A RESOURCE UNIT FOR GRADES THREE, FOUR AND FIVE
. . ENGLISH/LANGUAGE ARTS
1999 2000 SHAKESPEARE EDUCATIONAL TOUR
UNIT DESIGN COMMITTEE FOR ELEMENTARY
CONEJO VALLEY UNIFIED SCHOOL DISTRICT
INSTRUCTIONAL SERVICE DIVISION
lADERA ELEMENTARY SCHOOL COMEJO VALLEY UNIFIED SCHOOL DISTRiCt 1211 CAllE ALMENDRO THOUSAND OAKS. CALIFORNIA 91360 Conejo Unified School District 19992000 Shake~peare Educational Tour Unit Design Committee for Elementary
Name Area of Scecialization
Linda Hensley Aspen Elementary Administrator Deanna Roth Neil Meadows Elementary Administrator Snyder Amy Ladera Elementary Administrator Brown Judy Ladera 2nd Grade Levine Sheri Ladera 3rd Grade Lund" Lang Ranch 3rd Grade Ann Oppenheim Ladera 3rd Grade Carol Scott Ladera 3rd Grade Dick Martin Ladera 4th Grade Ann Marie Matter Lang Ranch 4th Grade Jennifer Fry DeDe Meadows 5th Grade Burke Sue Westlake Hills GATE Instructor Marrone Shakespeare Educational Advisor
1 INTRODUCTION
The Shakespeare Educational Tour Unit is an educational experience about William Shakespeare and his works. The 2 3 week course of study for grades 3 5 include studies in history, the Globe Theater, a play and unique Shakespeare displays for your school. An interactive workshop for all students given by Shakespeare actors prior to a lecturedemonstration performance will be given by the Kingsmen Shakespeare Company. The performance will include several scenes from the various plays of study. A Question and Answer session will be conducted after the performance by all the cast and crew. This unit is in compliance with the English/Language Arts Fra.mework for Califomia Public Schools. K12.
The EnQlishiLanQuage Arts Framework for California Public Schools. K12, is based on the premise that all students will be provided an equal opportunity to become literate through participation in a comprehensive language arts program.
The content standards of the framework are:
A.. Reading Word Analysis, Fluency, and Systematic Vocabulary Development and Comprehension B. Literacy Response and Analysis C. Writing Writing Strategies, Writing Application D. Grammar and Usage Written and Oral English Language Conventions E. Listening and Speaking Listening and Speaking Strategies F. Using Information Application of Langua,ge
All of the content standards. interact within the curriculum, with none wholly independent of the rest. The knowledge provided by the study of these content standards will enable the students to:
. acquire basic and advanced reading skills which enable them to comprehend increasingly complex and sophisticated material,
. acquire a core of knowledge about ideas, people and literature,
. appreciate a core of knowledge about ideas, people and literature,
. appreciate the beauty and power of language,
. listen and speak in a variety of situations and engage in discussions,
∙ write clearly and effectively for a variety of purposes,
. acquire study and research skills to access and communicate ideas in a technological society,
. become lifelong readers and writers.
The English/Language units developed by the district implement the focus and goals of the state framework and reflect the content standards and goals as stated in the Coneio Vallev Unified School District K 12 Enolish/LanQuaoe Arts ScoDe and Seauence (4/15/97).
2 SHAKESPEARE EDUCATIONAL TOUR I I I TABLE OF CONTENTS I Introduction ...... :...... 2 .... Purpose ...... 4
Curriculum OuUine ...... 7
Calendar ...... ;...... 8
Parent Letter...... 9
Pronounciation of Names...... 10
A't's Not What You Say, But How You Say 1t...... 12 Lessons:
Day 1 ...... :...... ; ...... 13
Day 2 ...... ~ ...... 20
Day 3 ...... 43
Day 4 ...... ; ...... 50 Day 5 8 ...... 52 Day 9 ...... 53 Day 1 0: ...... 56
Day 11...... 58 Day 12 15...... 62 Reference Materials...... 86
3 .
19992000 SHAKESPEARE EDUCATIONAL TOUR UNIT DESIGN
PURPOSE
The purpose of this unit is to help the student begin to think about William Shakespeare's life. his works and the history surrounding the period. Each grade level will be introduced to William Shakespeare as a playwright and an outstanding poet through various works. Emphasis will be placed on one Shakespearean play at each grade level.
ENGLISH/LANGUAGE ARTS CONTENT STANDARDS FOCUS IN SHAKESPEARE CURRICULUM GRADES 3, 4. and 5
A. Readina Standard:
The student reads and comprehends a wide range of print and nonprint texts in order to: acquire new information respond to the needs of society and the workplace foster personal fulfillment
GOALS:
The student will:
Grade Three: express ideas in the student's own words and make connections to related topics, information and real life.
. Students write a "letter to Queen Elizabeth ,
Grade Four: read and express understanding of a variety of informational texts.
. Students read play scripts
Grade Five: summarize, express in own words, and make connections to related topics, information and real life.
. Students compare William Shakespeare to business of today
B. Literature Standard:
The student responds to fiction, nonfiction, poetry, and drama using interpretive, critical, evaluative and reflective processes, oral and written presentations.
GOALS:
The student will:
Grade Three: participate in discussions and make varied responses regarding story elements: such as characters, events, point of view, author's purpose and themes.
. Students respond to the story elements in Burdett's Midsummer Night's Dream.
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Grade Four: participate in discussions and make varied responses regarding story elements: such as characters, events, points Qf view, author's purpose, and themes. . Students respond to the story elements in Burdett's The Tempest. Grade Five: participate in discussions and make varied responses regarding story elements: such as characters, events, point of view, author's purpose, and themes. . Students respond to the story elements in Burdett's Twelfth Night. C. Writina Standards: The stud~nts produce various types of writing such as autobiographical incidents, stories, firsthand biographies, observations, problems/solutions, evaluations, speculations, controversial issues, and interpretations.
GOALS:
The student will:
. Grade Three: write in content areas. . Students discuss, write, and share ideas about being a theater goer and sitting in various parts of the Globe Theatre. Grade Four: write in content areas. i . Students discuss, write, and share ideas about being a theater goer and sitting in various parts of the Globe Theatre. Grade Five: write In content areas. . Students discuss, write, and share ideas about being a theater goer and sitting in various parts of the Globe Theatre. D. Grammar and UsaCle Standard:
The students use appropriate conventions of oral language which include grammar and usage of standard spoken English, conventional sentence structure of spoken English, and vocabulary for specific audiences and settings.
GOALS:
The student will:
Grade Three: use language which is clear and appropriate for communicating to the intended audience.
∙ Students draw, write, and share storyboard/filmstrip. Grade Four: use language which is clear and appropriate for communicating to the intended audienc e.
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. Students draw, write, and share storyboard/filmstrip.
Grade Five: use language which is clear and appropriate for communicating to the intended au. dienSctue. dents draw. write, and share storyboard/filmstrip. E. Listenina and Speakina Standard: The student applies knowledge of language structure, language conventions, media techniques, figurative language, and genre and responds to information and ideas.
GOALS:
The student will:
Grade Three: show reSpect for other speakers. . Students role play various parts in A Midsummer Night's Dream; audience courtesy is . encouraged. Grade Four: show respect for other speakers . Students role play various parts in The Tempest; audience courtesy is encouraged. Grade Five: show respect for other speakers
./ . Students role play various parts in Twelfth Night; audience courtesy is encouraged. The students recognize and use logical arguments and persuasive strategies that rFef. Ulesicnt aap Inpforormpratiatioe n Skntaonwdaledrd: ge, background,. and understanding of the intended audience. GOALS:
The student will:
Grade Three: participate in guided and independent discussions to promote effective comprehension strategies and higherorder thinking. . Students discuss various characters in the play, and how those characters affect the play. Grade Four: demonstrate understanding of the logical arguments supporting different pointsof view. . Students discuss which character they see themselves most being, and why they see themselves as that character. . . Grade Five: utilize logical arguments supporting different points of view. ∙ Students discuss how they would change the story to have a different ending.
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Shakespeare Curriculum Outline
Two Week Study
Day 1 Beginning Shakespeare for All Grade Levels Who is William Shakespeare? History ...... Blackline picture of Shakespeare and Queen Elizabeth I
Day 2 Understanding the Globe Theatre for All Grade Levels History behind the theater and its audience Sketch of outdoor theater Theater map of London Scenery, stage properties and costumes Effects on today's society
Day 3 Story Read grade level story Grade 3: Midsummer Night's Dream by Lois Burdett Plot, Conflict. Setting, Characters Grade 4: The Tempest by Lois Burdett Plot, Conflict, Setting, Characters' Grade 5: Twelfth Night by Lois Burdett Plot, Conflict, Setting, Characters "' Day 4 Review and View Video of Grade Level Story Review day before (Plot. Conflict, Setting, Characters) View Video Discussion
Day 58 Read Grade Level Script of Play Read script aloud and role play characters Vocabulary and Language Discussion Questions
Day 9 Sequencing Storyboard Film Strip
Day 10 Movie Poster for Plays
Day 11 Scheduled Performance and Workshop with Kingsmen Shakespeare Company (Performance and Workshop scheduled by Principal)
.Optional Assessment Questions for All Grade Levels Day 12 Extension Activities Day 1215 Banners " Building a Puppet Theater & Puppets Dances Music
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Shakespeare Unit Calendar Grades 35
Day 1 Day 2 Day 3 Introduction to William Introduction to the Globe Discuss characters Shakespeare Theater Introduction to Work on vocabulary and Work on vocabulary and vocabularv and lanauaae language language
Read Burdett Read Burdett Read Burdett
Day4 Day 5 Day 6 Discuss plot, conflict, and Read play: Act 1 Read play: Act II, III settina Show video of play and Reinforce vocabulary and Reinforce vocabulary and compare and contrast lanauaae lanauaae
Read Burdett Read Burdett Read Burdett
Day 7 Day 8 Day 9
Read play: Act IV 1 Act V Final Assessment Extension Activity: Sequencing storyboard, filmstrip Reinforce vocabulary and languaae Discussion Questions
8 ______u ______
Dear Parents:
Your child will soon experience a un~t on "~lIiam Shakespeare" that is a joint project between the Conejo Valley Unified School District and the Thousand Oaks Arts Commission. The purpose of this unit is to introduce elementary age . students to Shakespeare's life and works in an historical context. The "Shakespeare Educational Tour Program" involves an integrated experience incorporating EnglishlLanguage Arts (listening, speaking, reading and writing) and Visual & Performing Arts (art, music, dance and theatre).
During this 23 week unit, students in grades 3, 4 & 5 will study the development of the Globe Theater and explore Shakespeare's contribution as a poet, playwright and actor. The unit will culminate with an interactive workshop conducted by professional actors from the Kingsmen Shakespeare Company. The actors will also perform several scenes from one of Shakespeare's plays and students will have the opportunity to ask questions of the company. , i Each grade level has an emphasis on one Shakespeare play:
) Grade 3 A Midsummer Night's Dream Grade 4 The Tempest , Grade 5 Twelfth Night
Students will learn about the setting, characters, plot and conflict of the play by reading adaptive versions of the stories and through class discussion, written assignments and visual arts experiences..
The anticipated outcome of our Shakespeare unit is that exposure to the greatest playwright and poet of the English language will serve to broaden students' cultural awareness and increase their enjoyment of great literature. It is also our hope that students will have a positive personal response as they experience the power of Shakespeare's words and ideas in their original dramatic format.
Sincerely,
Teacher
9
00: BEA.UTIFUL STOR.TES FRoO.\.\. SRARESPEARE
PRONOUNCING YOCABULARY OF NAl\IES.
[Key. a, e.i, 0, uas in hat, bet, it, hot, hut; i, Co i. 0, iias in ate, fMte, mite, mDte, mute; 4 as in ~fMrica, freeman, cO'IDard.; eas iD her, fern; Ii as in bUrn, furl.]
~clriGncJ (adrii'~) .£geon (e' Capuld (kap'ulet) Curio (kas' geon) io) I .£militJ (emU'if) Celia (se'lif) ~ lcibilulu (alsibi' "i'd&) Centczur (sen'tawr) Cerimon ~ ~liena (i.lii:'nf) (sc'nmon) Ce,ario (sesi'rio) :: ~ngelo .(aD'jelo) ~ntioch C14udio (klaw'dio) C14udiUl = '(aD'tiok) (klaw'dius) Cordelia (kawr E ~ ntiochu.t (aoti'okus) dc'li.) ...... == .. .4ntipholtU (antif'olus) Ccrrmeall (kawm'wawl) ~ntonio (anto'nio) Cymbeline (sim'belen) .4pemcznttU (apeman'tus) DemetriUl (deme'trius) ~pollo (fpol'o) DUcUmOfl4 (desdema' 01}) ~riel (i'ri~) Diana (dian';a) ~rragon (ar'fgon) Banquo Dionr...a (di+Di'qk) (ban'kWo) Baptvla (baptis' Dcnaalbai1l (don'albin) q.) Bc..cmio (bassa'nio) Doriclu (dor'iklez) Dromio Beatrice (bc',tris) Bell4rio (dro'mio) Dt&nc:Gn (dung' (be11i'rio) Bell4riUl (belli' k~) Emilia (emil'i~) EphuUl rius) Benedick (ben'+dik) (ef'esus) E,c:alUl (es'q.lus) Bmeolio (benvo'li..o) Ferd.ifUlnO. (fer'dinand) Bttrtrcm (~r'tram) Bicanc:a Flo.miniUl (111~min'ius) (bean'k!) BOf'4Chio (bO FlatJiUl (fti'vius) Fleance racb'io) (fte'ans) Floriul (ftor'izel) Bt"CIbantio (b~ban'chO) Ganymede (gan'imed) Giulio Burgundy (biir'gundi) (jii'lio) ".1 " Calibcn (kal'iban) Camillo (k,mil'o)
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10 . BEAUT I FU I.J STORIES FROM Sf\.ARESPEARE
Goneril (gon'eril) Gon;:alo Olit:ia (oliv'i,) (gonzah'lo) Ophelia (ofel'if or ofCl'y~) H elene. (hel'~n~) Orlando (awrlan'do) H eUcanu" (helika.'nus) H Onino ( a v.rse' no) ercule" (her'kuIez) Hermia Othello (othel'o) (her'mif) HermiofW (hermi'o Parolle" (p\,rol'ez) ne) . Horatio (horii'shio) Pauline. (pawIi'n,) Pentapoli.7 HorCen.no (horten'sio) 1 (pentap'olis) Perdita (per'dit,) achimo (yak'imo) Pericle" (per'iklez) Iago (eah'gO) Petruchio (petrii' ~io) Phami:z: Illyria (iIlir'i,) Imogen (im'o (fe'niks) jen) Je""ica (jes'iIq.) Puanio (pesah'niO) Juliet (jii'lict) Polizine" (paliks' enez) Poloniw as 'i! ~ Laerte" (lier'tez) (pOlo'nius) ~ Lafeu (labfii') Portia (por'shiI}) Lear (ler) ProtefU (pro'teus or pro'tiis) Leodo1'ico (leOdo'viko) Began. (re'8!J1) , I I Leone.Co (leoni'w) Leonte" Boderigo (roder'igo) Bomano (ro (leon'tez) Luciaft4 (liishi mah' no) ~ ~. ii'~) Lucio (lU'shio) BOmBO (rO'meC5) =t Luciu.7 (lu'shius) Lucullu.t Bosalind. (roz'Q.Und) i I (lukul'us) Ly"ander (Jisan' Bo"alins (roz'Q.lin) der) Lyrimachu.7 (Jisim'tkus) Bowillon (riiselyawng') Sebastian Macbeth (makbeth') (sebas'tip) Sempronius (semprO' Magc14len (mag'dl}len) nius) Simonides ( simon' idez ) Malcolm (mal'kum) Solimu (sall'nus) M al1'olio (malvo'lio) Mantua Sycora:z: (si'koraks) "(man'tuQ.). J.lanana SyracfUe (sir.kiis) (mabrii,'nt) Menaphon (men' TltaUa (thiiis'!) Q.fon) Mercutio (merkii'shi Thaliard (thi.'li,rd) o) Thurio (thu'riO) M e"nnG (messe'nah) Milan Timon (ti'mon) (mil'!n) Titania (titan'i,,) Miranda (miran'd,) Mitylef1.6 Tybalt (tib'qJt) (miteIe'ne) Montagu (mori' U nula (ill' sul,) t,gii) Montano (montah'no) VeneCian. (vene'shlJ.D.) ObeTon (ob'eron) Venice (ven'is) VentidifU (ventid'ius) Verona ., .... ,., (viro'Df) Vicentio (vesen'shio) .,
11
"It's Not What You Say, Bu~ How You Say It"
Shakespeare is probably one of the most quoted people we know. His expressions have even become our everday expressions. You will be amazed at how many expressions are familiar to you.
Directions: Read each quote from Shakespeare and see if you recognize it. Then. choose one quote to say orally in class using tone of voice. two gestures and facial expressions to create the meaning.
'too much of a good thing (As You Like It) To be, or not to be. that is the question. (Hamlet ) What's in a name? (Romeo and Juliet)
Eaten me out of house and home (Henry IV) Knock, knock, who's there? (Macbeth)
Such stuff as dreams are made on (The Tempest)
For goodness' sake (Henry VIII) Budge an inch ;" (The Taming of the Shrew) Neither rhyme nor reason (The Comedy of Enors)
To thine own self be true (Hamlet)
Dead as a doornail (Henry IV, Part /I)
A le~n and hungry look (Julius Caesar) The
game is upl (Cymbeline) Greeneyed monster (Othello)
The apple of her eye (Love's Labour's Lost)
Sweets to the sweets (Hamlet) Parting Is such sweet sorrow. (Romeo and Juliet)
All the world's a stage. (As You Like It) Good riddance (Troilus and Cressida)
12 DAY 1
Grades 3, 4 and 5
Lesson: . Beginning Shakespeare for All Grade Levels
Who is William Shakespeare? History Blackline Master of Queen Elizabeth I
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13 William Shakespeare ~ Day #1 An Overview & History
I. Who is William Shakespeare? Ask, "Who is WilJiam Shakespeare?" Possible Responses. "A man who wrote Romeo . and Juliet. A man who wrote plays. I don't know." Ask, "Have you heard of Hamlet. Romeo & Juliet, Julius Caesar. Much Ado about Nothing? Say. "William Shakespeare not only wrote these plays. .but he also acted in and directed these and many more."
II. Shakespeare the Man and Playwright Read aloud, A Child's Portrait of Shakespeare by Lois Burdett. Ask, "What do you think would happen if the Puritans had been able to prevent plays from being performed?" Suggested Response: "We probably would not be going to the movie theaters, plays. concerts, or etc. today. We may not even have TV or computers. Our entertainment would be much different."
Activity #1 Have students use a piece of typing or Xerox paper and write a letter to Queen Elizabeth I (in their best Shakespearean penmanship) inviting her and her royal court to see his newest play. Draw a seal at the end that would best fit William Shakespeare's personality to close the letter. .
or
Read aloud Bard of Avon The Story of WIlliam Shakespeare by Diane Stanley and Peter Vennema. or give the following brief history of William Shakespeare. (activity fOllowing)
William Shakespeare was born to a middleclass family in the market town of StratfordonAvon on April 23, 1564. His father, John, was a glove maker who later became the mayor of Stratford. Both of his parents were illiterate. He probably saw his first play by the time he was 3 or 4 years old. William was the third of eight children, and he was educated in the Stratford Grammar School where he learned Latin and other subjects for nine hours every day. Later, at the age of eighteen, he married Anne Hathaway, and he became a playwright and bard (a poet). They had three children: Susanna and twins, Hamnet and Judith.
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In London, England, in the 1580's. the Puritans wanted to ban plays and close theaters. They claimed that theaters corrupted the minds of the young. Queen Elizabeth I disagreed and supported the theater. She asked the Lord Chamberlain's Men to perform plays at her court in London. England. Shakespeare performed and wrote for this group of actors. He wrote plays about the people and history of England. By the year 1594. six of , Shakespeare's plays were written and produced. Originally. Shakespeare's plays were not written to be read as literature. The plays were written as scripts and pOems to be used for performing for the London theatergoers and royalty. Shakespeare was careful not to have the plays printed because there were no copyright laws ( ways of safeguarding his plays from being stolen by other playwrights and acting companies whose living depended on their scripts.) After Queen Elizabeth I died, King James I took over the throne In 1603. and The Lord Chamberlain's Men became known as the King's Men. They gave private performances for the king and court, and Shakespeare became a wealthy property owner, businessman, and gentleman. In 1612, at age fortyeight, Shakespeare partially retired, and divided his time between a home in London and a home called New Place in Stratford. Finally, on April 23. 1616, at the age of fiftytwo, Shakespeare died. Shakespeare was a poet and playwright who made major contributions (with his 37 plays and 154 sonnets poems with 14 lines) to the creative artsmusic, dance. and art. All of these fields were used to develop the stories he wanted to tell through his plays of history, comedy, and drama. Today, Shakespeare's works have been translated into seventyfour or more languages.
Activity #2:
Show pictures of William Shakespeare and Queen Elizabeth J .
Ask, "What makes Shakespeare look different from the typical businessman and playwright today?"
Responses:
Ask, "What is different about Queen Elizabeth "s fashion verses Queen Elizabeth of England's fashion today or the late Princess Diana's fashion?"
Responses: Hand out plain typing or Xerox paper, and ask the students to draw Shakespeare and his costume in the 1580's: then, have the students draw what he might look like in today's fashion.
,
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1 9 DAY 2
Grades 3, 4 and 5
Lesson: Globe Theater : History Behind Theater and Audience Sketch of Outdoor Theater Theater Map of London Scenery, Stage Properties and Costumes Effects on T oday's .Society
20 William Shakespeare Day #2 The Globe Theatre & The Elizabethan's Theater's Audience =
I. Background Information for TheaterGoing
Theaters were located on the outskirts of the city in slums. safely out of the jurisdiction of the county sheriff. mayor. and the city of London. These areas were called "Liberties" and were very different than our suburbs today. They were the perfect places for thieves and scoundrels. The Globe Theatre was built in 1599 by Shakespeare and his associates. It was circular in shape like the bearbaiting and bullbaiting arenas. (Note: Bearbaiting and.bull baiting were popular. but cruel forms of entertainment. The bear would be tied to a pole in the middle of a circular arena. and the dogs would be loosed on it.) It was an open air playhouse built outside of London. The plays or performances took place in the afternoon to take advantage of the sunlight sin~e there were no lights or electricity. Most of the potential playhouse audience lived on the north bank of the Thames(tems) River in the city of London. The people and theatergoers knew a performance was to begin shortly by a flag that was flown above the top of the theater. The audience would make their way over old London Bridge. or they could pay a penny and catch a ferryboat. The audience bought their entrance just before show time for the ... admission price of one penny or pence. two pence. or three pence. If a person was willing to pay more. then he could take a seat and sit on the stage where he could badger the players. cheer for them, or shout warnings or insults. The "groundlings" were lower class citizens that crowded on the dirt floor inside the theater. and they paid one pence. They crowded around the stage in the open air areas. They stood during the entire performance, and they ate. yelled, wrestled. drank. and stunk from body odor and bad breath. They were referred to as the "penny stinkard." Those that paid two pence or three pence bought seats on the upper levels with thatched roofs over them in case of bad weather. They could refresh themselves at their own cost with food and drink that was carried around among the more expensive seats. The plays had to appeal to everyone in the audience in order to keep their interest. The events surrounding the play were usually the same. The play began with the sound of trumpets which heralded or called the actor to deliver the prologue. He would appear on stage to summarize what was about to take place for the audience. At the end. the stage was filled with singers. acrobats. and tumblers for the finale even if the play's ending was sad and somber. Three years before Shakespeare died, the Globe Theatre burned to the ground in 1613 during a performance of Henry VIII. It was rebuilt on the same spot in a far fairer manner than beforeft according to John Heminges who was responsible for the financing of the rebuilding.
Note: No women or girls acted in the plays. All women's or girl's roles were played by young men or boys. For women or girls to act in a play would have been a serious breach of custom.
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IV. Effects on Today's Society
William Shakespeare's works are still read and enjoyed today! His works are translated into more than 70 languages. We love and appreciate Shakespeare because he created real people with real problems and real situations. His characters are people you and I can relate to and recognize. The characters are foolish, yet tragic: lovestruck. yet treacherous; cowardly. yet sly and shrewd; and gullible. yet wise. The characters and his works are part of our language. and Shakespeare is ageless and relevant. We hear him quoted throughout life whether on television. radio. written works. or people just trying to make a point. He put the humanity into the human. He is the greatest pioneer of true theater today!
Today. our society and lives are enhanced because of Shakespeare's insight and bravery to be on the cutting edge in his day with new techniques for play writing and the theater. We have the.privilege of the theater and its entertaining spark I Once you read. perform. and understand Shake"speare, your life will be enhanced, too.
Activity:
Journal Writing: How do you think life would be different without Shakespeare? What are some possible things that we would be without if it were not for William Shakespeare using his gift for writing plays? How would entertainment be different today without Shakespeare?
(Possible answers: We may not have TV today. We may not have movies or theater to attend today as a form of entertainment.)
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[ THE GLOB.E THEATER: 1599 1613 An Overhead Transparency Program
Instructions and suggestions for the use of Globe Theater transparencies~
SUBJECT OF PRESENTATION:
Analysis of the physical aspects and functions of the Globe Theater, London, 15991613.
COMPONENTS:
Base and two overlays founded on a conjectural drawing of the Globe Theater.
MEIMOD OF PROCEDURE:
From the basic structure of the theater to the specific details of each unit in the building.
24 The PerfeCtion Form Company. Logan. Iowa
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I BEGIN TRANSPARENCY PRESENTATION I WITH THE BASE i I ( . TheGLOBE THE.\TER 'i, 'S"9 Ibl, 1 INTRODUCTORY LECTURE for use prior to the transparency presentation: 1 The Globe Theater was born out of a legal squabble and the need for a company of English actors to be assured of a permanent home. It became the most important theater to William 1 Shakespeare. He wrote more than half of his 37 plays specifically for production at the Globe. A predecessor playhouse named simply The I Theater was used for more than 20 years ' by an acting company that became known as the Lord The Globe stood just , ,500 feet from the old Chamberlain's Men, Shakespeare joined that troupe London Bridge. and many playgoers crossed the 1 between 1590 and 1592. bridge on foot or in horsedrawn carriages. Others The owner of the land on which that earlier arrived at the theater via ferry boats that piled the theater was built refused to renew the lease. So the Thames. theater's proprietors dismantled the Each playgoer paid one penny to enter the 1., ') structure and rebuilt it across the Thames River " in a southem London suburb called the Globe, That permitted him to watch the perlormance while standing in "the pit" on the I Bankside. The relocated theater was named the gr:>ur.d ~Ioor.. By paying additional pennies. a Globe, and Shakespeare owned 10 per cent of it. patron could climb to a seat in one of the three The acting company eventually was named the galleries. It wasn't a stiff and formal occasion; King's Men. some playgoers imbibed alcoholic beverages For 14 years, from 1599 to 1613, the Globe during the performance. I served as the main showcase for Shakespeare's plays. He wrote with the dimensions of the Globe The theater's design focused attention not so in mind; the building and the playwright much on how a single actor interpreted a role. but rather on a steady flow of action and an attempt to .1 complemented each other. Although it could ac commodate 2.000 patrons many of whom develop a sense of participation in the audience. stood the Globe's design made it quite in , I timate. The main stage projected forward into the Ask students what devices are employed ' audience, and playgoers viewed the action from today to achieve a sense of participation in three sides. Shakespeare capitalized on that sense an audience, either small or mass. of intimacy. Hamlet's soliloquies, for example, . worked well when the actor spoke while nearly Ask students what . devices the Globe I 'surrounded by the Globe audience. Those actors might have employed to speed up soliloquies are harder to stage in many modem the play's action and achieve a sense of theaters. participation among the playgoers. .1 The Globe burned down in 1613, when the thatched roof of the galley was ignited by wad Although parts of the theater were roofed, the ding fired from a cannon as part of a performance plays were performed essentially in the open air. of Henry VIII. A more elaborate theater, also (In winter the actors moved to an indoor theater.) A l called the Globe, was built on the spot the next white flag fluttering above the theater (indicate on year. It was tom down in 1644, a victim of the the base) signaled everyone that a play would be new Puritan government that decided plays were given that day. immoral and should be banned.
I '. COMBINE OVERLAY A AND BASE REMOVE OVERLAY A, ADD OVERLAY B TO BASE , eGLOBE TIlE.UER . IffllblJ L ~_ 'i " _. ~1~ . /===::::.= ~ ~ . . ~~ =.=...... =..=:.::~~ ~ ,...... ~ ...... r. .=.......:.'F....===: _:.= ~~ ===~_==::. =._~ ==== _...... _...... ~ w...... ...... == ~ ...... f...:...... ~ ...... ;...:.....,< .... ......... ... ==~:.,,:.: _:.::_ =._~,_.:=o. =.::::::~=~. ~:. __:: __.:=: : _:.= == _. The design of the theater aided communication ...... ::: ~=.z:: : ~=~ between actors and the audience. Read aloud and discuss the functions =,== ~' .~ = Ask students to look at the skeletal of the indicated theater parts. Begin with drawing and the names of the theater's "the pit" ,".and "" 'm. .o :v:=e cloc_':. kwise. various units. Encourage speculation on how the plays were presented, particularly :::=. '.' ~ ~ the relationship between the stage and the = ) inner stage. Ask students: Ask students: Where does the phrase "tiring house" come from? (actors put on costumes there; Does the stage have a curtain? If they were "attired") so, where? (in front of the inner stage.) The trap door near center stage was hinged and' In the famous balcony scene between led to the cellar. or "hell." under the stage. Romeo and Juliet, where would. the. two Sometimes the trap door became important to the players stand? (Juliet above the inner stage play. In Hamlet. the playgoers met gravediggers singing at their work as they emerged from below on a balcony called the chamber; Romeo on the stage. And the ghost of Hamlet's father called out stage below.) from the cellar. Heavy and bulky props were stored in the cellar. Fragile props wouldn't have lasted long there. because it was quite damp. The Globe was built on drained swampland. Continue the review until all the ele ments have been described. Ask students: Would you rather watch the playas "groundlings" from "the pit, It or buy a seat in a gallery? Why? Globe plays had no intermissions. How did playgoers know when the scene was about to change? (Shakespeare often tipped off the audience by rhyming the last two lines before a scene change.)
26 , REMOVE OVERLAY B., ,'. ADD OVERLAY A .'. Is the play the thing? Or is it the playhouse? Obviously the play. ranks higher in importance.. TO BASE AGAIN but a workable. effective theater is vital too. Shakespeare tailored his dramas to the Globe's design. . and the result impressed theater It is advisable to conduct an oral re builders so much that many theaters in London' view before using a quiz format. were patterened after the Globe, After the transparency prasentation, proceed The Globe's influence is .still felt. Today's newest theaters usually are constructed with an with the '.(I~oduction to a specific play by apron. a forestage that extends part way into the Shakespeare. ' , audience. Theaterintheround creates a sense of A writing assignment may later be given on i intimacy somewhat like that of the Globe. the subject. uA Day at the Globe Theater." ! So although the Globe bumed down more than three centuries ago. its impact lingers. Review with ~tudents the functions of the parts of the Globe Theater.
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FLAG. A whit. illig hoilled .bov. MIDDLE. GALLERY. Called 'Two. penny Rooms' because the seels here the thlater rnMnt a .how would be were higher priced. performed th.t day. ~ HUT. A slorege area thai al.o held a ENTRANCE. Point leading to the IT AGI DOOAI, Doors opening Into winch eyelem 'or lowering enthronld (,I) It,'rc.le and upper galleries. the TlriflOHouaa. gods or other char.eter. to the ltage. o CORRIDOR. A plslageway Ihet THI! HI!A VINI, 80 Idlnt/lled by "rved Ihe different secllons 0' Ihe being pelnled with the zodllc .Ignl.
middle g.'lery. ' ______WARDROBE. An essen\lal 810rlge ...... ar ea. LORDS' ROOMS or private galleries. Six pennies lei a viewer sit here, or lometlm.. even on the Itlge Itself.~ GALLI!RY. loclled above the Itlge to houl8 mu.lclan. Or apeelalorl. An MAIN INTRANCE. Here the door. k..per greeted playgoera and col. ~ auxiliary .tage for .peelal .cen... lected one penny 'rom everyone. ~ DRI!IIING ROOMS. Roome where .olore were 'aUlred' and awaited thllr STAGI. Major playing area fulled Into cue.. Ihe Pit, creating . aense 01 Intimacy , with the .udlence. Hanglnga cur. TIRING.HOUSE DOOR. The re.r I.'ned off lpace beneath. entr.nce or 'stagl door' 'or actorl or _ privileged spectators. THI PIT. AI.o sometimes referred to 'TIRING.HOU81. The Important blck. all "The Yerd" where the 'groundlings' .tage area which provided space for wetched tha play lor their onepenny .toraga Ind buslneSl olllcee. admission. '. IT AIRI. A.cendlng 10 the flr.t level, HELL. The aree under the stage, used 'or TRAP DOOR. Leedlng down to 1M thlltergoere reached the gallerltl ghosUy comings and goings or 'or more Hell area where equlpm.nt InaludMI by wood.n .I.,rc...... ncfoNd by a winch ellY.lor th.t r"lId 1M It,'rwill.. mundane storage 01 propertill. ' 10Wired MWI or proplrUI.. ) J J 1 .. 1 / ,
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" Top: A close.up 01 Southu:&lri: &lnd the Globe playbouse /rTJrn \('encesit.zU$ Hollar's long rtiew 01 London (1647). 7be labels 01 the Bear.Baiting and Globe &I~ hatY! InML'el'ferJlj' bftn m.wsed. Bonum left: Enlarged delQil 01 Globe playhouse on tbe sOulb bank 01 the Tt1ames/rTJ", CJaesjarzr VWcber's long t'lelll 01 London. LOND1...... uM FtORENT7SSfMA BRrrANNIAE URBS (Cll. lG:!S). Bonum n~hl; 71Je Globe (rnulabeled rbe Bear.Bailtng ~) IU shou:n m Hollar's long 1' 39 . "\'", \~ WOl11ell's .J (.') en CD Co :~ ~ C',) .... Q.1 1> o (t) ::,:,,(0 Q 11> 0= o:::S (.') (t) j ::::I tJ ocr n Bl>dice a separate garment call Kirtle ~ramework underneath. usually made of whaleborH "partlet" or !t:!welry bodice causing it to stand out Nhich came to a narrow point ~ waist. 41 . .~ . 1fi[ell' S ([lotIJillg Cloak Cape . Q) c: ~ o o sHo e 4 2 DAY 3 Lesson: Read Grade Level Story Grade 3: A Midsummer Night's Dream by Lois Burdett Plot, Conflict, Setting, Characters Grade 4: The Tempest by Lois' Burdett Plot, Conflict, Setting, Characters Grade 5: Twelfth Night . by Lois Burdett Plot, Conflict, Setting, Characters 43 Midsummer Night's Dream Setting: Characters: Plot: Conflict: 44 A Midsummer Night's Dream Setting: Time long, long ago Place a mystical island called lIIyria Characters: Theseus Duke of Athens Hippolyta Queen of the Amazons, engaged to Theseus Egeus Father of Hermia Demetrius in love with Hermia, later realizes he is in love with Helena Lysander in love with Hermia Philostrate Theseus' entertainment advisor Hermia daughter of Egeus. in love with Lysander Helena in love with Demetrius Quince a Carpenter Snug a Joiner Bottom a Weaver Flute a BellowsMender Snout a Tinker Starveling a Taylor Oberon King of the Fairies Titania Queen of the Fairies Puck . a Sprite Plot: Egeus of Athens has chosen Demetrius as the man he wants his daughter to marry. But Hermia does not want to marry Demetrius, for she loves Lysander. And Hermia's friend Helena loves Demetrius but he does not love her (for he loves Hermia). Somehow the lovers must an find happiness, but that is no easy task. With the help (and hindrance) of Oberon and Titania King and Queen of the Fairies and Puck, Oberon's'impish sidekick, perhaps a solution can be found. Conflict: Entangled love as Demetrius loves Hermia Hermia loves Lysander Helena loves Demetrius 45 The Tempest Setting: Character: Plot: Conflict: 46 The Tempest Setting: One night, a ship tossed on the sea during a terrific storm, or tempest. On board were Alonso, king of Naples: his brother Sebastian: his son Ferdinand: the duke of Milan, Antonio; his faithful counselor Gonzalo: and many others. Their ship wrecked upon the waves in view of a mystical island, and all were thrown in to the sea. Characters: Alonso, King of Naples Sebastian, Alonso's brother Prospero, the right duke of Milan Antonio. Prospero's brother, the usurping duke of Milan Ferdinand, son to the king of Naples Gonzalo, counselor to the king Adrian, Francisco, lords from Milan Caliban, a deformed slave Trinculo. a jester Stephano, a drunken butler Miranda, daughter of Prospero Ariel, an airy spirit Plot: Prospero, the usurped duke of Milan, using his magic to regain his dukedom by causing a tempest which brings a ship carrying his evil brother, now duke of Milan, the king of Naples and other members of court to his mystical island. There, Prospero, with the help of the spirit Aerial torments the shipwrecked courtiers into thinking all is lost. especially the King who believes his son, Ferdinand has drowned. But Aerial has brought Ferdinand to Prospera where Ferdinand falls in love with Prospero's daughter Miranda. Also all the island is Prospero's slave, Caliban, who with other crew members, plot to take the island's rule from Prospero. But with magic and the matured gift of forgiveness, Prospero brings all together and forgives all their sins towards him. In this great gesture, the King returns Milan to Prospero's rule, Ferdinand and Miranda .marry and Caliban and Aerial are set free. Before Prospero leaves the island he breaks his magic staff and drowns his magic book. Conflict: Power, release of power, and forgiveness Liberty, love, and wonder 47 Twelfth Night Setting: Characters: Plot: Conflict 48 Twelfth Night Setting: Time long, long ago Place a mystical island called Illyria Characters: Orsino Duke of IIIyria (in love with Olivia) Olivia a rich countess Viola Sebastian's sister (in love with Duke Orsino) Sebastian Viola's brother Sir Toby Belch Olivia's uncle Maria Olivia's chambermaid Malvolio Olivia's steward Antonio a sea captain, Sebastian's friend Sir Andrew Aguecheek Sir Toby's friend Valentine, Curio gentlemen tending to the Duke Fabian Olivia's servant Clown Olivia's servant and. jester Plot: After being separated from her twin brother, Viola pretends to be a.boy page in service of Orsino. She delivers love messages to the rich countess Olivia from Orsino, but Olivia (thinking she is a young man) falls in love with her instead. To confuse matters, Viola falls in love with the Duke, Orsino. Meanwhile at Olivia's house, Olivia's uncle and the servants are dreaming up ways to .make the steward, Malvolio, look foolish. Viola's lost twin brother shows up and everyone gets confused. Conflict: Orsino loves Olivia Olivia loves Viola Viola loves Orsino 49 DAY 4 Lesson: Review and View Video of Grade Level Story Review Day Before (Plot", Conflict, Setting, Characters) Grade 3: A Midsummer Night's Dream Grade 4: The Tempest Grade 5: Twelfth Night View Video Discussion 50 VIDEO QUESTIONS FOR ALL GRADE LEVELS ANIMATED TALES 1992 Shakespeare Animated Films Limited' and Christmas Films Package 1993 by Random House. Inc.. HBO 30 minutes Questions: 1. Who are the characters? 2. What is the setting of the play? 3. Follow one character throughout the story. Discuss the effect of the story with or without the character in the scene. 4. What character do you see yourself as being in your life? What are some similarities and differences? 5. How would you change this story to have a different ending? (Classroom Generated) Questions for Discussion: 6. 7. 8. 51 DAY 5 8 Lesson: Read The Play Grade 3: A Midsummer Night's Dream* Grade 4: The Tempest* Grade 5: Twelfth Night* Read Scripts Aloud and Role Play Characters Vocabulary and Language Discussion Questions *Plays are in a separate packet 52 DAY9 Grades 3, 4, and 5 Lesson: Sequencing Storyboard Filmstrip ' 53 Additional Study Storyboard Sludents create a storyboard or comic strip retelling the events in one scene of the play. See examples below. "1" ,;, 6 D HrJ;>of ! r ~"f Hot! b,sl I'a,.f. '7: I:"D." ,4lay ..1/ .1 +lit! f"tV+~! '. "No 6.1t1)(fl, y'lA. I. I ca.i~ II#y s"...1, TDU "e A 1.l'1' I have "" ",'41to..., IdHoII,. Io)ill be "1 ...... 1IJ.... S "II!}.' Y'" #I.. I DIU ...... lei II.s It b~J j'o",;"S(' ,.,. ft, ~""'I "i...self. Flute, 4 Il.u,. Y'u ..,:11 Ioe Uk.. will ..II ,..ce # ;" hte w.oJr + Tlu"I,c, U. ft4.,'owJ "'j"I' ...d ,. lot t I".f IT,...WJ jII'~ "'''Ii: e. .' ., "IlJ~ l.wc.4 .. i "1 .' .' DAY 10 Grades 3, 4, and 5 Lesson: Movie Poster for Plays 5 6 Additional Study Movie Poster Students show their knowledge about the classic Shakespeare story by creating a movie poster to promote a fictitious movie version of the play. Each poster should include a flashy title. reference to William Shakespeare. short summary of the story. actors and parts they portray, rating, and illustration. _ A fanf~fic .s!;".:! fu/llTf" 'Qjie; ,stldls I ~isfMt!.$, ""4 MIUlCt:! CIJI7 .Puck ",~c e .,er..J Hv":J ~'9/'f ? /'IDfr~te ollie" u 11leJ: , ~.r"& IfHcl'h ... I/u,..... /4ItI /Ja .. /)e"'''.' "1"_ JI..b &I Owtall".. FlHkIt.,,... JIJ_ R Double, douL'~ +oil ~. fTauLJe , 1hi~ st«y ..,;., ~¥ YOIU all lite . ~~e. "t )'OIU' UG.+ 1 W"cat .;11 ~_~ ~ ... 'tlllI,h frickNf' Yio'eo.cc:, A..J A...... H &.oj Pift /; "10... Ctuise d"J chu shv ill. .y..'{ twum"j ~b~ 57 Day 11 Grades 3, 4, and 5 ,..:..... *Scheduled Performance and Workshop Kingsmen Shakespeare Company ". "". " *Performance and Workshop must be scheduled at the beginning of the school year by the Principal. . 58 KINGSMEN SHAKESPEARE FESTIVAL COMPANY For the past two summers, Kingsmen Shakespeare Festival has entertained approximately 10,000 residents of Southern California in performances of free Shakespeare plays held on the California Lutheran University campus grounds. Perfonnance survey cards have shown that the audience has been comprised of families and friends from all professions and vocations. Those enjoying the festival have traveled from as close as walking distance to as far away as Santa Monica and the West Valley. The success of these performances has lead Kingsmen to explore an educational touring division. To that end, Kingsmen has created an educational outreach program called Shakespeare Educational Tour or simply put "S.E.T." The workshops and performances at the school will be created by actors, directors and producers who. with teacher guidance, will create exciting and engrossing shows that brings to life the material taught in this unit. 59 Kingsmen Shakespeare Festival Acting Troop Workshop and Perfonnances are an extra added benefit to the Shakespeare Teaching Unit. The worKshops will be organized on the day of the performance. One member of the acting troop will conduct each workshop. The workshops will be organized during regular classroom periods. The variables regarding the size of the student body and how many workshops to be held at the school will be decided on by the specific needs of each school. Workshop outlines for grades 3. 4 and 5. The purpose of these workshops is to introduce the students to the Th.eatre as well as to Shakespeare. GENERAL. THEATRE COMPONENTS as they relate to the school (Actor to explain:) 1) Producer Principal 2) Director Teacher 3) Stage Manager Teacher Assistant 4) Actors Students 5) Script Reading book VISUAL AIDS 1) Stage light (rigged for a 100 watt bulb) and different gels 2) Lightning sheet 3) Stonn (stone) box 4) Theatre Posters preferably of these plays 5) They have seen pictures of the Globe, show pictures of a modem theatre. 6) Theatre tickets reserved seating (different than movie tickets) 7) Theatre program 8) Theatre makeup (spirit gum and hair) 9) A costume from the play .:... actor in underdressing of the character he is going to play. Puts on the balance of the costume while speaking to the class. Bring a second costume from the play. GENERAL QUESTIONS AND ANSWERS The teachers will advise the actors in advance as to specific topics or questions that have come up during the teaching of the play that the actor should elaborate on or clarify. A Midsummer Night's Dream (Grade 3) 1. Introduce mystery and fairies while putting on Puck's ears 2. Talk about Shakespeare's garden. Then recite Oberon's "I know a bank where the wild thyme blows" (lI,ii,250 256) 3. Poetry Green Eggs and Ham (stress the beat) 4. Puck "If we shadows have offended," (Y. i, 401) (Interact with a few students go around the room saying the lines to the children) The Tempest (Grade 4) 1. Introduce magic and Ariel Sing "Full fathom five" (tii.397402) 2. Children use lightning sheet. stone box. and flash light to "perform" the "tempest" (Children speak I.i. lines) 3. Poetry Green Eggs and Ham (stress the beat) 4. Combine "noise" and poetry in performing caliban's sounds of the island speech (lII,ii,132 44) Explain the speech. exaggerate it when reciting, the repeat it properly. 60 Twelfth Night or What You Will (Grade 5) 1. Introduce Feste and importance of music in the play, while putting on a Feste's beard. 2. The poetry Gree:1 Eggs and Ham (stress the beat) 3. Feste's"O mistress mine. where are you roaming? (II iii 32 on) (Interact with a few students go around the room saying the lines to the children) 4. Children use lightning sheet. stone box, and flash light to "perform" the storm that sank Viola's and Sebastian's ship. (Actor recite Captain's speech Lii. 10 20) 61 Day 12 15 Grades 3, 4, and 5 Extension Activities Banners Building a .Puppet Theater and Puppets Dances M usic 62 Additional Study Banners Students create banners (individual, group, or as a class) to promote the spirit of a Shakespeare festival. Banners or flags can be made from felt, construction paper, or paint and butcher paper. If your school is celebrating with a schoolwide festival, each class should make its own large banner. ==:: 6 3 REBUILDING THE GLOBE Invite student groups to const~Ct small versions of the Globe Theatre. They can use boxes, cardboard tubes, tagboard, fabric and wrappingpaper scraps, yam, and various other art supplies. Make sure they refer to an accurate piCture of the Globe and include the many special attributes of Shakespeare's stage, including trapdoors that fall into "hell" and a canol?Y above the stage as "heaven." Encourage students to be creative and add aCtors onstage as well as patrons in the audience. Invite students to display their creations: As an extension, invite groups to "act out" a scene from the play using their theatres, and characters made from cardboard, spools, or even sock puppets, depending on the size of the models. 64 .3 sti:/"6f1cD.£ 5!~~ } (prolJrj,' t,,,1 ,. .' I fl 1. 65 , ( i' ,I i ~ I ~ . _ J I I I 11_ _ I 67 . / I I I 6 8 Puppets Your students can act out the play using handmade puppets. Divide your class into groups. and have group members work together to make puppets for the characters in one specific act of the play. Stick puppets are easy for young students and require no expensive materials. First. determine the approximate size the characters ought to be. Give the students pieces of cardstock or manila , folders cut the approximate desired size. Students draw. color and cut out the characters. Glue or tape the paper figures to a wooden stick. and you have a puppet! 69 " '.'.' '. "".. . . U .;'. S ) ..! GAMES .. MAYPOLE DANCE Although the Maypole dance is generally believed to be English in ori gin, there is evidence that this type of dance has been a part of spring festivals in other lands as well. May Qay was'celebrated in the Middle Ages in England by setting up a daily decorated pole in the center of the village squares. The villagers danced about it, holding , the ends ,of the ribbons. which streamed f(om the flower covered top. A portable volleyball standard makes an excellent Maypole. A circular "skirttl may be made of crepe paper ruffles mounted on cambric, to cover the base of the pole~ A mound of freshly cut flow . ers makes a beautiful crown for the pole. Crepe paper flowers may also be used, with the advantage that the pole may be decorated a day or more in advance. There are many Maypole figures, varying from a simple skip around the pole, which can be enjoyed by first graders, to complicated fig ures which can be a challenge to sixth graders. The figures described here may be learned as skills and put together in any order. Classes enjoy creating their own figures and putting them together to compose their own dances. The dance is generally done by eighteen dancers, girls and boys, but more or less may be used. Any music which is suitable for skipping may be used. A light skipping or marching step is used, depending upon the figure and the skill of the class. The streamers should be held in both hands and pulled . so that they are always tight. Consider using nontraditional music such as oldies like Elvis Presley's Jailhouse Rock, or popular children's music such as Raffi, Fred Penner, etc. 70 J.Qvll WU"'W Vf'ip" ...... ~"..,t'~ "' "..~ ""." ..,..,,, ...... n. "J~, ~wlll~ Lllg ribbons held by number 1's to wrap around the pole beneath the ribbons held ~y the number 2's. On the last skip, all dancers turn toward the pole to face in the opposite direction, and skip back to place. ". Dance 3 Maypole Dance (continued) 3. Spider Web The number 2's take two steps in toward'the pole and kneel on one knee, taking up the slack in their streamers as they do sTohe. ,number t.s face diagonally left. The number 1's go four steps (walk or skip) passing 'in front of number 2 (under his streamer), then they back up four steps " going behind number 2, then they go forward 4 steps, passing . \ . . . . . in front of the same number 2 again, an.d finish w. ith a cu" rtsy so thWe henen xt nteachumingbe tr 2his f. igure, it is helpful to say, .!lln front 2,3,4 in , back 2,3,4 and over to the next one and curtsy." . ., .". . . >6' ~.::." :. ~.:' . The boys who are kneeling shou Id k~ep their ribbons pulled tight so that the finished design will be even. ' . ..' The girls who are weaving the web should pull their ribbons tight " , each time they walk around the kneeling person. A loose ribbon will cause .others to tangle and will spoil the effect of the fin ished web. ' , After the figure has been done four times, the number 1's turn toward the pole and face in the,opposite direction. They then repeat the figure 4 tilTles to un~ind the web. On the laSt one, instead of making a curtsy to the 'neXt person. everyone goes into his own place, the number 2's rising and backing up 2 steps, and all curtsy or bow to the pole. The figure could then be repeated with the number 1's kneeling and the 2's doing the weaving. . 72 '. " Dance 4 Maypole Dance (continued) 4. . The Cross The dancers should be number~~ .off by 4's for this figure.. , " Number 1 takes 8 steps in toward the pole, .gathering up her strea.mer as she goes, and takes position close to"the base, fac ing counterclockwise. Number 2 then walks in with 8 steps and takes position beside .number 1. Number 3 and 4 follow in turn. Th~ dancers are " ".~"now standing in a cross formation~ As soon as number 4 is in position, all march forward, traveling counterclockwise around the pole, for 32 steps. In order to keep the lines straight during this figure, the number 1 's must take yery small steps, barely "letting one fOQt pass the otlier w~i.le.t~e'ones on the .outSide, ' " . .: the number 4.s, must ta.t the pole to face in the opposite dire~ion and take 32 steps ..... clockwise. . ,;. .' , :" ...... 0 I .....:' .,.0. ' . .._ _. .. The number 4'st~en take 8 steps 'ha.c~' to their place in the cIr cle, letting their. streamers out as they go. The number 3's, 21s and 11s follow in turn, each using 8 full counts. " . . . .. 73 '. Dance 5 Maypole Dance (continued) 5. The Basket Odd numbers face left, even numbers face right. Dance!s are now in a.single circle, facing partners. '. Wal~ 4 steps forward, passing right shoulders, the number 1's holding their streamers high to pass over the heads of the 2's. Walk 4 steps backward to place, passing left shoulders, the number 2's holding their streamers high to paSs over the heads of the 1's. (This is e~actly like a do~ados in square dancing.) ,I' ._~. :. Go forward 4 steps again, passing right shoulders, and bow to . the next person. The bow should take 4 counts of the music to complete the phrase. , In teaching this ijgure, it is helpful to say in rhythm, IIpass right" .: ...... :.; ..: shoulders, pass left shoulders, pass right shoulders and bow io" ". ." the next one." :.. : '..: ...~." .. This figure is done four times, producing the design shown in the .' . diagram. The dancers then turn to face in the opposite direction and, passin'g left shoulders first, repeat the figure four times to unwind t~e streamers and return to place. , ...~ .. .,..' .... . 74 '. Dance 6 Maypole Dance (continued) 6. Single Weaving Dancers start in a single circle, facing partners, as in the figure above " ' .:, This figure is done exactly like a grand right and left, except that the dancers cannot join hands as they pass. Pass right shoulders first, the number 11s taking their streamers over, the num ber 21$ taking their streamers under. Pass left shoulders with the next person~ with the 1 as going under and the 2~s going over. Continue on around the pole ~temately passing right shoulders and left shoulders. If spaces are kept even and streamers held taut this figure will result in a beautifully woven sheath arou~,d ~h,e pol~. ' This figure is often used as an en~ing for the Maypole Dance, . , :' ~ ' with the dancers weaving the pole half way down. They then '", face the pole, hold the streamer ends high, drop them, and skip off. , ' " " , , . . .. Taken from the 1942 guide Children In Action, Curriculum Bulletin #5, Dade County Public County Public Schools, Miami, FL written by Mrs. Hazel Nowakowski.' , '. 75 Dance 7 ,. ! ~...1;Jnd 6 MAYPOLE DANCE (Instrumental) ... , DIRECTIONS: '" ~ , Children stand in circle facing Maypole in center at cir /~ " cle. Laoel children "A" and "S" alternately around the circle. Children I , ... I ... " . " stand in place facing center of circle for beginning 4 measures. , 9 , Step One \ \ \ . I A's skip forward R L. R L. to Maypole, bend down and , I piCk up ribbon. , ... A's skip backward R L. R L holding ribbon high in R hand. A'S Skip R L. R in place turning under ribbon held high in R hand. S's repeat above while A's remain stationary. '" Step Two , I AL.L step R to R side. close L. beside R. I \ Step R to R side, jump in place. \~ , Step L to L side. close R beside L.. .' Step L. to L side. jump in place. Skip R L. R in place " ..' turning under ribbon held high in ...... R hand. , ,Step R to R side. close L. beside R. _Step R to R side. jump in place. DIAGRAM OF BRAIDING (Repeat above one more time) RIBBONS step Four A's make % turn R to face opposite direction in circle and change ribbon to R hand. At same time, a's make ~ turn R to face opposite direction in circle , Three and change ribbon to L hand. ..,(aiding the Ribbons" , "s make Y. turn R to face partner and hold ribbon A's will now travel clockwise in circle retracing in L hand. their a's make ~ turn L. to face partner and hold ribbon braiding pattern with 4 walks to inside, then outside, in R hand. inside, etc. ~'s will follow solid line in counterclockwise S's will now travel counterclockwise in direction, circlereuaclng ]'s will follow _ _ _ _ _ broken line in clockwise Sttheep irF b1Yraiedi ng pattern with 4 walks to outside, then . direction, Bi'nss mideake, o ut~ tusidern , Let tco. face clockwise in circle and change All walk R L R L forward making an arc according Arlilbbon dancetros Rw ihlla fninid.s h in their original places. to diagram. A's and B's all walk forward R L R, hop on R. Then walk \'s start 4 walks to outside of circle. then inside L R L. hop on L Repeat above two steps 3 more times . outside inside. etc. traveling clockwise in circle to finish in original places. . d's start 4 walks to inside of circle. then outside inside outside. etc. Repeat Step Two :ontinue "Sraiding" pattern doing a total of 32 walks. ending Facing Maypole in center of circle ~ step R to R side Close L beside R Step R to R side . Jump in place on both feet Step R L R in place turning under ribbon held high in R hand. Step L to L side Kneel on R knee hOlding ribbon high in R hand. AnangecI by: Genrude H8J1enback . 76 Dance 8 77 Rom~ and '/llirt HANDour 5 PILGRIMS AND SAINTS DANCE First, form a circle. Use as many students as you like. Keep the number of dancers even, but you don't need equal numbers of boys and girlsif you were performing in Shakespeare's day, everyone dandng in this scene would be a guy anyway. If there is an odd number of students, make your teacher dance. . Give each step eight counts before moving on to the next. Repeat steps as needed to adapt to the music you select. (If need be, you can perform the dance steps without music.) Stand in a circle with your partner by your side. Honor your partner. For eight counts, gentlemen bow to the ladies to their right, and ladies curtsy to. the gentlemen to their left. Honor your corner. For eight counts, gentlemen bow to the ladies to their left, and ladies curtsy to the gentlemen to their right. Doubles. All the dancers in the circle take hands and, starting with the right foot, walk forward three steps and bring the left foot forward to meet the right foot on the fourth count. Then, starting with the left foot, they walk backward three steps and bring the right foot backward to meet the left foot on the eighth count. Repeat. Circle clockwise. Still holding hands, the dancers circle clockwise for eight counts. If the music: is slow, the dancers can walk around the circle with a weaving step. Have each dancer take a step to the left with the left foot, step behind the left foot with the right foot, take a step to the left with the left foot, step in front of the left foot with the right foot, and so on for eight counts. Bring the right foot together with the left foot on the eighth count. If the music is fast, the dancers can dance around the circle with a slipping step. Each dancer takes a step to the left with the left foot, brings the right foot toward the left foot with a hop, places the right foot where the left foot was, moves the left foot a step to the left, and so on for eight counts. Circle counterclockwise. Repeat the directions for c:ircle clockwise (above) in the opposite direction for eight counts. Right palms. Partners face each other, raise their right hands, and place the hands together, palm to palm. Each pair of dancers walks around in its own circle for eight counts. Left palms. Partners face each other, raise their left hands, and place the hands together, palm to palm. Each pair of dancers walks around in its own circle for seven counts and returns to the large circle on the eighth count. Gentlemen's double. As in doubling above. men walk forward four counts into the circle then double back to their ladies for four more counts. They clap on the fourth count and on the eighth count. LAdies' double. Same as abo\'e. only ladies this time. . Alternating single. Starting \O,;th the right foot, the men take one step into the circle and bring the left foot forward to meet the right foot on the second count. They clap on the second count. . While the men single back and clap on the fourth count, the women single forward and clap on the fourth coupt, too. . While the men single forward and clap on the sixth count, the women single back and clap on the sixth count. The men single back and clap on the eighth count while the women hold their places and clap on the eighth count. Honor your partner. Honor your corner. 78 A brief history of music in the Elizabethan Period There can be nothing more immediate that you can present to your students than to hear the SAME music that Shakespeare and all of London heard and sang 400 years ago! Shakespeare was very astute in his music choices. He writes stage directions for trumpet fanfares and flourishes to indicate character rank, ceremony, baltle or location. Sometimes Shakespeare was the tyrist and others put the music to his poetry. Examples of these are "It was a Lover and his Lass", music by Thomas Moi1ey from As You Like It. or "Oh Mistress Mine" from Twelfth Night also composed by Morley. Other times. Shakespeare used a popular song. He gave Ophelia fragments of the popular song, "Bonny Sweet Robin" to sing just before she (possibly) committed suicide. Shakespeare, as did all of the playwrights and company managers of the day, knew that it was important to have a rousing song or dance at the end of the play (regardless if the play was a comedy or tragedy) to have the groundlings go home happy. (In A Midsummer Night's Dream, Bottom asks Theseus if he would like "to hear a Bergomask dance" at the end of the Pyramus and Thisbe.) Unfortunately these after play song and dances got completely out of hand, causing near riots and forcing the state to banish them. When you read a Shakespeare play and it mentions a song, dance or flourish, keep in mind that these were taken very seriously and performed "full out". These elements made and make live theatre exciting. Music was also performed before the show, This idea was an outgrowth of the music consorts that were performed at an upperclass picnic or grounds gathering. It has long been established that Shakespeare and other company managers were "capitalists". Copies of the sheet music could be purchased at the end of the show. The musical instruments played at that time were: The Lute (which for your students, you may consider the forerunner of the Guitar) ) The Violetta (the early violin) The Hurdygurdy (a bit of a reach, but may be called an early Steel Guitar) The Recorder (the grandparent of your student's Futaphone!) Below is a music timeline to help you find the proper music for the period. A large music store chain should have a good selection of the music described below. Shakespeare's plays were first performed from approximately 1589 to 1613. The music periods of this time are "LATE Renaissance" and "EARLY Baroque". Any music composed earlier or later than those in these periods will sound appreciably different than what was heard in Shakespeare's London. The most famous composers during the Elizabethan time were: Thomas Morley, John Wilson, Giles Famaby, Robert Jones, John Dowland. Robert Johnson, William Byrd, and that oh so famous. "Anonymous". Madrigals were very popular. One of the most famous of the madrigal composers was Claudio . Monteverdi (1567 1643). There is a lot of Church Music written during this period. Most is written in a "dirge" style. I would not recommend buying these, it could put the kids to sleep. (Gregorian Chants were composed as early as 590 AD, for Pope Gregory I. Though they may have been known to the Elizabethans, they probably were not song, in Protestant England!) ," . , 79 Please note, music by George Frideric Handel and Johann Sebastian Bach are much too late. Though Handel"wrote in the early Baroque period, he was then composing in Germany and Italy, which had a more sophisticated style than England at that time. Audio CDs: It is not hard to find music composed during Shakespeare's time. It is a little harder to find music that may have been perfonned AT. or FOR a Shakespeare's play. Shakespeare's Musick: Songs & Dances from Shakespeare's Plays on Philips Classics is one of the few CD's which perform songs that may very likely have been performed during a Shakespeare play. http://WWW.Dhilclas.Dolvaram.nl The most famous piece of music that was sung and played through out England during that time was "Greensleeves.. A very popular modern rendition of the work Is "Fantasia on Greensleeves" by Ralph Vaughan Williams. The second melody in this Fantasia is Thomas Morley's melody for the song "0 Mistress Mine" from Twelfth Night sung by Feste in Act Two. Scene Three. The most famous piece of music inspired by a Shakespeare play is Felix Mendelssohn's "A Midsummer Night's Dream Suite", Famous from this work is the .Wedding Fanfare". (This is not, the wedding march, "Here comes the Bride" that piece is taken from Richard Wagner's opera Lohengrin. ) 80 Musical Instruments Lute: A plucked stringed instrum.ent with a half pear shaped body and a flat neck with seven or more frets. It had a separate peg box usually bent backward. The body of the lute was covered with parchment. There were short neck and long neck lutes. During the17th century increased demand for bass instruments led to the construction of the mandolin. (Later. the guitar became POPular.) Lute music formed an important repertory of Elizabethan musIc. It was second only to the music ot the organ and harpsichord. The preserved literature for the Jute exists from 1507 to about 1770. Violin: A stringed instrument played using a bow. It comes closer than any other instrument to the sound ot the human voice. Violins are scientitically termed "fiddles: Earliest European fiddles had the shape of a slender pear or bottle and were known as lyra. The violin developed between the 1550's and the 1600's. Antonio Stradivari, who began creating violins in the late 1690's and early 1700's, built the most famous of all violins. Violin family members are the viola, and the violino piccolo. Using the later. J.S. Bach wrote music tor this instrument in his Cantata no. 140. Other instruments used throughout the 16th century were the viols or violini and violons. . 81 82 , 3 5 L1'.TIES I. Lute. :. Chibrruae. 3. Thcorboe. 4. Mandob.. 5. ~ncloJin. 6. T.:znburi. 7. Cot:uQonc:. 8. P"ip'. 83 .J M/e rrUrtllinl ~ ml6 hUll I VIOLINS I 1. VIOlin. :. Double bass. 3. T=or vioL 4. Bass viol. S. V'JQI:I d'a.mon:. 6. B:uyton. . .I, . ...... I 3 5 2 6 7 8 9 c C 10 € C VIOLINSn E I. Sarinda. :. Kemantchc:. 3. Rc:bab. 4. Giguc:. 5. Rc:bc:c. 6. Rc:bc:c, C 17th century. 7. Kit. 8. Vicl1e. 9. Lin cia ~:a;::cio. 10. Tromba marina.. u. Hurdygurdy. . e Reference Materials Grades 3, 4, and 5 ~eference Books Computer Software Internet Sites ... . . \ i 86 Wm. Shakespeare, J weltth Night, Cambridge School Shakespeare, Cambridge University Press, 1993 ISBN 0521435366 i::!Urden, LOIS, ~hakespeare Can Be Fun: 1 Z" Night for Kids, A Firefly Book, 1997 ISBN ~8753233Q _, Shakespeare Can Be Fun: A Midsummer Night's Dream for Kids, A Firefly Book, 1997 ISBN 1552091244 . _' Shakespeare Can Be Fun: Romeo and Juliet for Kids, A Firefly Book, 1998 ISBN 1552092291 . . _, Shakespeare Can Be Fun: A Child's Portrait of Shakespeare, A Firefly Book, 1995 ISBN 0 887532616 Chirinina, Alain (Retold), Shakespeare's Play in the Classroom: A Midsummer Night's Dream, Good, Apple a division of Frank Shaffer's publications, 1997 ISBN 1564179915 Hood, Christine and Lori CardozaStames (Retold), Shakespeare's Play in the Classroom: 1ih Night, GOod Apple a division of Frank Shaffer's publications, 1998 ISBN 07682..00105 . _, Shakespeare's Play in the Classroom: The Tempest, Good Apple a division of Frank Shaffer's publications, 1998 ISBN 0768200091 Other excellent books O'Brien, Peggy (ed.). Shakespeare Set Free (series) Washington Square Press, 1994, ISBN 0671760483 (etc.) Stevenson, Burton (ed.). The Folger Book of Shakespeare Quotations, Folger Books, 1973 (and later printings) ISBN 00918016002 Macrone, Michael, Brosh Up Your Shakespeare!, HarperPerennial, 1990, ISBN 006272018X Epstein, Nonie, The Friendly Shakespeare, A WinokurlBoates Book (Viking), 1'993, ISBN 0670844470 Lamb, Chanes and Mary, Tales From Shakespeare, Signet Classics ISBN 0451523911 (This book is in public domain and is published by several publishing companies.) Goddard, Harold, The Meaning of Shakespeare, University of Chicago Press, ISBN 0226300412 (volume 1) and ISBN 0226300420 (volume 2) . Schoenbaum, S. (ed). Shakespeare. The Globe and The World, Folger Shakespeare Library, Oxford University Press, 1979,ISBN 0195026462 87 .. Computer Software There are many software programs written on William Shakespeare. Here are a few to get you started. These and other CD's can be found in Educational Software Catalogues. Shakespeare's Theatre. by Clearvueleav (Educational Resources MACIVVIN CD Home #904201) Shakespeare's London, by Clearvueleav (Ed!Jcational Resources MACMfIN CD Home #593341) The Time, Ufe and Works of Shakespeare, by aearvueleav (Educational Resources MACIWIN CD Home #53431L) (3 set CD's) British Uterature: William Shakespeare; Shakespeare's London; Shakespeare's Theatre. by Zane Publishing, . 1950 Stemmons, Suite 4044 Dallas, TX 752073109 (214) 7465555 http://www.zane.com Macbeth, by Voyager (in the Educational Software Institute Catalogue 5986MWCD) BBC Shakespeare on CDROM Series: A Midsummer Night's Dream, ISBN Windows QQ73319768 MAC QQ73 319709 The Tempest, ISBN Windows QQ733197~ MAC QQ73319725 Romeo and Juliet, ISBN Windows QQ73319733 MAC QQ73319679 Macbeth, ISBN Windows ().673319741 MAC QQ73319687 Julius Caesar, ISBN Windows QQ73319776 MAC QQ7331977 Hamlet. ISBN Windows QQ7331975X MAC QQ73319695 All can be purchased in the Scott ForesmanAddison Wesley catalogue 18005522259 A few excellent educational software distributors: Scholastic Inc. (Concentrates on lower grades) 555 Broadway New York, NY 100123999 18007246527 www.scholastic.com Educational Resources 1550 Executive Drive P.O. Box 1900 Elgin, IL 601211900 1 8006242926 www.edresources.com Learning Services P.O Box 10636 Eugene, OR 974402636 1800 8779378 www.leamserv.com 88 Educational Software Institute 4213 South 94th Street Omaha, NE 68127 1800955 5570 www.edsoflcom Forest Technologies 18005443356 www.ForestTech.com Internet Sites: There are more sites regarding Shakespeare than you can count Here are just a few that do have educational information. Shakespeare in the Classroom: www.ietlink.netlmassii/shakes Shakespeare Magazine: www.shakesDearemaaazine.com Wm. Shakespeare and The Internet: http://daphne.palomar.edu/shakesDeare Shakespeare's Birthplace Trust www.shakesDeare.ora.uk Shakespeare Globe USA: httD://www.shakesDeare.uil.ic.edu/ The Folger Shakespeare Library: http://www.folaer.edu And for more...Yahoo www.vahoalartslhurnanities/literature/aenres/drama/Dlavwriahts (scroll down to Shakespeare: William) r 89