Language Arts Journal of Michigan Volume 29 Article 9 Issue 2 Location, Location, Location

4-2014 Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts Leah Zuidema

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Recommended Citation Zuidema, Leah (2014) "Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts," Language Arts Journal of Michigan: Vol. 29: Iss. 2, Article 9. Available at: https://doi.org/10.9707/2168-149X.2013

This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. PRACTICE Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts

LEAH A. ZUIDEMA

ne of the greatest challenges that could help them in visualizing the taken place in somewhat crowded class- of teaching plays in English action of the play. This is problematic, rooms, typically with about 35 students Olanguage arts courses is the as the cognitive work of visualization per section and little room to move fact that scripts are intended for the is a stepping stone to comprehension: about. The lesson sequence continues stage, not the page. While the plots, practiced readers use visualization to to evolve each year with small changes themes, and dialogue of the best scripts help them understand, make connec- and additions, often inspired by stu- are ripe for intensive literary study, care- tions with, and interpret literary texts dents’ suggestions about “what else” we ful attention to dramatic elements— (Wilhelm, 2008). Teaching about block- should do in our study of blocking. including casting, costuming, lighting, ing is an effective way to help students and blocking—can further enhance stu- visualize the action of the play as they Setting the Stage: Curricular dents’ understanding and engagement. read. Ultimately, visualization lessons Context But English language arts courses are focused on blocking can help readers to not theatre courses, and often, resources be more skilled in independently under- Most recently, I have taught these for bringing plays to life through perfor- standing, interpreting, and responding lessons in conjunction with class study mance are severely limited. It is the rare to plays. of Shakespeare’s Othello, The Moor of English language arts class that has ac- The short lesson series shared in Venice (trans. 2009). However, I have cess to a full stage, costumes, props, and this article takes into account these also used variations on the sequence lights—let alone time for staging activi- contextual considerations. Additionally, with more contemporary plays. These ties and an instructor with the training teachers aligning curriculum with the lessons on blocking are not the sole fo- and confidence to engage a room full of Common Core State Standards may be cus of our study of any play; rather, they non-actors in a theatrical performance. interested to note that this lesson se- are interspersed with the other activities Despite these challenges, it is es- quence can also help students to achieve and discussions that also unfold our un- sential to help students gain a basic un- CCSS targets for reading literature in derstanding of and response to the text. derstanding of blocking (i.e., the posi- grades 6-12, which call at each level for The lessons work best when they focus tioning and movement of actors): what students to “read and comprehend lit- on scenes from the play in which atten- it is, how it is guided by the script, and erature, including stories, dramas, and tion to blocking helps to illuminate the how it can advance the plot and inten- poems…[in their appropriate grade lev- characters’ actions and motives. sify the experience of the play for the el’s] text complexity band proficiently, Identifying these scenes takes a audience. These lessons are especially with scaffolding as needed at the high bit of imagination: I read the play in important in introductory courses, as it end of the range” (2014). I have used advance with my students’ eyes, watch- is often the case that students will have variations on this lesson sequence with ing for the moments where the words seen and read few plays, and some will high school students in grades 9-12, and themselves are easy to understand, and not have had any experiences as theatre more recently this sequence has played yet the conversation is tricky to follow goers. Because of their lack of familiar- an important role in my introductory lit- unless the reader visualizes how the ac- ity with plays as a genre, these students erature course for college students. As tors are arranged on the stage and inter- often overlook important textual cues might be expected, these lessons have act physically with one another.

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These lessons emphasize how a director has already made some in- Taking the Stage: The Lesson terpretive choices where other options blocking functions as a dramatic Sequence convention—that is, how the actors’ po- were possible. Although there is no sitioning and movement across the stage An outline of the blocking-focused specific stage direction to indicate that function as signifiers that the audience is segments from each of our five acts of Iago and Roderigo are walking as they speak the first 75 lines, Parker’s choice meant to read in “agreed upon” ways. study for Othello is offered here as an illustration of how a lesson sequence to have them walk while talking seems Since the idea of convention is founda- on blocking can work (perhaps with consistent with the note about the set- tional, it is helpful if the lessons build other plays) in an English language arts ting (a street) and with the stage direc- from prior discussions of the form and course. For this unit, class periods were tion for the two to enter. Furthermore, function of other conventions in litera- 75 minutes long and, as noted previous- the dialogue also guides Parker’s choice: ture and drama. ly, also included other discussions and Roderigo observes, “Here is her father’s During the class period before activities. house; I’ll call aloud” (1.1.76). It seems students begin reading the play inde- Prologue: Blocking as Interpreta- likely that his reason for saying aloud pendently, we explore several conven- tion for Directors and Readers that the house is “here” is because the tions for writing and reading scripts. We Following brief class discussion two characters have just come upon the examine the list of dramatis personae to- of students’ prior knowledge of Shake- house—not because they have been gether, and I ask questions that prompt speare and Othello, we delve into the standing outside of it throughout and students to note characters’ roles, de- exploration of script conventions, as Iago has failed to notice it. Drawing stu- termine their relationships, and make described previously. Our first look at dents into the conversation, I help them predictions about possible conflicts that conventions for blocking is a viewing to notice that both the stage directions of a performance, and it works con- and the dialogue guide the actors’ move- could arise in the play. We look at the currently with students’ first look at ment and positioning. system for numbering acts and scenes, the plot: in class, we watch the open- Additionally, the director’s discre- and I show students how to quote and ing of director Oliver Parker’s (1995) tion plays a role: although there is no cite excerpts from the script in their film interpretation of Othello, starring indication in the stage directions or written commentaries. We note the play- Laurence Fishburne, Kenneth Branagh, dialogue that Iago should be hidden be- wright’s description of the setting and, and Irene Jacob. Our class viewing oc- hind a pole, Parker’s choice works with as appropriate, consult maps and time- curs before we start reading, and it cor- the dialogue and helps to draw atten- lines as we hypothesize about how the responds roughly to the first two scenes tion to Iago’s control and manipulation setting might affect characters’ attitudes, from the play (though Parker also incor- of Roderigo for his own purposes. Of beliefs, and actions. porates glimpses from later scenes in his course, understanding Iago’s manipula- Students learn to identify stage screening of 1.1-1.2). tive control of Roderigo is easier to see directions, and those class who have Posing questions that guide the after one has already read or seen the worked from scripts before explain class in understanding the plot, charac- full play—and I note this to students as terms like exeunt. We find examples of ters’ motivations, and conflicts, I also well so that they understand that I no- offer observations and ask questions ticed this not because I am the teacher stage directions in the script and think that draw students’ attention to the di- or an expert reader, but because I am aloud together about the degree to rector’s choices about blocking. For ex- “reading against memory” from a prior which the playwright does or does not ample, near the beginning of the film, viewing/reading of the play (Rabinow- provide direction for blocking and ac- Iago and Roderigo walk together until itz & Smith, 1998). tion. (For more regarding conventions they pause under Brabantio’s window— Near the end of this first lesson, in plays and how to read them, see Hay- where Iago (but not Roderigo) is ob- students are asked to reflect on our man, 1999.) Taken together, this discus- scured from Brabantio’s view by a wide reading for the day and to note what it sion about conventions in the script pole and the cover of darkness. We ex- suggests about how they should read helps to prepare the class for study of amine the same passage in the text (1.1), independently. Through guided discus- blocking as dramatic convention. and I think aloud about how Parker as sion, they come to see that theirs is an

LAJM, Spring 2014 49 Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts active role: as readers, they will need not coach the actors about how to deliver Act IV: Blocking for Dramatic only to attend carefully to the dialogue, the lines, and we discuss how actors’ Irony but also to use their imagination to vi- positioning and movement on the stage By the time we study the fourth act sualize the scenes. In essence, to bet- can add emphasis to key ideas. In this of Othello, the class has had several dif- ter understand the play and appreciate way, our discussion of blocking dove- ferent kinds of discussions, including how it works, they will need to read like tails with our attention to the lines we conversations about Shakespeare’s use directors, using their skills in inference- have identified through our work with of dramatic irony. At this point, stu- making, visualization, and interpretation rules of notice. dents are ready to consider how dramat- to bring the play to life in their minds’ Drawing out ideas from students ic irony and blocking may be connected. eyes. who are familiar with theatre, I lead This lesson focuses on another passage Acts I-III: Rules of Notice for a brief discussion of conventions that may be confusing to readers—un- Directors, Actors, and Readers for blocking and lighting that can be less they are able to visualize the block- Because so much of the first les- used to draw extra attention to ac- ing and the action. son centers on blocking and occurs tors during their delivery of especially In particular, the selected passage before students is one where begin reading the readers need play indepen- to understand dently, the focus that the play- changes following wright wants students’ reading the audience of Acts I-III. to have a dif- Much more time ferent under- during these les- standing of sons is devoted to events from teaching students what the char- to identify “rules acters know. of notice”—the For our study clues that help us of Othello, we in “determining use 4.1.53-224. what constitutes The les- importance” son begins (Rabinowitz & with a short Smith, 1998, p. inquiry session 55). Figure 1. Stage Diagram with Character Markers prompting stu- Students dents to reflect on build a list of rules of notice for identi- significant lines. (Take for example the affordances of dramatic irony: why fying lines that are particularly revelato- Wilder’s (1938) Our Town, where block- might a playwright want to create “a dis- ry in regards to characterization and to ing and lighting can be used to draw crepancy between a character’s percep- development of conflicts and themes. audience attention primarily to the nar- tion and what the audience knows to be As we find examples of such passages rator, even when other characters are on true” (Murfin & Ray, 2003, “Dramatic (e.g., plot pivot points, soliloquies, and stage.) For reinforcement, students view Irony”)? passages that repeat words and ideas), a slides showing a photo of a proscenium Following this conversation about few volunteer actors read the lines and arch and a diagram of the stage; during purposes for dramatic irony, we discuss move about the “stage”—the cleared these lessons, students practice stage di- Shakespeare’s methods for achieving space at the front of our classroom. rections and use phrases such as “Move dramatic irony. After reviewing other The remaining students (“direc- downstage right” as they guide the vol- techniques we have discussed up to this tors”) draw from their interpretations to unteer actors. point in the play, we consider how the

50 laJM, Spring 2014 Leah A. Zuidema physicality of the stage may help to build that students believe are appropriate. At encave yourself / And mark the fleers, dramatic irony—and especially how this point in the play, Othello has fallen the gibes, and the botable scorns / That blocking may be used to expose actions into a trance; Iago is exulting in the suc- dwell in every region of [Cassio’s] face” or dialogue to the audience while hiding cess of his schemes, and Cassio enters. (4.1.88, 95-97) as Cassio (purportedly) them from characters. The conversation Watching the diagram on screen, the recounts his trysts with Desdemona. begins with a question for students to class offers suggestions about where to Their close reading of these lines helps consider: “During the performance of place Iago and Othello on the stage, and them to determine where to place a play, how is it that we in the audience I move their character markers accord- Othello on the stage immediately after are able to know things that characters ingly. Following students’ suggestions, I 4.1.108—the point at which the stage don’t know?” We discuss playwrights’ also move Cassio’s marker so that he en- directions in the script indicate that techniques for building dramatic irony ters, pauses to converse with Iago, and “Othello stands apart.” in the broader sense, but eventually an- then exits. As we negotiate the blocking For several students, this close other question narrows students’ focus, for these few lines, students are asked to reading of the dialogue—along with shining a spotlight on the devices at the think aloud about the meaning of the their manipulation of physical tokens center of today’s lesson: “What conven- dialogue and how it connects with the for the characters—brings about their tions could directors use to help the blocking. We try a few different ways of first realizations about the dramatic audience see and hear the ‘truth’ about blocking this passage so that we can dis- irony of the scene. It is an “Ah ha!” mo- events on the stage—while also help- cuss differences in what is conveyed by ment. They come to understand that ing them to understand that particular the actors and understood by the audi- the plot demands that Othello be hid- characters cannot see or hear certain ence. den from Cassio’s view, and yet Othello things?” After this short round of modeling must also have a line of sight to Cassio. Students list conventional ways in and mentoring, I turn the director role They also realize that the staging must which directors prompt audiences to over to students. However, instead of occur in such a way that the audience suspend their disbelief about actors’ relying on class discussion as we have understand that Othello is hidden from inability to see or hear certain events for the past two days, I change the rou- the other characters—and yet the audi- on stage (e.g., spotlighting some actors tine so that all students can engage the ence must also clearly hear (and perhaps while keeping others in the dark; keep- text deeply rather than relying on a few see) Othello’s reaction to the unfolding ing some actors in motion while freez- vocal peers to do this work. Students drama. ing others in place, and using sets and work through the remainder of the pas- To check students’ understand- blocking to signify that a character’s vi- sage with a partner so that they voice ing and help them notice and interpret sion or hearing is obscured.) This list- the inferences they make as they read textual clues, I circulate the room and ing exercise sets the stage for us to give and explain how they are visualizing the talk with pairs as they work through the sustained attention to the links between movement of characters through the directing exercise. A few of the pairs blocking and dramatic irony. scene. are then asked to “walk through” their As students turn in their Othello Each pair has a stage diagram and explanations of their blocking choices scripts to 4.1.53-224, they also check the markers that they select (e.g., loose with the class, using the diagram on the large screen at the front of the room, change, sticky notes) to represent projected screen to show where and which displays a PowerPoint slide fea- the four characters. As they proceed when they moved their actors even as turing a stage diagram. This is the same through the passage, students discuss they cite lines from the script to justify diagram that was used in earlier lessons, the dialogue and the blocking in tan- their decisions. Seeing and hearing a few but this time, it also includes four text dem. Each time they determine that a different directing perspectives on the boxes, each one in a contrasting color character needs to move, they move the scene allows students to better recog- and displaying the name of a character marker on the diagram and also pencil nize the significance of interpretation who is onstage during this scene (Fig- a director’s note about blocking in the for directing, while also helping them ure 1). We review the opening lines of margins of the script. For example, they to think more carefully about the action the passage and place the character text consider Iago’s instruction to Othello on the stage and its role in building dra- boxes on the stage diagram in locations to “Stand you awhile apart . . . Do but matic irony.

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Act V: Acting Companies their comfort level with acting. Students Post Script The in-class activities for Act IV rate their comfort level on a scale of prepare students for an important 1-5; then, students who give themselves While ideally there would be time homework assignment for their reading high scores number off, followed by and space for students to enact a much of the play’s final act (Appendix A). To those in the mid-range and then those greater portion of the play, we don’t layer more scaffolding into this prepara- who are least comfortable. In this way, always have the ideal available to us. A tory assignment, students might also be each acting company includes members lesson sequence on blocking can teach directed to discuss or write about why who feel fairly comfortable with acting important literary conventions while also improving students’ reading skills they believe their selected scene needs and only one or two hesitant actors. and perhaps even their interest in the special attention to blocking. This dynamic, along with the fact theatre arts. Additional ideas for bring- While previewing the homework that students are working in rehearsal ing Shakespeare’s scripts from page to instructions, I note that during our next groups without a large audience of stage can be found in the excellent se- class period, we’ll use some of the stu- peers, seems to encourage the vast ma- ries Shakespeare Set Free (O’Brien, 1995), dents’ director’s notes to work through jority of students to participate enthusi- astically. Groups move to their assigned and more ideas for helping students scenes in small groups. Preparing for to visualize what they read are offered “stage,” and I cue students to begin their this activity requires reserving additional in teaching resources such as Reading work, noting that I will rotate through space—preferably a large room where IS Seeing (Wilhelm, 2004) and Enriching the groups periodically to observe and groups can spread out (the gym, cafete- Comprehension with Visualization Strategies answer questions. ria, music room, or auditorium). When (Wilhelm, 2013). My visits are brief, as I want to see this doesn’t work, I reserve additional Students’ participation during the each group in action two to three times. rooms near to our classroom, all as close blocking lessons, their written reflec- Typically, I find students mid-scene, as possible to our homeroom, and all tions and classroom discussions, their with at least a few members acting their with moveable furniture and space for work on other projects and writing con- parts with more flare than I anticipated. one or two small “acting companies” nected with the play, and their anony- The acting companies check their move- of 4-5 students each. Because students mous comments in responses submit- ments again the script, occasionally in- are spread out, supervision becomes an ted at semester’s end indicate that this terrupting the flow to suggest a change issue, but this can be addressed by ar- lesson sequence (and especially the cul- to the blocking or line delivery—and ranging for volunteers (such as preser- minating lesson) is a highlight for stu- sometimes arguing about the director’s vice teachers from a college methods dents. They enjoy it—not only because interpretation of the text, what it means, they are “playing,” but also because course) to help supervise the different and why it matters. Some students hang they see blocking as a new and interest- groups during this lesson. back, but although they are less than en- ing challenge that is a key to unlocking When we arrive at class, I explain thusiastic in their acting, they are seeing the world and meaning of the play. It how the day’s small-group work will and stepping through the blocking of seems that students’ active involvement proceed, talking through the instruc- the scene—and therefore are meeting in decisions about blocking helps them tions that I distribute on half sheets to the main goals of the lesson. also to be active in their reading and all students (Appendix A). I help stu- Most students are animated when interpretation. It could be said that the dents to troubleshoot before they begin they return to the classroom, too: our blocking lessons help students to move: their group work. “You’ll have only four follow-up discussion about the final from simply trying to follow what is or five actors in your company. What scenes from the play elicits questions happening to developing confidence in could you do if your passage has parts and reactions characterized by a new their abilities to envision, interpret, and for more characters? If there are key level of insight and intensity. Students respond to the play. props or set items that you don’t have take a new level of ownership when (such as swords, or Desdemona’s bed), they know the play actively and from how might you improvise?” Then, I the inside out rather than as passive ob- split the students into groups based on servers.

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References Appendix A. Preparation and Instructions for Acting Companies Hayman, Ronald. (1999). How to read

a play (2nd ed.). New York, NY: Preparing for Acting Companies Grove Press. Choose one short section of a scene from Othello (about 2 pages) that you would Murfin, Ross, & Ray, Supryia M. (2003). Dramatic irony. The Bedford Glos- like to study more closely through blocking and acting. Photocopy that section sary of Critical and Literary Terms and reread it carefully. On the photocopy, make director’s notes about blocking, (pp. 224). Boston: Bedford / St. any stage directions you would add, advice you would give about how actors Martin’s. should deliver their lines, and interpretation of the meaning of any complex National Governors Association Center lines. On the back of your photocopy, write a short paragraph about why you for Best Practices and Council of picked this scene. Chief State School Officers. (2014). English language arts Instructions for Acting Companies standards: Reading: literature Othello dramatization Retrieved from http://www. 1. All group members tell which passage they picked and why. corestandards.org/ 2. Come to agreement about which scene to enact together. O’Brien, Peggy. (1995). Shakespeare set 3. First, assign parts. Stay seated and read the passage aloud together. Use a free. New York, NY: Washington pencil to mark any lines you’d like help interpreting. Square Press. 4. Discuss together the lines that group members wanted help interpreting. Parker, Oliver (Writer). (1995). Othello. 5. Discuss: Which lines are especially important, and why? In Jonathan Olsburg (Producer). 6. Listen as your director shares notes about blocking, stage directions, line United Kingdom: Sony Pictures delivery. Releases. 7. Together, do a dramatized reading (a performance) of the passage. Stand up, Rabinowitz, Peter, & Smith, Michael. move about your stage. Get in character and deliver your lines. Your goal as a (1998). Authorizing readers: Resis- group is to bring this passage to life in order to better understand this portion tance and respect in the teachng of of the play. literature. Urbana, IL: NCTE. 8. If time allows, repeat the process with another scene. Return to our class- Wilder, Thornton. (1938). Our town room after 30 minutes. (2003 reprint ed.). New York, NY: Harper Perennial Modern Classics. Reflection Wilhelm, Jeffrey D. (2004). Reading IS 9. Independent work. On the back of your director’s notes, write your answer to seeing: Learning to visualize scenes, char- this question: What were the most important blocking choices that your group acters, ideas, and text worlds to improve comprehension and reflective reading. made, and how did performing your group’s passage(s) influence your under- New York, NY: Scholastic. standing of the play? Wilhelm, Jeffrey D. (2008). “You gotta 10. Hand in your director’s notes page when I call for it. BE the book”: Teaching engaged and reflective reading with adolescents (2nd ed.). New York: Teachers College Press and NCTE. Leah Zuidema loves helping others to love reading and writing. She has enjoyed Wilhelm, Jeffrey D. (2013). Enriching doing this in a variety of roles—first as a high school English teacher, more recently comprehension with visualization strate- as an English teacher educator, and currently by serving as associate provost at gies. New York, NY: Scholastic. Dordt College.

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