, what he knows. trustworthy fellow. knave: a scoundrel; or a young skimble-skamble stuff: rambling, boy; or a male servant. unbend: relax. incoherent nonsense. livings: possessions. untaught: unmannerly, ignorant. traveling lamp: the sun. loggerhead: numbskull. villanies: evil qualities. void your rheum: spit. love-shaked: lovesick (as though visage: face; appearance. wonder-wounded: awestruck; someone is shaking with a love overcome with wonder. fever). vizard: a mask. Glossary terms from The Improvised Shakespeare Company Shake It Up! Study Guide.
Civic Center of Greater Des Moines Page 7 of 16 Improvised Shakespeare Company Curriculum Guide ABOUT SHAKESPEARE, pg. 1
William Shakespeare is Shakespeare was likely removed ABOVE: William Shakespeare’s school in from the school at the age of Stratford-upon-Avon. Image courtesy of Stratford- considered by many to be the upon-avon.co.uk greatest playwright ever to write thirteen due to his father facing in the English language. Read on financial and social difficulties. to learn more about the life and There is little reason to believe Did you know? works of the Great Bard. that he did not continue his Shakespeare is said to have had studies elsewhere. After all, we do a vocabulary of 29,066 words. An know that he had a fine mastery average person today might use EARLY LIFE of both English and Latin just 2,000 words in everyday languages. William Shakespeare was born in conversation.
Stratford-upon-Avon, England, in the year 1564, the son of John LOST YEARS and Mary Shakespeare. His actual Between the years of 1578 and date of birth is unknown, but it is 1582, little is known of commonly accepted to be April 23 Shakespeare’s whereabouts or of that year. His father was a doings. Some suggest he worked tanner of leathers (a glover) and as a butcher, a schoolmaster, or a dealt in farm products and wool. glover with his father. Others believe he continued to study Shakespeare likely intensely to become a master at began his education his literary craft and traveled at the age of six or outside of Stratford, working as an seven at the actor. About the only thing that is Stratford grammar known for certain about school. While there, Shakespeare’s “lost years” is that he learned basic during the time he married a reading and writing woman named Anne Hathaway. skills using a horn book, a primer Together, Anne and William had ABOVE: This portrait of Shakespeare was A horn book. made of wood three children: a daughter, created by English engraver Martin Image courtesy of Susanna, born in 1583, and a set Droushout and appeared on the cover of elizabethaneduca- printed with the the First Folio. It is one of only two images tion.blogspot.com. alphabet and the of twins, Hamnet and Judith, born of Shakespeare considered to be genuine. Lord’s prayer. in 1585. Image courtesy of Shakespeare.mit.edu.
Civic Center of Greater Des Moines Page 8 of 16 Improvised Shakespeare Company Curriculum Guide ABOUT SHAKESPEARE, pg. 2
CAREER IN LONDON at London theaters, toured ABOVE: This sketch shows the location of No one knows for sure how surrounding areas, and gave the Globe Theatre in relation to the Thames River and other London area Shakespeare came to start a regular performances at court for theater’s during Shakespeare’s time. career in the theater and how he Queen Elizabeth I. Image courtesy of shakespearesglobe.com. came to leave Stratford for London. Scholars do know, THEATRE OWNER CREATOR OF WORDS however that Shakespeare was Shakespeare not only acted in The English language was forever an established actor in London by and wrote plays, he was one of changed by Shakespeare. He 1592. the owners of the theater invented over 1,700 of our buildings. For seventeen years he common words. He changed Shakespeare actively took on was one of the owners of the nouns into verbs, changed verbs several roles in the theater during Globe Theatre and for eight years into adjectives, connected words his career: he was also one of the owners of never previously used together, the company’s second theatre, added prefixes and suffixes, and PLAYWRIGHT the Blackfriars. created new words entirely. Below Shakespeare is best known for his are some of the words he work as a playwright, having DEATH invented: penned at least thirty-seven plays Shakespeare died on his birthday over a period of twenty years. in 1616 of unknown causes at the Accused • Addiction • Amazement age of 52. (The average life Bedroom • Birthplace His famous plays include expectancy in London at the time Bloodstained • Champion tragedies, such as Hamlet and was 35.) He was buried in his Compromise • Courtship Romeo and Juliet; comedies such hometown of Stratford. On his Dawn • Deafening • Elbow as A Midsummer’s Night Dream gravestone is an epitaph that he Excitement • Eyeball and Twelfth Night; and history supposedly wrote himself: Fashionable • Flawed • Gloomy plays such as Richard III and Gossip • Green-eyed • Hint Henry IV. Good friend for Jesus sake Jaded • Label • Laughable forbeare, Lonely • Majestic • Mimic ACTOR To dig the dust enclosed here. Blessed by the man that spares Moonbeam • Negotiate Shakespeare not only wrote Olympian • Premeditated plays, he performed in many of these stones, And cursed be he that moves my Puking • Radiance • Savagery them as an actor. For much of his bones. Scuffle • Swagger • Torture career, he was a member of the Tranquil • Undress Chamberlain’s Men. The troupe Worthless • Zany performed regularly for the public
Civic Center of Greater Des Moines Page 9 of 16 Improvised Shakespeare Company Curriculum Guide THE GLOBE AND LONDON THEATERS
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Theater in Elizabethan-era THE GLOBE THEATRE ABOVE: Photos of the outside and inside of the Globe Theatre in London. This London was a popular form of One of the most famous theaters re-construction was build in 1966 based on entertainment but was very differ- during the Elizabethan era was the descriptions of the original 1559 ent from theaters today. Read on the Globe Theatre. Shakespeare design. to learn more about London was one of its owners and wrote theaters, audiences, and the many of his plays with the Globe ACTORS most famous theater of the era in mind. The open-air theater At the time, the theater profession — The Globe. routinely attracted up to 3,000 was not considered to be suitable people to its grounds . for women. All actors were men, and female characters were often ON THE OUTSKIRTS AUDIENCES played by young boys. Many Londoners were strict Elizabethan audiences included Protestants and opposed the people from all walks of life. At the SCENE CHANGES theater on religious grounds. All Globe, poorer audience members, Stages during Shakespeare’s theaters located in the city were known as “groundlings”, would time did not use curtains or forced to move to the south side pay one penny (almost a day’s backdrops, which meant scenery of the River Thames when wage) to stand in front of the could not be changed between London authorities banned plays stage. Two pennies bought a scenes. Instead, the actors used within the city limits in 1596. patron a seat on a gallery bench words and dialogue to convey the protected from sun and rain by a setting of each scene. CLOSURES AND DISEASE thatched roof. Three pennies Disease was common in London bought a cushioned seat close to COSTUMES the stage where one could see during Shakespeare’s life. The Theater companies owned city was overcrowded, infested and be seen. elaborate wardrobes, and with rats, and raw sewage ran audiences enjoyed watching the directly into the Thames River. The groundlings were a much extravagant costumes. During dangerous outbreaks of more boisterous audience than the Bubonic Plague, the theaters audiences today. Standing in front Did you know? were often closed to try to slow of the stage, they ate, drank, The first Globe Theatre burned to the spread of the disease. During fought, cheered, and hissed at the the ground in 1613 when a canon those times, theater companies action in the play, occasionally fired during a performance of often left the city and toured in the even critiquing an actor’s Henry VIII caught the thatched countryside, putting on shows in performance by throw food, such roof on fire. The second Globe courtyards and inns. as an orange, at them. Theatre was built shortly after in 1614.
Civic Center of Greater Des Moines Page 10 of 16 Improvised Shakespeare Company Curriculum Guide PRE-SHOW EXPLORATION ACTIVITIES
1) WRITE YOUR OWN SONNET 2) WRITE YOUR OWN PLAY
Goal: To explore the sonnet form and develop Goal: To explore playwriting elements of character, understanding of Shakespearean language. conflict, plot, setting, dialogue, and theme.
Explanation: Noting that the Improvised Explanation: Noting that the Improvised Shakespeare Company creates its own Elizabethan Shakespeare Company creates plays on the spot, dialogue, have your students write their very own have students write their own short plays. sonnets. Materials: Materials: Paper Paper Pencils Pencils How to Write a Play hand-out, pg. 14 How to Write a Sonnet hand-out, pg. 13 SHAKE IT UP! Glossary hand-out, pg. 7 SHAKE IT UP! Glossary hand-out, pg. 7 Example of a Shakespearean sonnet (optional) Activity: 1. Individually or in groups, invite students to write Activity: their own short plays. 1. Invite each student to write their own 14-line poem 2. As a class, review the How to Write a Play handout in rhyming couplets. The poems should be written in on page 14 and discuss the elements of character, Elizabethan style. That is, try to sound like conflict, plot, setting, dialogue, and theme. Shakespeare! 3. Encourage students to consider each of these 2. As a class, review the How to Write a Sonnet elements when crafting their play. handout on page 13 for tips. 2. For additional help, encourage students to utilize Twists: words provided in the SHAKE IT UP! Glossary on 1. Have students write their plays in Elizabethan style. page 7. 2. Assign words from the SHAKE IT UP! Glossary OR have each student draw two vocabulary words from a Twists: hat. 1. Give extra credit if the poem is written in iambic 3. Give extra credit for puns and wordplay. pentameter. 4. Since The Improvised Shakespeare Company 2. Assign specific words from the SHAKE IT UP! makes up a play on the spot using a title from the Glossary that must be used in each sonnet OR have audience, give your students the title of their play in each student draw two vocabulary words from a hat. advance. 3. Give extra credit for a pun or wordplay. 5. Have students perform a staged reading of their 4. Have each student read his or her sonnet for the plays for the class. class. 5. Have each student write her or her sonnet to a Follow-up Questions: classroom mascot and read the sonnet before the 1. What makes a story one that is interesting to read class to the mascot. or watch? 6. Do this exercise in conjunction with analysis of an 2. What did one of your characters want in your play? actual Shakespearean sonnet. What tactics did they use to try to attain their goal? 3. What title would you give the play that you wrote? Follow-up Questions: Why? Does this title suggest an important theme or 1. What was challenging about this activity? What some other aspect of the play? was rewarding? 2. Why do you think people, including Shakespeare, would choose to write a sonnet? 3. What surprised you about trying to write your sonnet using Shakespearean-style language?
‘Write Your own Sonnet’ and ’Write Your Own Play’ activities adapted from The Improvised Shakespeare Company Shake It Up! Study Guide © The Improvised Shakespeare Company.
Civic Center of Greater Des Moines Page 11 of 16 Improvised Shakespeare Company Curriculum Guide PRE-SHOW EXPLORATION ACTIVITIES
3) IMPROVISATION GAME: 4) IMPROVISATION GAME: WHAT ARE YOU DOING? PASS THE BALL
Goal: To improvise, one must be creative and able to Goal: To improvise, one must be creative and able to think quickly on one’s feet. Students will practice think quickly on one’s feet. Students will practice these skills by playing the game ‘What Are You these skills by playing the game ‘Pass the Ball,’ a Doing?,’ a game where you say one thing but do game where participants pantomime throwing a ball. another. Activity: Activity: 1. Have students stand in a circle. 1. Have students stand in a circle. 2. Ask the players to pass a mimed ball to others (one 2. To play, the first person pretends to do an action ball at a time). To show whom they are ‘passing’ the like brushing their teeth or planting a garden. ball to, students should make eye contact with one 3. The person next to them then asks, “What are you another. doing?” 3. While the ball is passed between two students, the 4. The person who is pretending to do an action must other students should be sure to watch it. respond by saying an action that is different than what 4. As students become comfortable, give suggestions they are showing. For example, they might say “I’m about the nature of the ball. For example, it becomes playing the trombone.” heavier and heavier until it weighs a ton, or extremely 5. Then the person who asked must pretend to do the light, extremely big, or extremely small. action that was just said (playing the trombone). 5. The actors must convey the ball’s characteristics in 6. The next person then asks what that person is the way it gets passed. doing and he or she will reply with another action. 7. The game continues around the circle. Follow-up questions: 8. Once everyone has grasped the game, you may 1. What sort of teamwork was needed to play this implement the rule that once you make a mistake you game? are out. To keep everyone thinking quickly, no actions 2. How did you show that the ball was ______? can be repeated. Keep it going as fast as you can! 3. Do you think Improvised Shakespeare Company actors will use their bodies to portray the different Follow-up questions: characters? Do all actors use their bodies? Why? 1. Did you find this challenge easy or hard? Why? 2. What was the most difficult part?
Civic Center of Greater Des Moines Page 12 of 16 Improvised Shakespeare Company Curriculum Guide HOW TO WRITE A SONNET
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Try your hand at writing your Instead of saying “yours,” say Use metaphors when describing own Shakespearean-style “thine.” (“I wish I could be feelings, situations, a person’s sonnet using these helpful tips. yours” becomes “I wish I features, a person’s personality… could be thine.”) when you describe anything! A GETTING STARTED: good strategy for first creating an Your sonnet is going to be 14 VERBS elaborate metaphor or simile is to lines long. You can also make your verbs first decide what you think Each line will be roughly 10 more Shakespearean. someone or something is like. syllables long. Instead of “I will” say “I shall.” Let’s use a rose. Then, think of Your sonnet will be written in Instead of “You are” say how that object feels, smells, rhyming couplets. “Thou art.” looks, etc. A rose is soft, smells sweet, is beautiful. Think also of Instead of saying “It is”, say what that thing is used for, or “tis.” does. A rose blossoms, it is used THEE, THOU, THY, THINE Occassionally, try adding to decorate, it even sometimes Sonnets are usually love poems. “—eth” or “—est” to the end of has thorns that prick fingers. Think That means that in your sonnet a present-tense verb. of all the way that you can you will be talking to someone. In that case, you’ll need to know how describe something using a simple to translate the second-person METAPHORS & SIMILES rose! pronoun “you” into the You might liken the person in your Shakespeare version. poem to many wonderful things. RHYMING You might liken the way you feel Here’s a tip on creating rhymes. when that person is absent to When “you” refers to the First choose the word you want to many terrible things. In situations subject of the sentence, it is rhyme. Then, think of words to set like these metaphors and similes translated to “thou.” (“You are up your rhyme. Suppose you want are handy. Metaphors and similes beautiful” becomes “Thou art to describe someone’s eyes. both liken something or someone beautiful.”) Think of several words that rhyme to something else. The difference with eyes (skies, pies, flies, guys, is that similes do this explicitly When “you” is the object of a size), then choose one to set up using “like” or “as.” sentence it is translated to your rhyme.
“thee.” (“I love you” becomes Metaphor: “I love thee.”) “When I gaze into the night’s Thou are a rose in the blossom of starry skies, beauty. Methinks there I see thy beautiful Instead of saying “your,” say eyes.” “thy.” (“Your nose is so Simile: pretty” becomes “Thy nose is Thou are like a rose in full bloom. so pretty.”) ‘How to Write a Sonnet’ adapted from The Improvised Shakespeare Company Shake It Up! Study Guide © The Improvised Shakespeare Company
Civic Center of Greater Des Moines Page 13 of 16 Improvised Shakespeare Company Curriculum Guide HOW TO WRITE A PLAY
ABOVE: ISC members engage in a sword The Improvised Shakespeare If you’ve answered the two fight. This conflict is fueled by something Company makes up a whole new character questions thoroughly, that their characters want. play on the spot based on the you probably already have a few audience’s suggestion for a title. conflicts in your play. Characters’ DIALOGUE Even though they are wants often interfere with each Remember that anything you want improvising, ISC members draw other. But, if you still need your audience to know will need on the same elements that all conflict, remember that all sorts of to come out in what the playwrights do when writing a things get in our way when we are characters say. Also remember to play. trying to get something make your dialogue true to your (ourselves, nature, other people, character. Who is speaking? What Read on for a helpful guide about fairies, etc.). is the character’s age? What is using the elements of the character’s personality like? In character, conflict, plot, setting, PLOT what time period is the character? dialogue and theme to write your As long as your characters are Where is the character? How own play! going after what they want, the would the character behave in plot will often take care of itself. that location? CHARACTER The action will rise as those characters try to achieve their THEME The characters are the persons in goals and it will build as things get your play. For every character that This is the idea that you want the in their way. When that action audience to think about after you write, make sure you answer reaches its intense moment, these two questions. watching your play. This idea can you’ve hit the climax. Then we will be a statement or it can be a What does my character see characters’ reaction to what want? question. It can be several has happened in the falling action. statements and/or several How will my character get The resolution will show us how what he or she wants? questions! A good way to make the characters’ lives have sure you have a strong theme is changed now that all of this has CONFLICT to write about something that happened. you’re excited about; something Conflict occurs when things get in that you love or something that the way of a character getting SETTING makes you really angry! If you’re what he or she wants. This makes The setting is the time and place excited to write your play, there’s your play exciting! The audience in which your play occurs. Try to a good chance that the theme will will want to find out if the charac- be specific when you decide take care of itself! ters can overcome the obstacles where to set your play. Think of to get what they want. locations that can fit on a stage. ‘How to Write a Play’ adapted from The Improvised Shakespeare Company Shake It Up! Study Guide © The Improvised Shakespeare Company
Civic Center of Greater Des Moines Page 14 of 16 Improvised Shakespeare Company Curriculum Guide POST-SHOW DISCUSSION AND ASSESSMENT
DISCUSSION QUESTIONS POST-SHOW ASSESSMENT
Shakespeare’s Plays 1) Write a Letter to ISC 1. What type of Shakespearean play would you classify the performance that we saw? A comedy? A Explanation: Actors love praise! In this assessment, tragedy? A history? What led you to that conclusion? students will write letters to the actors about their reaction to the performance. 2. What types of Shakespearean themes did the actors include in their improvised play? (Examples Activity: that may have been used are listed on page 6.) 1. Have your students write the Improvised Shake- speare Company a letter telling the actors what they Language thought about the performance. 1. Was it difficult to understand the Elizabethan-style 2. Mail student letters to the Civic Center and we will language used in the performance? Why or why not? forward them on to ISC.
2. If you didn’t understand some of the language in Civic Center of Greater Des Moines, the show, were you still able to understand what was Attn: Education Department happening? What did ISC do to give you the clues to 221 Walnut Street figure it out? Des Moines, IA 50309.
The Title Twists: 1. What was the title of the show that ISC created 1. Have your students write their letter in when we attended? What did you think was going to Shakespearean-style prose or verse. happen in the play at first based on the title? 2. Encourage students to use one or two words from the SHAKE IT UP! Glossary list. 2. What ended up happening? How did the title affect 3. Have your students recall specific characters, plot the story? twists, or moments that they enjoyed.
The Company 2) REPORT AND REVIEW 1. What special skills or knowledge do the members of the Improvised Shakespeare Company need to Explanation: Students will reflect on the performance have in order to do what they do? experience by writing a review.
2. What do you think the actors do to prepare for their Activity: performances? 1. Remind students that all of the plays that the Improvised Shakespeare Company performs are General Reactions performed one time only. Your students were part of 1. What did you like about the performance? the only live audience that will ever see that play. 2. Invite students to write a review of the play as if 2. What surprised you in the performance? they were writing for a school newspaper. 3. In their review they should report on the play’s 3. If you were one of the ISC actors, what would you characters, plot, and conflicts. have changed about the performance that we saw? 4. In addition, have them review the story. What did they like? What would they change? 4. What were your impressions of Shakespeare 5. Remind students that they must paint a picture of before we attended the Improvised Shakespeare the experience with their words so that others who did Company performance? What do you think of when not see the performance can imagine it as vividly as you think about Shakespeare now? Why? possible.
‘Write a Letter’ and ‘Report and Review’ activities adapted from The Improvised Shakespeare Company Shake It Up! Study Guide © The Improvised Shakespeare Company.
Civic Center of Greater Des Moines Page 15 of 16 Improvised Shakespeare Company Curriculum Guide RESOURCES AND SOURCES
SHAKESPEARE WORKS CLASSROOM RESOURCES
Comedies: Theater and Improvisation Resources: All’s Well that Ends Well As You Like It Spolin, Viola. Theater Games for the Classroom: A Teacher’s The Comedy of Errors Handbook. Evanston: Northwest UP, 1986. Cymbeline Viola Spolin is the internationally recognized originator of theater Love’s Labours Lost games — the basis for improvisational theater. Measure for Measure Shakespeare Resources: The Merry Wives of Windsor
The Merchant of Venice “About Shakespeare.” Shakespeare Birthplace Trust. A Midsummer Night’s Dream A series of 13 videos that follow the journey of William Much Ado about Nothing Shakespeare’s life addressing frequently asked questions. Pericles, Prince of Tyre http://www.shakespeare.org.uk/explore-shakespeare/about- Taming of the Shrew shakespeare.html The Tempest Troilus and Cressida The Complete Works of William Shakespeare. Twelfth Night http://shakespeare.mit.edu Two Gentlemen of Verona Access Shakespeare’s complete works online for free. Winter’s Tale “Shakespeare for Kids.” Folger Shakespeare Library. Tragedies: http://www.folger.edu/template.cfm?cid=588 Antony and Cleopatra Interactive exploration of Shakespeare’s language, fun facts Coriolanus about his life, and games and puzzles. Hamlet Julius Ceasar Talk Like Shakespeare. http://www.talklikeshakespeare.org Site from Chicago Shakespeare Theater with fun tips and King Lear print-ables encouraging celebration of Shakespeare’s life and Macbeth works. Othello
Romeo and Juliet STUDY GUIDE SOURCES Timon of Athens
Titus Andronicus Absolute Shakespeare. http://absoluteshakespeare.com
History Plays: “Globe Theatre Facts.” Elizabethan Era. Henry IV, part 1 http://www.elizabethan-era.org.uk/globe-theatre-facts.htm Henry IV, part 2 Henry V Improvised Shakespeare Company Official Website. Henry VI, part 1 http://www.improvisedshakespeare.com Henry VI, part 2 Henry VI, part 3 “Improvised Shakespeare Company Shake It Up! Study Guide.” Henvry VIII http://www.kidsentertainment.net/roster/shake-it-up/docs/Shake% King John 20It%20Up.pdf Richard II Richard III Mabillard, Amanda. Shakespeare Online. 20 Aug. 2000. (19 March 2012.) http://www.shakespeare-online.com/biography/ Poetry: wordsinvented.html The Sonnets A Lover’s Complaint Warner, Elise. “The Globe Theatre: London’s Woodon ‘O’”. The Rape of Lucrece http://www.timetravel-britain.com/articles/london/globe.shtml
Venus and Adonis Funeral Elegy by W.S.
Civic Center of Greater Des Moines Page 1816 of 1816 Improvised Shakespeare Company Curriculum Guide