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TITLE The Development of the Comic Spirit in 17th Century England from James Shirley to William Congreve. Curriculum Projects, April 7-June 16, 1992. The Huntington Theatre Company Master Works Study in Restoration Comedy. INSTITUTION Huntington Theatre Co., Boston, MA. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. PUB DATE 92 NOTE 153p.; Some of the materials may not reproduce legibly due to faint or broken type. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020)

EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Class Activities; *Drama; *Dramatics; *English Instruction; Foreign Countries; Grade 8; Junior High Schools; Junior High School Students; Learning Activities; Lesson Plans; Literary Styles; *Seventeenth Century Literature; Teaching Methods; Units of Study IDENTIFIERS Aristotle; *Classics (Literature); England; *Restoration Comedy

ABSTRACT Developed by the participants of the Huntington Theatre Company's Master Works Study in Restoration Comedy, this collection presents one-day lessor plans and curriculum projects for teaching Restoration comedy. The collection offers 15 one-day lesson plans and 15 curriculum projects (ranging over several weeks) suitable for secondary school students of varying ability levels. (RS)

*********************************************************************** Reproductions supplied by EDRS are the best that can be made * from the original document. *********************************************************************** r--

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The Professional Theatre in Residence at Boston 1 nttersity

The Huntington Theatre Company's Master Works Study in Restoration Comedy

The Development of the Comic Spirit in 17th Century England from James Shirley to William Congreve

Curriculum Projects

Y.E. DEPARTMENT Of EDUCATION "PERMISSION TO REPRODUCE THIS °Mc* of Etaamml RmsfocIf and Inforommfa MATERIAL HAS BEEN GRANTED BY EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) ILLThis O0Curnern nab been reproduced as 1 received from tM POW Or amiffotabon --"*.n\t \\ ongnafing a April 7-June 16, 1992 0 1A11101 chow. mot moo from toentyieve rePrOduChOn cluMay

Po. my of view Or °prisons SUNNI on InoSOCICor TO THE EDUCATIONAL RESOURCES merit do not neCeMenly fgoemmtoptic+ OE RI oosaaat of oolity INFORMATION CENTER (ERIC) This curriculum is made possible by a grant from the National Endowment for the Humanities.

4,4 PEST coy ABLE ONE DAY

LESSON PLANS MASTERWORKS OF RESTORATION COMEDY /ONE DAY LESSON PLAN Susan Periale 6/2/92

POPULATION: Jr. High drama students (most of their experience is with drama improvisation)

GOALS. Students will personally relate to the material as they gainan understanding that Restoration Comedy is about the foibles and intrigues of male/female relationships.

Overall Plan: Day I - Overview & Improv scenes about boy/girl relationships and readscenes from plays that reflect these ideas.

Day II - Look at boys and girls differences and similaritieson views of what they want from each other and how they see each other.

Day III - Focus on "the games people play", looking at sports strategies and howto use it as metaphor.

Day IV - Look at different character descriptions and castscenes . Day V - Present scenes.

DAY I - Overview about Restoration Comedy with specific talk that the charactersare an exaggeration of a certain class of society.

IMPROVS: games boys and girls play to get to know and talk to each other,a group of girls and a group of boys talking about what they like ina partner of the opposite sex and what is funny and different about the opposite sex.

READ IN CLASS: sample scenes HYDE PARK Act 2 Scene 4 THE WAY OF THE WORLD Act 1 Scene 1 lines133-161 (or from beginning) THE ROVER Act 5 lines 396-507

DISCUSS: How these scenes would be reflected in their own lives. Fewmore improvs that reflect these Restoration Comedy scenes.

L x' /176,5 cA; c_14 o sfora corned/ -512xpliae Acsnoi ( I. This lesson is designed for a freshman reading class of inner-city students of below-average reading levels. II. The purposes of this lesson are two-fold: a) Vocabulary Development and b) Comparison of the image of women as presented in Restoration Comedy with the image of women as presented in current media productions (such as commercials, music videos, and movies). III. Lesson Plan: A. Given specific Acts and Scenes of various Restoration Comedies, the student will define, from context, such words as fop, rake, wit, complaisance, mode, wench, intrigue, vizard, pit, etc, B. Having defined the words above, the student will complete a matching test, in which s/he will match each word with its correct definition. C. The student will then equate each word with one in current usage. D. Next, the student will use each word in a "comic" seritence, thus demonstrating uhderstanaing of both tItetmahiti4 of tne words" and their-LN-REesto-ration t Comedy. E. The Ludentwill then match thewords with acelebrity whomight represent such eword by their character, actifirl;G beliefs, or.wii-rarlife. F. From-A given- List of characterS,the student-11444 _ cliaose one andTiierfatman-YMprovisationascene-usiug one of theiiiialTEiwords'as the point-_6f_coriCentration. IV. Evaluatiolf: The student will aemonstrate knowledgeof the vocabulary presented in the lesson by usingthe words in sentences and completing the matchingtests with 90% accuracy. Also, the student will present animprovasional scene, using the words ashis/her point of concentration. V. Second Lesson Plan: A. Using currently popular televisioncommercials, music videos, and movies, the student will comparethe image of women as presented in such venueswith the image of women as presented in selectedplays from the Restoration period. B. Specific exercises will bedeveloped after class discussion. Sally Campbell 70 Walker st. Newtonville, MA Director of DramaSt. Sebastian's Country Day School

O Y1 te Visevet ea.-mem-10(U Dfot LE.SS 0 Pt a in cottilwy DESCRIPTION OF STUDENTS

An 8th grade drama class made up of very verbal and active boys in a catholic prep school. ClaE, size: 12-15

GOALS

To introduce the students to Restoration comedy: it's themes. recurrent plot devises, and stock characters. Iwould like students to get a general idea of the style, and to be able to recognize the comic elements that reoccur in the kinds of comedy that they are familiar with.

ULTIMATE GOAL: to have the students ask m0,1! if we could do more work on plays from the Restoration.

MATERIALS: Pictures from theperiod and pictures from productions of restoration comedies. Wigs, prom gowns, and fans for acting scenes.

INTRODUCTION

A very brief introduction to Restoration England and the comedies that were written at that time. Discuss the concept of a Comedy of Manners and how it relates to comedies the classis familiar with. Introduce the stockcharacter types: Rakes,Fops, Coquettes, Mistresses, Wits, and pseudo-wits.

ACTIVITIES

Give a brief synopsis of The Man of Mode by George Etherege. As a class read through three short scenes: Act I lines 154-191 Dorimant plotting with Medley about how he is going to dump Mrs. Lovit. Act III scene lines 129-162 Harriet and young Bellair instructing each other as to how to act so that it appears that they are falling in love. Act IV scene II lines 80-141 Sir Fopling sings the praises of mirrors and properly tied cravats, and then sings his own tiresome song for Mrs. Loveit. All the while he is being egged on by Dorimant, Medley. and Young Bellair.

-Briefly go over vocabulary and discuss what each scene is about. -Divide the class into scenes. Each group will work through their scene ,line for line, in contemporary language. -Coach each group separately. For example: demonstra:e theuseof a fan in the Harriet/Young Bellair scene. Ask the students to come up with a contemporary metaphor for the fan. Have props on hand for them to choose from.(sunglasses,bubble gum, school books,etc.)

WRAP UP

Each group will perform their scene for the class. Discuss differences and similarities with the original scenes. Did putting them into contemporary words make them seem more funny?If so,How? After seing the scenes like this, do you understand/like the original scenes better? Does this play remind you of any TV shows, movies, o; contemporary plays you have seen? How? Would you like to do this again? Imagine a unit on Restoration Comedy beginning with the introduction of Huntington's production of, The Way Of The World.

A. Introductory preparation (lesson plans) prior to attendance of the live perform=ce.

B. Live professional theatre performance

C.Script analysis and translation of The Way of The World

Melissa Shaffer RESTORATION COMEDY UNIT

STUDENT DESCRIPTION; High school age Deaf students with limited exposure to formal theatreor script experience due to lack of language accessibility.Cultural range/ethnic background/economic background is diverse.

PURPOSE OF UNIT; 1. To experience translation process of poetic English into American Sign Language with hidden agenda to enjoy analysis of both languages thereby gaining respect and appreciation for both languages. 2. To discover cultural history as it relates to the Theatre Arts... compare society response to theatre in the 1600's to the response theatre receives today. 3.To discuss and compare ethical issues and situations that occur in the script (sexism, lies, etc.) 4.To evaluate comedy elements... compare humor from the script to the comedy seen on stage in the production. 5.To expose students to a formal stylized theatre experience

THIS UNIT'S PRIMARY PRUPOSE IS TO BECOME A LANGUAGE AND LITERATURE UNIT BY USING THATRE AS A TOOL FOR INSPIRATION. t231.4_____QzH 4fiZs2 (=inn)

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Overview: This lesson will iniate studert's interest in Restoration. Comedy. :t will provide a brief historical review of the beginning of Restoration Comedy. This lesson is designed for grades:9-12,splecialneeds. Students will research, discuss, read, write and compare research, thoughts and ideas. Students will have the opportunity to share ir.formatic with each other.

Cbectives: At the conclusion of this lesson, students should be able to: 1. explain general information on a historical perspective about Restor- ,ion Comedy 2. describe some of the historical background of Restoration Comedy describe the important points of history of Restoration Comedy 4. explain some of the issues of societal issues then and discuss how they may fit now 5. evaluate/defend positions regarding Restoration Comedy

Teaching procedures: Introduce Restoration Comedy by giving students some basic historical background and information to iniate a good warm-up discussion. Afterwards, give each student a different assignment question to get them started wih research. The following questions maybe used: a. What is Restoration Comedy? b. When did Restoration Comedy occur? c. Who Were the players of Restoration. Comedy? d. Where did Restoration Comedy take place? e. Who were the actors? f. Where the actors all-male? Why/Why not': h. Coe-aro and discuss today's theatre companies with all-male members to yesterday's all-male members?

i. When did female actors get the opportunity to perform with male actors during Restoration Comedy? Assignment: Go to the library and gather information about Restoration Comedy. Use books, newsclippings, and other media to complete your'research. Be prepared to give an individual presentation at the next class meeting. Books:

hirley, James. .Hyde Park. 'London, r;ethuen, 1987.

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By ALLAN KOZINN Over the last year, two of New )rk's smalj opera companies that ecialize in the Gilbert and Sullivan pertory, the Light Opera of Man- sttan and the New York Gilbert and divan Players, have fallen prey to lands' stresses and curtailed their tivities. Both hope to be reborn, and e hopes they will be. In the meantime, fans of W. S. Gil- rt's clever librettos and Sir Arthur sllivan's witty, hummable music fight want to urge the New York -r- ty Opera to expand its activities in ss well-loved realm. The company es have its foot in the door: Its Lotfi ansouri production of "The Mika- ." which returned to the New YOrk ate Theater on Saturday afternoon, the most enjoyable of the operetta a igings that Beverly Sills brought to City Opera repertory. fr TrueSavoyardswillnote,of arse,that the production does Ike some compromises with tradi- "frf n. When the production opened in A, Mr. Mansouri persuaded the liters not to indulge in fake British cents, and he replaced some of the stomary horseplay with Patricia ,141:16, -ch's elegantly amusing choreog- hy. Those touches remain, and Plwassraphs by Monks Imp Aare . seem sensible for a production inJames Billings as Ko-Ko and Lisa Soifer as YumYum in New York City 9s "Mikado." age house. The staging's less con- versial attractions are Thierry squet's bright, fanciful costumeswide without blending his influencesrequired in the title role. parlousbut not unsympatheticK appealingly minimal stage sets. into a consistent persona, as he has in The newcomers to the production sha. This season's first cast brings back bring greater vocal power and stabil- eral singers who have sung theirprevious seasons. A single speechity to their roles than some past sing- The cast also included WW1 es from the start and adds a fewmight include plausible imitations ofers and are therefore a welcome lot. PercherasPish-Tush,Bran* ces new to their roles. It was anW. C. Fields, Oliver Hardy, Lou Cos-Most striking was Carroll Freeman's Thomas as Pitti-Sing and Micb :eptionally even cast, with no realtello, Bert Lahr and Truman Capote,Nanki-Poo. His sound was tightly fo- McBride as Peep-Bo. ak points, although one might quib-with the seams showing. cused, if occasionally slightly steely; David Pfeiffer, the productir with aspects of this or .that char- The other singers who returnedbut he shaped his lines with realstage director, moved the skii erization. from past seasons included Josephsensitivity, and he acted the role with around the stage economically m =or example, James Billings pacedMcKee, whose blend of pomposityan easy naturalness. Lisa Saffer'sof the time, but with flamboys portrayal of Ko-Ko with real man-and corruption makes for a wonder-sweet, ell-supported soprano suitedwhere it seemed necessaartAtV y and never failed to get the laughsful portrayal of Pooh-Bah; the multi-Yum-Yum's music nicely, and sheorchestra played with sought. Vocally, too, he was in fineple-office-holdingbureaucrat,andplayed the role with a comic flair that precision for Chr'-.:. Nance, who sm. But at times he seemed to beRichard McKee, who easily managedmade her a fine match for Mr. Free-_the score at a comfortably W swing his inspiration from far andthe balance of ferocity and mirth_man. And Josephs Gayer was an im- pace.

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BEST COPY AVAILABLE One Day Lesson Plan Tina Langson Choose only one activity.

BE AN ARTIST! Much of the action in The Rover" takes place during Carnival, a time to wear costumes, masks, and act in a manner that is different from the way one usually acts. Keeping in mind the "real" characters in the play, design a three dimensional papier mache mask forone of the characters. You will present your mask to the class at which time you will explain your reasons for designingthe mask as you did.

BE A PSYCHOLOGIST! Adopt the point of view of one of the characters in any of the Restoration plays we have read. What is the "inner you?" What are your feelings, thoughts, fantasies, desires, fears?What is the "outer you?" What type of facade do you present t.1 the world?How does the outer you differ from the inner you? Using any style you like doodle, sketch, symbol, image, picture express both the inner and outer you. You may make one or two pictorial representations. You will present your work to the class at which time you will explain your reasons for drawinges you did.

BE A MIND READER! Choose one major character from any of the plays. Think of five statements that character might have thought. Develop each thought into a paragraph. Then combine your paragraphs, editing as necessary, into a unified essay. Your essay will be Xeroxed and given to everyone in class. You will field questions from your classmates concerning how well you stayed in keeping withyour character.

BE A COSTUME DESIGNER! Choose a major character from any play. Dress him or her in whatever time period you like, but make sure the costume stays in keeping with the character. You may bring in fashion sketches, or you can dress Ken and Barbie. You will present your work to your classmates and discuss your reasons for designing as you did. 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Put until glue the mixtute tPVA) Pulp ni101111111 a 1101 lumpy bowl !du u1 ,11)..,1) 01 11.5p u1 wasp lapel paste kr (A: i)/5 o / l2es fora)1; 0 e / -50rolo/t At'S:543/1 I. This .lesson is designed for a freshman reading class of inner-city students of below-average reading levels. II. The purposes of this lesson are two-fold: a) Vocabulary Development and b) Comparison of the image of women as presented in Restoration Comedy with the image of women as presented in current media productions (such as commercials, music videos, and movies). III. Lesson Plan: A. Given specific Acts and Scenes of various Restoration Comedies, the student will define, from context, such words as fop, rake, wit, complaisance, mode, wench, intrigue, vizard, pit, etc, H. Having defined the words above, the student will complete a matching test, in which s/he will match each word with its correct definition. C. The student will then equate each word with one in current usage. D. Nett, the student will use each word in a "comic" uriaerstanaing of both

tire--..11 iirig of trite woras- ana their 1fft- Restoration Comedy. E. The Luaentwill then match thewords with acelebrity who might represent siich a;--word by their character, actlful, berViTs, pf-tiOStiald. F. From -A given-II-St of character, thestudent,A11444 chbose one andr-iiircilmad-rinprovisational scene,-usloug one of the-78bufiiTwords as the pointit_coriCentration. Iv- Evaluation: The student will aemonstrate knowledgeof the vocabulary presented in the lesson by using thewords in sentences and completing the matching testswith 90% accuracy. Also, the student will present animprovasional scene, using the words ashis/her point of concentration. V. Second Lesson Plan: A. Using currently popular television commercials,music videos, and movies, the student will comparethe image of women as presented in such venueswith the image of women as presented in selectedplays from the Restoration period. B. Specific exercises will be developedafter class discussion.

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BEST COPY AMBLE 9 VIRGINIA BYRNE JUNE 2 1992

MASTERWORKS/RESTORATION COMEDY

ONE DAY LESSON PLAN

TARGET CLASS THIS PLAN IS WRITTEN FOR THE VERY ACTIVEYET BRIGHT AND ARTICULATE CLASSES OF'10TH GRADERSWHO RESPOND BETTER TO "ON-YOUR-FEET" METHODS OFLEARNING. IT COULD BE USED FOR A LANGUAGE ARTSCLASS TO OBSERVE THE CHANGING LANGUAGE OR A SOCIAL STUDIESCLASSS TO BETTER UNDERSTAND THE CHANGES IN SOCIETY AS WELLAS THE SIMILARITIES AND CERTAINLY FOR A THEATERCLASS.

GOAL TO UNDERSTAND THE RESTORATIONTHEATER'S STYLE OF WRITING AND ACTING AND HOW THE THEATERREFLECTS THE TIMES.

PREPARATION

A LIST OF CHARTACTERNYMS FROMVARIOUS PLAYS OF THE PERIOD. . re. 7 ONE SHORT SCENE FROM A RESORATIONCOMEDy\WHICH ILLUSTRATES WELL THE LANGUAGE. ONE SCENE FROM THE MUSICAL "GREASE" SELECTED MUSIC FROM THE PERIOD(PURCELL)

CLASS [WHILE STUDENTS ARE COMINGINTO CLASS HAVE THE MUSIC OF THE PERIOD PLAYING.]

INTRODUCTION; EXPLAIN THE THEME OF THE 'RAKERECLAIMED' AND IT'S RELEVANCE TO THE TWENTIETH CENTURYDRAMA.

EXPLAIN THE DECALMATORY ACTINGSTYLE AS COMPARED TO THENATURAL ACTING STYLE OF TODAY. 2.

BODY OFTHE CLASS;

FOURGROUPSDEPENDING INTOTHREE OR SIX INA DIVIDETHE CLASS WANT NOMORE THAN THECLASS,YOU SCENE ANDTHE UPON THESIZE OF RESTORATION COPIES OFTHE CHARACTERSIN GROUP.HAND OUT RENAME THE HAVESTUDENTS DEVELOPTHE 'GREASE'SCENE. AND PERIODCRARACTERNYMS THE SCENEAND 'GREASE;WITH LINGO.REHEARSE REST OF INTORESORATION THE PIECETO THE DIALOGUE THENPRESENT STYLE INTHEIR EACHGROUPSHOULD USEDECLAMATORY ACTORSSHOULD THECLASS.THE PERFORMANCE.

ANDSHOULD EVALUATION IN THEPERFORMANCE WILL BE OF THEPERFORMANCE THEEVALUATION EFFECTIVENESS TO THE NOT ONLYON THE OF THEAPPROACH BE BASED ANDSERIOUSNESS BUT THEINTENSITY PROJECT. Barry Lew June 2, 1992 Theatre Arts Teacher Leominster High School Leominster MA ONE DAY LESSON PLAN FOR MASTER WORKS INRESTORATION COMEDY 1

A) This lesson will be presented toAdvanced Theatre Arts

students, who have had one year of learningthe basics concerning theatrical production. Students in this class must be recommended by their Theatre ArtsTeacher and their Guidance Councelor. All of the students, in this class,

have completed an extensive uniton Viola Spolin's

"Improvisation for the Theater". They should have an understanding of hLl to develop anduse "POINTS OF

CONCENTRATION" that are fully explained inher curriculum.

B) The purpose/goals of this unit isto have the students understand some of the costume fashions andstyles of The

Restoration Period and how these wouldaffect and/or reflect a Restoration character's movement. expressionand attitudes.

C) The approach/way that this lesson willbe presented will follow the format presented in ViolaSpolin's book mentioned

In paragraph A). This lesson be could integrated intoan

improvisation curriculum, or be used by itselfwith a class already familiar with Viola Spolin's methods.

1) First the class will view slides of Restoration prints of people (the ones that wesaw in class would be great). 2) While they are watching, students will beasked specifically to jot down their descriptions of thefashion clothing and accesories that they see. Whatdo they show us about these people? How do they look like these people feel? How does the clothing and wigs makethem feel physically (i.e. the wigson their heads) and emotionally?

Can you project what they might bethinking?

3) After viewing the slides,we will discuss their thoughts and findings.

4) We will then do some improvisationexercises. The first improvisation exercises willuse the entire class, in our open space, at the same time. Students will be told that the "POINT OF CONCENTRATION" isto imagine specifically what they would be wearing if theylived in the Restoration

Period and how does this affect theirmovement. After thinking about it on theirown, the teacher will then choose one student to be first actor and leader.When that person is ready call "curtain". First actor moves around stage in imaginary costume. After costume has been established, the other students will be told to join inthe action when they are ready. While the action is goingon, the teacher will side coach with these Ideas, (Concentrateon how your head feels! Concentrate on your feet! Concentrate on your midsection! Without speaking greet your neighbor! Move along, greet someone else! Ignore eveything around you except the people in the scene!). When theentire class olns in, or when it looks like noone else will join in, call "cut" and havegroup sit ready for dicussion.

5) Discuss, how did you feel duringexercise? What

worked?What people looked like theybelonged in those

slides that we watched?What could you do to makeyour movement and manner more realistic?

6) The second improvisationwill be conducted thesame way as the first. However, the "POINT OF CONCTRATION"this time will be, what do the clothessay about yoy and the way

that you feel. Side coaching examples: (Standin costume!

Hold your head in costume! Look around in costume! Examine

your space! Make contact with specificthings around you! Examine your neighbor and whatthey are wearing!

7) Same discussionas subsection 5.

8) If time permits, dosome "where" exercises, using

our new imaginary costumes andmanners.

D) Evaluation process. How many people involve themselves

in the improvisations? Do the ones that usually leadthe way, continue? Do students, who are usuallyreticent about joining, participate? Dorothy A. Dudley Lesson Plan I 2 June 1992

The Restoration : An Introduction "For the apparel oft proclaims the man"

Objective: To introduce high school studentsto the world of Restoration comedy through an examination of periodcostumes. Students will discover changes in modes of dress that occurred followingthe return of Charles II to the British throne in 1660, and they will learnhow "the apparel proclaims the man" in the context of Restoration comedy.

Procedure: Introduce the Restoration Periodby tapping teenagers' natural interest in fashion. Begin by circulating two (2) sets of period-costume drawings for students' perusal. The drawings (ExhibitsA &B, attached) depict the fashions of the Commonwealth (Inter-regnum) Period(A), 1649- 1660, and those of the early Restoration Period (B). CharlesII, 1660-1685. Be sure that there are enough copies for each studentto study individually for at least a minute or two. After about five minutes, or whenever students have hadtime to compare and contrast the costumes of both eras, ask for observations and commentary.If students seem reluctant, direct their discussion with the following activities:

* Have students list five to eight adjectives that describe thecostumes of the Commonwealth Period.

* If, as Shakespeare says.The apparel oft proclaims the man," what do these costumes proclaim about the men and women whowore them?

* Repeat the same exercise for the costumes of the Restoration Period. Dudley 2

Next, ask students to speculate about the relativecost of these clothes. Which items would be most expensive? Leastexpensive? Are these fashions for everyone? Are they associated witha particular social class?

* Encourage students to imagine how theclothing could affect one's lifestyle. Was the clothing restrictive? liberating?practical?

Finally, shift the focus from the changesin fashion as students have observed them to the changes in politics andsociety that accompanied the restoration of the monarchy and the reopening of theaters.

Outcome: Students should be eager to commenton the fashion differences between the two periods.If they do need prompting, the first few adjectives are enough to generate manymore. at the Commonwealth costumes, one often hears. "Pilgrims!" Hardlyan adjective, but useful for a beginning.) Once students have identified the plainvs. lavish contrast, they are ready to concentrate on the extravagance, gaiety. and personal indulgence of the Court of Charles II, as opposed to theabstemious, self- denial of the Inter-regnum. From this first lesson, studentshave a better idea of the "look" of the period, and theyare ready to animate the characters that they have envisioned.

Bibliography: Peacock, John. Costumes 1066-1966. London: Thames andHudson, 1986. COMMOISIWEALTH1649~60 (d-"Bir

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L5 HSI COPY AVAILABLE JoEllen S. Wood Restoration Comedy June 2, 1992

(Almost) One Day Plan for Class in Restoration Comedy

Class makeup: This lesson plan is designed for an eleventh/twelvth grade electivesurvey course in drama. My classes are usually made up of a mixture of students with academic abilities from basic to advanced. They are mostly students from an affluent suburban community, but not all students are affluent. There are also Metco students of various backgrounds in the class.

Course background, overview: In a survey course, the students would have read Greek and Medieval drama before encountering Restoration Comedy. (They would have read at least one play from Shakespeare in earlier grades.) In this course the students would have considered many aspects of drama, including the social, political, religious, intellectual, and even economic factors. They would have contemplated theatre as a part of its society rather than apart from its society.In keeping with this overall approach, after reading and discussing the theatrical and literary approaches, they would look at the historical setting of Restoration Comedy.

Objective: The goal of this assignment is to extend students' understanding of theatre asan integral part of its society, and that a comedy of manners should be seen in the context of the Restoration Period.

Procedure: Before reading the play in class, the teacher should hand out a broadside proclaiming: /as theatres atatbebultb to be abut ban inhituttelv. Vita tsustessary bttauze of the moral corruption tobttb the ;lava ext)tbttan entourage. en the bap after the class finizbes reabing the plat',a baring to bettrutine the merit of this action till be blab in the classroom. (tab group of interesteb parties map offer ebibence toa panel of jubges b3bitli Will make a final becision about tobether to retinbor to enforce the buret.

* * * * * * * *

Divide the class into groups which will act as interested parties. Youmay find the following groups useful, but feel free to work out your own. The students themselves may discover other groups they would like to represent. Puritans circa 1650 in England Jacobites Friends of Charles II Servants and working class people circa 1650 in England Playwrights of the Restoration Period Playwrights of other times or cultures, ie. Sophocles, Shakespeare, Moliere (The class would not yet have studied Ibsen or Rostand.) Characters or real people from other periods of history which interest the students

The students will have time outside of class to research the group they represent while class time is given to reading and discussing the text. This will probably take

37 about a week. The researchers are to learn about historical background, attitudes and beliefs, social and economic standing, education, leaders, and so forth for the group they represent.It would also be wise to be prepared for arguments which might be presented by opposition groups. Each group must also submitan outlint.)f their information and a bibliography.It might be practical to set a time limit for each group's presentation.

Grading will be based on accuracy and thoroughness in both written andoral work.

Ideally, some teachers and students from outside the class couldserve as the panel of judges.

38 Lesson Plan: The Wives Excuse Paulette J. Idelson June 2, 1992

Discussion Questions

A. Why did Southerne create the footman scene at the beginning of the play?

B. What is the main plot of the play? What are the secondary plots?

C. In a moral system of rewards and punishments vicious action should be punished and constancy in virtue shouldbe rewarded. Is this true in "The Wives Excuse"?

Consider:

Mrs. Friendall Friendall Mrs. Wittwoud Welville Fanny

D. Could Southerne have created "The Wives Excuse" to depict real life in the world of 1691?

Writing Assignment

Write an alternate ending to the play. Be prepared to discuss your changes with the class.

Activities (Choose One)

A. Sketch a set for one act in the play. Indicate where props are to be placed.

B. Design the costumes for one scene in the play.

C. Describe a typical day in the life of one of the characters.

D. Explain the meaning of one song in the play.

-Rladxiocce:\5-e4t4.4i1c4 b-Pff-4-1 _.16/14i-ZaMi.444,<_ 39 MASTERWORKS LESSON FLAN Bill Collins JUne 2, 1991

Students for whom this curriculum is designed: a senior English IV class; college-bound students from both the inner city and suburbs; in an independent (Jesuit) high school.

Goals of the unit.

1) to lay some foundation for a week-long study ofcomedies from the Restoration period; this class is intended as introduction.

2) to familiarize students with basic library referencematerials concerning the theatre, e.g. The Oxford Companion to the Theatre; Geisinger's Plays, Players and Playwrights,etc.

3) to have students acquire a working knowlegde of the stockcharacters in comedy, from ancient Rome through the commedia dellbArteto Moliere, Shakerpeare, the Restoration and eventually to American popular situation comedy, and to see the timeless, perennial quality in much of the genre.

Homework. 1. each student will be responsible for all the vocabularysheet.

2. Group work: each student will be assignedto a group of five. Each group will research ONE tradition's examples of the classical stock characters.

Class. (40 minutes)

1. In groups, mixed, one student from each of the five traditions, information about examples of characters are shared;everyone must take notes during these discussions. (30 minutes)

2. Re-Assemble into the large group. The surprise at this point is that the teacher asks each student individually (at first)to apply what they have learned to the TV sitcom Cheers.

3. Group discussion; if possible, leading the class to the question, Why are the stoc.:. characters of comedy so consistent accross the centuries?

Evaluation. --recognition of the stock characters in-anew comedy;

--ability to use a more literary vocabulary while studying Restoration comedy.

4 0 VOCABULARY ASSIGNMENT

Be sure you can: define each term in your own words;

provide an example to accompany each definition;

explain how your example fits the definition.

comedy

farce

satire

comedy of manners

fop

coquette

characternym

wit

41 RESEARCH ASSIGNMENT: Your group will be doing research in ONE of these traditions:

Latin comedy commedia dell*Arte Moliere Shakespeare Restoration comedy

your task is to find the actual names of characters in your assigned

tradition who fit the "classic" stock characters of comedy, like this:

example miles gloriosus. (braggart soldier): Falstaff, a ridiculously fat,

rascally, loquacious sunshine soldier who provides much of the

comedy in I Henry IV, 2 Henry IV, and The Merry Wives of Windsor.

The stock characters are:

SENEX (stern old father)

MILES GLORIOSUS (braggart soldier)

MERETRIX (beautiful young woman, courtesan)

ADULESCENS (young lover; male lead)

SERVUS CALLIDUS (clever slave)

SERVUS STULTUS (stupid slave)

42 CURRICULUM PROJECTS

43 MASTERWORKS OF RESTORATION COMEDY/FIVE DAY LESSONPLAN Susan Periale 6/16/92

POPULATION: Jr. High drama students (most of their experience is with drama improvisation)

GOALS: Students will personally relate to the materialas they gain an understanding that Restoration Comedy is about the foibles and intrigues of male/femalerelationships and that "old" plays may have something in them that is relevantto their lives.

Overall Plan: Day I - OVERVIEW & Improv scenes about boy/girl relationshipsand read scenes from plays that reflect these ideas.

Day II - CHARACTERS discuss character types in Restoration Comedy,how they apply today and characternyms.

Day III - BRINGING IT HOME read Restorationscenes and reword in conteporary dialogue.

Day IV - RELATIONSHIPS, THE BIG ONE: THEN AND NOW

Day V - PIECING OUR WORK TOGETHER. What does this allmean to us?

DAY I - OVERVIEW about Restoration Comedy with specific talk that thecharacters are an exaggeration of a certain class of society.

IMPROVS: games boys and girls play to get to know and talkto each other, a group of girls and a group of boys talking about what they like ina partner of the opposite sex and what is funny and different about the opposite sex.

READ IN CLASS: sample scenes HYDE PARK Act 2 Scene 4 Fairfield's crafty play for Carolto think of him THE WAY OF THE WORLD Act 1 Scene 1 lines 133-161 (or frombeginning) Mirabel complains to Fainall about Millament's behavior towards him THE ROVER Act 5 lines 396-507 Through language Helena Challenges Willmore and he asks her to marry him

DISCUSS: How these scenes would be reflected in theirown lives.

44 DAY II - CHARACI.ER TYPES

LIST character types and discuss what they are and contemporary counterparts.

CHARM- ihRS-Rake, fop, cuckold, coxcomb, widow, maiden, coquette, maid, manipulator,

LIST contemporary character types (jock., nerd, intellectual, gearhead, etc)

DISCUSS Characternyms.Point out examples in the scenes read thus far.Make up contemporary characternyms for the characters we just described. How about for yourself?

DAY III - BRINGING IT HOME.

REREAD the same three scenes from Day I

DISCUSS what is being said. As a group we look at HYDE PARKscene and reword it for contemporary language.

PARTNER WORK In pairs, students are given scenes to rewrite in theirown words. Several pairs are given the same scene so that wecan hear them all and compare interpretations.

DAY IV - RELATIONSHIPS, THE BIG ONE: THEN AND NOW

READ: WAY OF THE WORLD Act IV Scene I lines 128-262 the Marriage Contract

DISCUSS what is being said and what would contemporary counter-part be.

LIST brainstorm 1) things you want to be able to do on your own even whenyou are in a major relationship 2) things you want as part of a major relationship

BRAINSTORM We list these brainstormed items on slips of paper and put them ina hat. Each student picks three items that shape what is important to your character.

WARM-UP SESSION in which students are talked deeper into aspects of their character. (What is your name? How old are you? Where do you live? What is your occupation? What do you do for fun? What was your own family like?...etc)

PRACTICED IMPROVS Students are paired up and first just improvise their own discussion of what they want in the relationship. PRESENT SCENES.

4:) DAY V - PIECING OUR WORK TOGETHER.

DISCUSS the scenes we have read and improvised and brainstorm how thesemight be woven together to make a presentation about relationships.

THEME What is the theme of our presentation? Does it showa positive or negative view of relationships?Do the restoration scenes stick out as so different thanour contemporary scenes?

TITLE & AUDIENCE What do we call this presentation? Who would enjoyseeing it?

(Further classes would be spent in rehearsal of thescenes for presentation.)

EVALUATION Evaluation of this project comes largely in the student's levelof participation in the readings and improvisations. It will alsocome as we talk about how to piece the scenes together and we see how able they are tosee relationships in the different scenes. Their own answers to the theme and audience questions listed above will be another indicator.

4G Sally Campbell St. Sebastain's Country Day School

Master Works in Restoration Comedy

Six Week Lesson Plan In Restoration Comedy

Description of Students: An 8th grade Drama class made up of very verbal and active boys in a catholic prep school. Class size: 12-15

Goals: To introduce the students to Restoration Comedy:its themes, recurrent plot devices, and stock characters.I would like the students to get a general idea of the style, and to be able to recognize the comic elements thatreoccur in the kinds of comedy that they are familiar with. Ultimate Goal: For the students to have a blast portraying characters and working withinthe style of the restoration.

Overview: We will explore Restoration Comedy through reading The Country Wife, by William WicherlZ, and excerpts frogi The Man Of Mode , by George Etherege, and The Way Of Tne Worla, by William Congreve. Each day we will also work on drama activities that will relate to the period. At the end of the unit students will memorize and perform short scenes from the above plays and will evaluate each other's performances.

Week 1: Day 1: An introduction to Restoration England,its politics and the state of the theatre. We will spend a fair amount of time looking at slides and pictures from the period and from productions of Restoration Comedies. Discuss the concept of a comedy of manners and how it relates to comedies the class is familiar with. Introduce the stock character types: Rakes, Fops,Coquettes, Mistresses, Virtuous Ladies, Wits, and pseudo-wits.

Activity: Divide the class into groups and give each group a print of a Hogarth cartoon or a Gainsborough painting. Give each group a collection of wigs, prom gowns, fans, canes, and hankercheifs and have them assume the pose of the painting. Have each group share their poses with the class.

Demonstrate the use of the fan, cane, hankercheif, and wig. Have the students practice with these props and make a smallish parade (with some period music in background). Discuss how the props and costume pieces make you feel.

Day 2: Give a quick synopsis of The Man of Mode by George Ftheredae. As a class read through three short scenes: Act 1 lines 154-I91,DOrimantrlottipq with Medley as to how he is ooinato dump _Mrs.Loveit. Act ill scene i lines 129-162, Harriet ana fouag beilair instructing each other how to act so it appears to their guardians that they are falling in love. Act IV scene ii lines 80-141, Sir Fopling sings the praises of mirrors and properly tied cravats.and then sings his own tiresome song for Mrs. Loveit. All the while he is being egged on by Dorimant,Medley, and Young Bellair. -Briefly go over vocabulary and discuss what each scentis about.

4f Six Week Lesson PlaninRestbratiOnCOMedcOninUel)

-Divide the class into scenes. Each group will work through theirscene line for line in contemporary language. Ask the students tocome up with contemporary metaphors for out dated props such as fans. Haveprops on hand for them to choose from. (sunglasses, bubble gum, school books, etc.)

-Have each group perform their scene for the class. Discuss thedifferences and similarities with the original scenes.

Day 3: Return to the Original Scenes from the The Man Of Mode.Put the groups back together and have them rehearse the scenesas written. -Have each group perform their scenes for the class. Discuss which way, contemporary or restoration, was more fun to workon. Why?

Day 4:Read excerpts from Pepys diary and "The Manners Of The Restoration Gallant" section about manners at the theatre. -Have the class don their prom gowns, wigs, fans,etc. and improvise a Restoration audience. Try behaving in thesame manner in contemporary dress. Discuss the change in manners at the theatre.Why has it changed? What audiences or spectators still behave in a similar fashion?

Day 5: As a class readthe selection "A Manual For Actors" that is attributedto Mr. Betterton, and a selection from Olivier's thoughtson acting. Discuss how the theories are similar and different.

Week 2: Begin reading The Country Wife, by William Wycherly.Each day for the next four weeks the students will spend reading approximatelyeight pages of the play aloud.(each night they will read the following day'sselection which will be accompanied with vocabulary words and questionsfor discussion.) The second half of each period will be spent on various drama activities.

Day 1: p.7-15 line 136 Activity: As a class brainstorm ideas for characternames, physical/emotional problems, and objectives.Example: Lillywhite Constant,trick knee, wants to prove to the world her virtue ,or, Dustin Fuzzybrain,lisp,wants to consume as much food and drink as possible. Put the informationon index cards and have the students pick them out of a hat. rave the studentsassume these characters, using props as usual, and create an afternoon in the park with these "Restoration People".

Day 2: p.15-p.24

Activity: Keep the characters developed the previousday and have the students create short skits about specific problems. Share the skits withtheclass.

Day 3: p.24-p.31

Activity: Remind the students of Sir Fopling'spoem for Mrs. Loveit. Give them examplesofotherlovepoems and songs. Have them pretendto betheir Restoration characters that they have already created,and make a valentine, complete with poem, for their love interest.

Day 4: p.31-p.39 Activity: Have the students perform their valentine's for the class.(put some music on to encourage the cornyness) Each studentshould choose a partner to enact the person receiving the valentine.

48 Six Week Lesson Plan In Restoration Comedy(continued)

Week 2 (continued) Day 5: p.39- p.47 Activity: Completethe performances of the Valentines.As a class evaluate poems and performances.Did the poems suit the the to their performances characters? Did theactors commit of their "love" poems?If there is time, students performpart of the same have all the poem using differentstyles and objectives. Discuss how thischanges/shapes the poem and sheds lighton the character. Week 3: Day 1: p.47-56 Activity: At this point the classshould be fairly Wife. As a class involved with TheCountry discuss the charactersto this point and students like themost. Have each which charactersthe write a letter to student pick acharacter from the another characterin the play. Have play and language and styleas in the Restoration. them try to usesimilar

Day 2: p.56- p.64 Activity: Finish theletters that were started the daybefore. Day 3: p.64 -p.72 Activity: Have thestudents rehearse and perform theletters they have written. Day 4: p.72 -p.80 Activity: Have thestudents switch letters with apartner. Have the enact the characterthat receives the students letter. Showthe character letter, reading it, andresponding to it. getting the

Day 5: p.80- p.87 Activity: This could be a day to quizthe students catch up onany unfinished business. on The Country Wifeand to

Week 4: Day 1: p.87- p.95 Activity: Divide theclass into groups and have themcreate contemporary based on situationsfrom The Country Wife. scenes to his friends that Examples: A jealoushusband boasting his wife willnever be unfaithful urges his girlfriend to him, A vainman who on his best friend,etc. Day 2: p.95- p.104 Activity: Rehearse and performthe scenes Discuss the that they beganthe day before. ways in which thescenes were like specific Wife. Did workingon these scenes help scenes in The Country you.understapdwhat...happening_in the

Day 3: p.104- p.114 Activity: Have each student pick ascene from The Country in that scene. Write Wife and a character an inner monologuefor the character, happening in theirmind. showing what is

Day 4: p.114 -p.120 Activity: Perform the monologues written theday before. Discuss different eachstudent's perception how similar or of the emotionalstate of a character is. Is it fun to thinkabout what is really happening for thesepeople?

49 -4

Six Week Lesson Plan In Restoration Comedy (continued)

Week 4: (continued) Day 5: p. 120-p.128 Activity: Hare the class divide up into pairs. Each pair will create ascene between Lady Fidget and Margery Pinchwife. What advise do you think Lady Fidget would give to Margery? Give the students the first line of dialogue, and then have them pass the paper back and forth, answering each other to create the scene. Perform the scenes for the class.

Week 5: Day 1: p.128 - p.136 Activity: Finish working on and performing the scenes between Margery Pinchwife and Lady Fidget.

Day 2: p.137 - p.145 Activity: Discuss the emotional journey of each character in the play. Talk about how each character grows or changes during the course of the play. How do you think Actors would show these changes? Could there be more than one "right" way to show this? If you were an Actor or Director of this play what choices would you make? What would you want to say with this play?

Day 3: p.145 - p.150 Activity: Quiz the students on The Country Wife.

Day 4: p.151 & 152 (Epilogue) Activity: This could be a day to wrap up any loose ends either in terms of un finished activities or questions surrounding The Country Wife.

Day 5: Activity: Give a quick synopsis of The Way Of The World by William Congreve. As a class read through three short love scenes: Fainall and Mrs. Harwood (p.32 -37) Mirabell andMillamont (p.77-81) and Lady Wishfortand SirRowland (p.88-p.91) Divide the class into pairs and have them work on the scenes in the same manner as they did on The Man Of Mode scenes. Present the scenes to the class. Discuss the way in which each scene is different. What does this tell us about what kind of characters these people are? How does it change the way in which they are performed?

Final project: Assign students scenes from the three Restoration Comedy plays. Have them rehearse, stage, and - emorize their scene. If a scene group chooses to perform in contemporary language using contemporary metaphors they will submit a written scriptthat transposes the original scene line line into modern language.

Week 6: Activity: Each day of this week the students will work on their final projects. sometimes they will work in front of the class in order to get feedback, and sometimes they will be rehearsing on their own. Various acting exercises will be tried in order to help them with their scenes.Example: After each line of dialogue is spoken to their scene partner, the student will turn and state their objective to the audience as an aside. This should help clarify their objectives as well as help with performing in the style of the Restoration (and it should also be quite funny for the class to watch). On the last two days of class the students will present their scenes for the last time. In addition each student will be given questionnaires to fill out for each scene that is performed. This should help to make each student a more responsible audience member for his classmates.

50 208 SOURCES OF THEATRICAL HISTORY backward 9. THE PLAY IS THE RESTORATION THEATER NOT THE THING 209 fromSpectators,Space, the mainto advancethat Audience, fill upon,them) than the are Voicethey kept us'd wasso muchto then be: more moreBut when the Actors were in Possession of that in the Centre forwarderthe least do themselvesRESTORATIONtoday,diary.study with in Note those certainmore the SPECTATORS preciousor dynamicsfollowing leas of scenedid human not sit playhouse minatures which Pepysunconcerned passivity: they during a Macbeth performance relations,quietly which inwe the are auditorium, still able to as we developed among inserted in his in the I/ it of paintedterance:Doubt,theextended; House, orScene All Difficulty Objects soevery was that stronger, rich,the werein mosthearing or thus fine-coloured every distant drawn what grand Earnearerfell Scene hadfromHabit to scarce andthe had a more the Sense; every weakestDance Ut- more lively Duke'sbeneathmistresses,his mistress; house the the(1661): royalabove dancer, party,him,Charles Moll in and one Davies; not II isof seatedthe second-tier in the boxes, far from him is s womanPepys is sitting in the Pepys' description ties together central royal box with is another of his pit directly who looks Lustre:theychangingly, frequently isNorAnd to witheverywas how themust valuablewell-acted Passion,minutest be in an the AdvantageScene, or MotionObscurity Humour every of the ofita common toosuited) great ever a Facility of hearing distinct- Feature (properly Spectator is a Distance: lost, as thefeelvery playparticipantsthe much presence with like intense in of this the interest: The King and Court the lady with the King. farcical"audience-chorus," pantomime, and, which at follows there; and we sat just under the same time, we can this play within them and press'd,inJudge. Tenderness, A often Voice have Resignation,scarce as muchraised concern innocentabove the with Distress,Tone or Jealousyof a Whisper, sup- either the Heart, as the most themyso, pitLady something. a kind Castlemayne, of loose. . . The King and Duke of gossip, thatand pretends close toto the woman York minded me, and be like her, and is that comes into affectingclamorousthem?Difference, Speeches Passions; from are the and plainly great when or heard,on little any or of Satisfaction received from lost, thesehow Occasions,wide is the such vexedsmiledtoLady was,her; me Castlemayne'supon buttoand see when me,so Moll did at Davies,themy head, she saw her, she looked fire, Lady Castlemayne once,lookhandsome to down see uponwoman the near King, me:in the box over the which troubled me. King's and my and he up butwho it it IN the1698, second a visitor Theatre from Royal: France, Henri Misson, 8. SOCIAL STRATIFICATION described the auditorium of fromANOTHER an acquaintance, SCENE, to gossip being a 10. MY LADY which he was not an eyewitness, CASTLEMAYNE AGAIN seasoning element of the theatrical Pepys heard ofBackboards, Quality, particularly and adorn'd the andyounger cover'd withThe green Pit is an Amphitheater, fill'd with Sort, some Ladies of Repu- Benches without Cloth. Men Ladyaresupernumeraryatmosphere.thing not Castlemayne in that the Themakes same Dramatis has the fallen audience persona: into the Duke of York. On this box,occasion and in the audience it is already hold its breath:disfavor. Thereupon the lady does some-the King, Lady Cutlemayne, the featured players rumored that and a toy,Prey,tation play, sitand all hear,Vertue, together hear and not.in abundance this Farther Place, up, of Higgledy-piggledy, chatter,Damselsagainst thatthe Wall,haunt underfor she rose out of the box Leaning over other ladies and went into the King's right awhile to whisper with the King, . hand, 51. amongAmphitheater,theparticularlythere first whom are Gallery, only are thewhich two generally andUpper Rows, is just taken one. very oppositeare up fill'd few by with Personsto the none of but the Men. The Galleries, whereof Stage, rises another ordinary People, best Quality, yet,KingbetweenShe as himself, didwas the it believed. onlyKing as well to and show as every the Dukethe of worldYork; thatwhich she . is not out of body else out of countenance.. . . put favour the . 52 210 SOURCES OF THEATRICAL HISTORY THE RESTORATION THEATER 211 chasegossip,Pt PYS/11. of wit HAD but on also NOT the a only strongly an marked interest in SIR CHARLES STEALS THE SHOW eye for feminine beauty and an ear for society repartee, be it Dryden's Years.ConsequencesBoxes, and Gallery) attending which it, that Custom it has however,been abolish'd had so many these many ill thepleasedthe boxes: while to withhear twotheir discourse, he To the King's house to The stage or Sir Charles Sedley's improvisationstalking ladiesin one ofand Sir Charles Sedley, Mayd', Tragedy; but beingvexed a all stranger. And one of yet epiloguePROSTITUTESof13. "Fire-ships" IMPROMPTU to Sir Courtly were in the to Nicetwelve- be found COMEDYdescribed or everywhereeighteen the events -pennyIN in THE thecaused galleries: playhouse. GALLERIES by the presenceCrown's notofpleasantly beingthequality. tell; ladies exceedinglyyet withHe didwould would givehim; and him wittybut fain did assit with manywas, I pleasantbelieve, hintsa virtuousever ofknow her I heard woman knowledgewho woman,she and did talk most her mask on, allwas, the but play, she and, would OurTheyWhere GalleriesAnd came hadroosting throng'dnottoo, to Masqueswere see Audiences finelyPlays sat butus'd cackling when act of late,their we for had own, a Mate:none. recontrealsosheof him, was,was making by but andI neverthat pulling sportdid giveheard. of off him him her By leave mask. that means setting his brains at work to find out who very inoffensively, that a more pleasant to use all meansmeans to Helostfind was theout mighty pleasurewho witty, of the and she OurOrConfoundThe Plays Zounds, honest it wasyou, CountryI'le impossiblegive fling yourMen you bawdy werei'to the hear, forc'tPit, prating you to swear:bawlingo're, Whore. play wholly. 12. THE LADIES IN MASKS torefersIN Southerne'sistic HIS to accountEpilogue the ladies The of on ofthe Disappointment theeasy presence Union virtue of ofin thevizard-masks:the (1684), Twomiddle Companies he gallery, gives aand more(16112), in the impression- Prologue Dryden 14. VIZARD-MASKS CibberweregreattheaIN vizard JUNEmask fashionin had evidence in during1663, histhe among ownKing's Pepys tillthe theorythe 1704, entire house, ladieshad when noticed whichand Queen that hidesthat she Anne her whole forbade face." These performance, "which of late is become Lady Mary Cromwellkept puther faceon hidden behind their use. Colley vizards a TheAboutCastBut stay;Noise out her hermethinks continues,all Lure the flutteringfrom some though the Vizard-Mask midSparks the Gallery:Scene are Irang'd;is see chang'd: decentlywithwearing: their afraid Wit, I ofremember venturing the bare-fac'd Ladies to But while our Authors took these concerning the origin of the custom of mask- were then observ'd, toextraordinary be Liberties a new Comedy, 'till OfLast,'TisNowThe Lewdness just growling,some Doughty like there Pussin sputt'ring, Bulliesour are, defendant Middle who enter wauling,take Galleries: inBloody their a Gutter. such first Drunk, a Degrees .clutter! . . inAppearances,strong,anthey Masks,Insult, had for been to(then their theirand assur'd daily rarely Patience,Modesty they came mightthey tookdo it, Care, without at worn, and admitted in the Pit, the side upon the first Days of ActingOr, if their but Curiosity were too least,the to Risquesave of Thus,CallTheyInvadeThey Sons Caterwaulwhile andmake of grabble forWhores, it Bawdier Paultryand one make and Punk another'sthan strike, a dismal theya Conventicle. but Punk: roar Rout,ne're and lugg-out: stickle, 53 7111111111EIN! 54 212 15. SOURCES OF THEATRICAL HISTORY PLAYHOUSE IMPRESSIONS Second Man. (To a Vizard) or chambermaid THE RESTORATION THEATER in her lady's old clothes. Gadl some whore, I warrant you, 213 entrancespectatorsTHEtionDorset FOURTH playhouse intoGarden the ACT pit.aboutand ofSeveral offers MarchThomas us men 1678) an Shadwel:'s opportunitywith leads their usA ladiesintoTrue to reviewthe Widow force interior some their (performed of ofway a theRestora- into male st rowdy sparks and coxcombical practical jokers on their FourthThird-Man. Man. 'Faith!She must she be earns a woman (Helying sits on't;down some and punk lately lolls in the orange-wench's all the clothesof quality; on her sheback has rightturned out of keeping, her lap) point. by theThirdDoorkeeper. auditorium, Man. refusingImpudent Pray, sir, to payrascal! admissionsme; Do my you masters to ask the doorkeeper:me willthat, for make sirrah. money? Take me pay it. livery not quite16. worn out. MANNERS OF THE RESTORATION v SecondFourthSecond Doorkeeper. Man.Doorkeeper. I'llNo; break WillI don'tSo youryt.tzyou intend pay sayhead, everyme, to you stay.sir? day, rascal! andacts see for two nothing. or three SAMchapter,adaptation VINCENT'S "Instructions of Dekker'sThe Your for The a young Gull's GALLANT Gallant's Academy, published in 1674, Gallant how to behaveHornbook himself (1609). inof Dekker's Vincent's playhouse fifth chapter: is an the Carlos.Theodosia.FirstThird Doorkeeper. As Man. familiarlyWhat! Set itPray,do down; asgentlemen s'r,with Ipay havetheir me. run notailors. onsilver tick about forman plays? tome, pay or you.bid my Play-house,"words,awaytheir Muses that isPlaudities, a lightmodernized (that areand versionnow the breathturned to The Theatre is your Poets-Royal Commodity of words, for a of the great Beast, which Merchants) meeting, barter Exchange, upon which lighter ware than (like Orange-Woman.SecondFirst Bully. Man. What Pox Oranges! onplay you, dewill theysirrah! you play? have Go anySome and oranges?orquickly... bidconfoundedother. 'em begin play . asthe shouldhewell threatnings whom to bethe the basely, Farmers ofmost two likeTaylors Cowards) a Viol, bills cased make up roomThe Play-house is free for Son as to a Templer; yet it is not entertainment,vanish into Air. allowing Room in a corner: Therefore, for when he comes, fit that Prigg A pox on't, madam! What should we doforin't;inplayhouse? atthe wit? somethis box. damned ofPox Let's 'em on sendhave 'em for1 wit some now cardsand then, and playbut whata langtrillo care I I ne'er saw a play bad anything middletheI say,outthe Door-keeper Company,hislet of our Comb,the GallantPit, buthisand where Ticket)especially manage (having having to hispresently flaxen Wig advance with himselfall thepaid Graceinto his the halfthe Vizard-Masks, Crown,made his and Honor given let tohim the pull rest of Selfish. Does my cravat fit well? I take allseeingboxes?should; the care the Really,I loveI ladies...can to itI appearnever come well. toWhat a play ladies but are here in the . on account of heChina-Orange-wench, can.(for Having 'tis below so done, a Gentleman andthe nextgive toher own stand hagglingstep like is ato Citizens give a hum to the rate for her Oranges l it Stanmore. I cannot find my mistress; but I'll diverta vizard myself in the with meantime. Andwife) that and I thenmay toincourage present ourthe Gallantfairest to not the like next the Vizard-mask. Trades-man him I I 1 First Man. What, not a word! All over in disguise!your folly, Silence and a for vizard for your ill face. to Pit.butsave consider a shilling, what and large to comings-in are sit but in the Middle-Gallery, let pursed up sitting in the 56 I ! 214 SOURCES OF THEATRICAL HISTORY THE RESTORATION THEATER 215 Cloathsthe best and and Perruke, most essentialare perfectly parts revealed. of a. First, A conspicuous Eminence is gotten, by which mesas a Gentleman, as his lime THOMAStion period, BETTERTON appeared (163Sfirst on - 1710), 17. BETTERTON'S ACTING STYLE the London stage in 1660, the leading actor of the in a company Restora- toresidenceGentleman,pily begin get youthe there, numbera a Mistress. Wife: you of are but We the three. first and principal2. By sitting in the Pit, if you be a Knight, you may hap- . .. But if you be but a meerassure Fleetstreet your self, by your continual man in election of playersstartedsameanyJohn one Rhodes. of to hastily ofthe give his older Playing youngrecruitedperformances in atthe Cockpit at the pre-Commonwealth colleaguesactors left, were who, experienced actors. the end of the Civil War by Redin Drury Bull. Lane, In the neither same year,Betterton Thomas nor There were thealso boo in ksell 1660 still er, , soriblestin thehigh, midstTragedy, that of all the andthe most Houseto let serious the may Clapper andring sudden of (your it:It for shallScene by Crowntalking you and with rich Commendation, Tongue) be tossed to laugh aloud of the ter- companiesllilligrewhischarge,shall players, chuse and asof they players,andSirthe appoint,WilliamKing'sshall consistinge thinke Company, and Davenant tofitt, two were purchase, builde, and erect, orfrom the olderrespectively actors at of such personshouses as or theatres." Killigrew Betterton amonggiven them a grant "to erect two the Red Bull.hire at their chosetheywho HousePlayers,first,laughing, all snatches andthe you eyesonly heap up followin your Pelionthe Galleriesyou:name; the and most will when leavePedantick he walkingmeets Person after upon Ossa, Glory upon Glory: as you in the admirein the the DavenantrolesendedDrotnantfamed in in theselectedthose unionand Dukes older Killigrew inthe 1682. Company. plays,younger Prior assigned actors toFor to twenty-two continued in rivalry until their Lear, and Bosola, aside fromthis union Betterton played Davenant: he was Macbet rah, years the companies competitionthe leading Henry of you.hungryyouStreets, seem Appetite;he'l not say, to resortlie but is only Such thither as a Gallant;to taste vainand thePleasuresSecondly, people Youwith publish your temperance to the world, in that an VIII,hemationcessfulplayed. leadingHamlet,was ofseenin thecomedy, partsMercutio, as twonewer Othello in companies, playsboth tragedies, King and Elizabethan that Brutus. had belonged to the heKing's was Company.givennotably the opportunity Otway's. Betterton was From contemporaryand Restoration. accounts, With the amalga- chacteheof acting the also suc- chiefly Thus hourgracelibelled or two,him you, becauseworse or bath ti,an you had tossing a flirt him at in a Blanket,Now Sir,or giving if the himPoet be a fellow that hath Lampoon'd can do nothing else. a Gentleman to spend a foolish your Mistress, you shall dis- or fromAston's rant Brief and Supplement,exaggeration: we MR. BETTERTON (although a superlative good gather that Betterton's acting was Actor) la- Head, free thewhistleatgripingarise Bastinado passionate with inat athethe skrew'd Speeches,in Guts)Songs, a Tavern, and blareand bediscontented if abovegone;at in merry, the andall, middle find furtherface fault of with the curse the Sharers, that (as if you had the to vex him, mew the Play you Musick, bour'dArms,a shortandLeft under Waistcoat, whichHandthick ill Figure,frequentlyhe rarely while, being Neck, stoop'd in the Shoulders, withlodg'd his liftedRight, in his higher he Breast, prepar'd than between his Stomach. clumsily made, having a great and had fat short his Speech. his Coat His thatStage,anwhereas embroidered morning. when the verythe Belt,Belt-maker same you day encounter swore the with impression theTo conclude, hoard up the finest Play-scraps you had bestowed five pounds for very same on the was newyou canbut get, TimeLegs,broadfor hiswith aFace, little Aspect large aParalytic. little Feet.was Pock-fretten,serious,His Actions a were few, but He was better to meet,venerable, thanHis to and Voice majestic; was lowinjust. and grumbling; corpulent Body,He hadand thicklittle Eyes; and a his latter follow; Taverns.nextaotherupon new places whichstuff; Beginner, thatforyour this are andlean isfilled isonlyWit but after may Furniturein histhe most A Play-houses B savourlyfor C of Complement. feed be for a Courtier that is but emptied, are want of The yettoMrs.wasversal he their incapablecould BARRY: Attention, Deficiencies. Time ofBut iteven their from dancing, even in a Country-Dance;by an artful Climax, good QualitiesWhile Mrs.were BRACEGIRDLE more thanthe sungFops very and Orange-girls. which enforc'd uni- as was equal He 57 t 11**,' 1; 5,0 49 58 218 SOURCES OF THEATRICAL HISTORY THE RESTORATION THEATER 214 extravagantallowRants thisin Nat. Play Blemishes. Lee's a few Alexander greatEvery Beauties, Play the of Great!the yet same it For is Author not . . though I can without its has more betrayeduponthewhich handkerchief his he in mindappeared his gestureupon in in,Othello; the suchwhen a hethevariety examined mixture innocent answers Desdemona and vicissitude of passions, of love thatthe intruded circumstance of makes, celebratetotheor isthem,less Mouth very of than Airs nearthem. of ouraof as Betterton, an. musicalmuch Italian Enchantment ConnoisseurstheOpera. Multitude Does in this think nothe notmore well-govern'd it prove, desired When these flowing Numbers came from essential in the that there VoiceSense scene,ofperfectlyas daggers,would will convinceadmonish findjealousy. that him, hea Whoever man cannot, that it reads is to stab to be afraid of his own except he has as warm an imagi- in his closet this admirable it, to admit that worst heart, and withof therean the Actor, wasTown noas than inone the Alexander. Tragedy, sweet Pipe for . ofmany an Eunuch? Years, more If I in . . tell you, favour hadobservesbrokennation been as sentences; Shakspeareunnatural,there could but nay himself,not a impossible, readerbe a find word that any added;has seen in Othello's circumstances.but dry, incoherent, and that longer speechBetterton act it, antonblowingI attentive havehad soAlexander heard just Silence; ahim sense once say, that of more he therewhat never into werewas athought blazetrue,many orof waysany falseAdmiration,Notwithstanding kind of it the extraordinary Power he shew'd in of deceivingApplause, an that equal to Better- Thecloisters,somanner forcharmingmoving the of remainsI winningthoughtand passage graceful of theof ain him personaffection the an with energy,same who the hadsame concern as of his mistress, was urged with tragedy,that while where Iin walked hereal tells life inthe done the all that I if I waited AudiencetheseOfwasEsteem which an various Applause into Art,and a Excellencies,thereRegard loud which never one; of onlyhis butwas Auditors,he Truthtoan had keepequal soand them thatfullMaster upona husht Possession to hishimself. and Entrance Merit could arrive at: of thequiet,From into had seen him represent. I have lately been told by a Gentleman perform this part of Hamlet, that who has frequently he has wouldGiddyeveryhisand SoliloquiesScene, thenand Aspect, Inadvertent!have he seem'd ofbeendrew moment, thought youto To seize into havethe Insensibility uponsuchstrong talk'd an Intelligence orimpatient look'd or Ignorance. the Eyes and Ears of the Gaze, and eagerof his Attitudeanother way, In all guin)observ'dseenandappears, in Mr. Horror,thishis BettertonCountenance Scenethro' turn the of instantly violentthe (which fourth wasAct and sudden Emotions of Amazementthe Sight of his Father's Spirit, as Article of his Body seem'd to wherenaturally his ruddy Father's and Ghost san- Expectation,Eye, before that the youEar almostcould19. reach imbib'd it. the Sentiment BETTERTON'S OTHELLO AND HAMLET with your palewithGhostbe Audience, asaffected hismore actually Neckcloth, realwith that risen Agonies;a theTremor when beforeBlood everyinexpressible;and him,seemed this was to so he could not havepartook been of sei7Athe Astonishmentshudder in their Veins like- felt so strongly by thethat, had his Father's Othello,OTHERgoerRichard OBSERVERS who while Steele, remembered The L.ureal,in The Betterton's Taller, in 1740, described quotedHamlet theupon a fewmemories meeting important of an moments old play- in were impressed by Betterton's acting in the Ghost: specific scenes. andwise, Horror, and they with in whichsome Measurethey saw 20. A MANUAL FOR ACTORS this excellent Actor affected. couldin which surpass he the has action appeared of Mr. on Betterton our stage. on Theany ofIwonderful have the occasions hardly agony a notion that any performer of antiquity by orINBetterton. William Its Oldys. author, Certain however, was)741, The History of the English sections in which the duties of a player are either theStage publisher, appeared Edmund as a work Curl, written GO 220 SOURCES OF THEATRICAL HISTORY isfixednor, unnatural, on like the a other pillarand hand,must or marble thereforeshould statue. it alwaysbe disagreeable, For this, in thesince first God place, THE RESTORATION THEATER keep the same position, has221 so ingthoughtlessnecessarymustformed of, trove and the occasions agreeableeitherbodyfixedness, with as of the in members bythe theimpulse losing body change disposing require.that of and thevariety, diversityThismind which directs, of is speech so or becom- as and it to motion, thatheavy it stability, or the Closet Scene.Betterton's Hamletin the likewisecontributebydiscourse, pleasing that genteelnessinand thegeneral gives eye. admiration to Beingand the grace, graceful taught towhich every motionto danceengages thing of will the itthe adorns, wholevery attention much body,loses Nicholas Rowe's Shakespeare, From 1709. especiallywith the passions.in motions, that are not immediatelyThat the embarrassed head has various gestures and signs, intimations laidsuperfluouswhoconfirmation,and hints, downhas ever by on to which admiration,thisconsidered treat head itparticularly is incapable atanger,general; all. ofItof&c. might expressingthem.first is what that thereforeBut itevery consent,this ought ruleonebe not thought refusal,mayknows, to be I character.markliftedtherule upbreast,ofmien will arrogancetoo Nor comeclumsy high, which on in andthe andisfor otherstretchedboth the haughtiness;dull; player,disagreeableside and out should would whoextravagantly, but itis to prove anbeto the exceptionacthung eye, extremelya which persondown in rendering to isupon of this theprej- that anyenumerated, rate, the followingmay have beenparagraphs based uponare of authentic considerable Bettertonian interest to notes. anyone At Yale Thestrical Privas Co Beaton andheadudicialfaint affected,that always inclination.to intelligibility, the leanor voice, a towardsgreat But depriving the markwhich thehead, of shoulders, it indifference, itinought of all its the to clearness,which calmerhave. languidness, is Norspeeches equally distinction, should rusticandat least,the a tryingof the to reconstructwhole body; the actingand thence style of proceed the period: to theWe regiment shall and . . . begin with the government, order and ba;ance, Inought followthe agitationto thebe keptseveral indeed in itsaccesses ofjust a passion,natural and recesses state the position and of the upright passion,will naturallyposition. whether everymoretheproper whole copiousmoment, motions face; and ofsince then thevarious soconcludehead, fickle than the an eyes,withall agitation the thethe other eye-brows,actions is partstriflingThe of placeof theand andthe andhands,indeed body.light; posture of61 the body ought not be be changed grief,oncontraryalways everyanger, like be different&c. moving that of aperpetually,expression. statue without and It must alwaysmotion; Wetherefore throwing normust must farther shunitself it on theseabout observe, the that the head must not be kept 62 nowrequiresridiculous222 to one a extremes,motion, side, and according turn then gently to toanother, on the the nature and of then the returnthing, turningto such SOURCES OF THEATRICAL HISTORY neck, as often as occasion restrial,naturallynature of they theare arethings lifted as naturallyyouup; ifspeak of castearth, of; down.thus or ifhell, or any THE RESTORATION THEATER Yourof heaven, eyes must your also eyes thing ter- 223 aversionaregeneralitya decenton directed, the position, tosame of things, theexcept side, audience. as we your to whenrefuse; which voice The they the head are actions emplanedought of always the to rest to ofbe theturned body or on thing.: we detestmay and best abhor; be heard by all or the express our ofbe ofreputation.thingsdisgrace,directed any ofthing, according honor,and In swearing,whichto whichthe to youverietythe you orpassions;are taking can ashamedof whatglory aas to youof; deject say, you solemn oath, or attestation in with confidence and and raise them on them on things turn your requiresturningfor these theno things greathead we motion,away reject to as withthe our left. themodern right TragediesWhen too we frequently are free from passion, and in . . . hand, at the same time any discourse which motion;sweareyes, and by, nor inor theattest.must same they both be raised on everyYour thing eye-brows must neither be immoveable, nor always action lift up your hand to the thing you that is in hersion,lookssufferman summons, which direct,their speaks chief neitherrequires inwill partsanger, altersevere the to his our be,contrar. imagination ourlooks For and then is inflamed, and kindles nor aside, unless we fall into a pas- aspect should be pleasant, our gestures. Thus when a nature, if we obey spokenallowinginraised, the with same and themeagerness the posture othertheir andduecastand consent; motionequality,down; but when which generally the they passions they have requireby nature, and much less must one be must remain smooth it; Andhisguage,manner,a sort voice, this of or thatfire woulda deaf aofin stranger, theirhis notman, eyes, fail who whoof which could understood sparkles not hear not from the a word loudestthem of in the tonesuch lan- of eyes will easily strike those of their audi- perceiving his fury and indignation. a andthatsomewhich dilateis, to are are contractthemselves frequently all ungenteel themselves in guilty joy; and to of; andunmannerlyhang yet frown down in some in in actions, sorrow; Thehumility, mouth and to mustyet never be writhed, nor the lips bit or licked, efforts or starts of &c. what enceplacesamesympathetic which passion.your are eyes infection, continually on the itperson willfixed set or on thempersons on fire Itoo would with not the be misunderstood, when I yours; and by a strange say you must wholly very thepassion,betweenofor stage, atnature the the than Bar; manin lips inthose because anyandhave actions otherman their the publicby sharestageand any discourses,speaking, of is,passion, action,or ought either orwhich on irk any are the business,produced Pulpit, to be, anbut imitation this more on everinescapesuchon athe piece aso positionstage;not directly oftheir History in observation, toregard each Painting, of other, the though audience, yet neverthe beholder,that so justly directed. As I mean, that at the same time both though the figures fix their eyes you are engaged with even these beauties parties keepby the ad- dowhichofyet with his on can thediscourse, the affordscene. stage action; maythe characterrender for all it otherproper of the has enough; person, in Thoughreality though nothing to Ishrug confess, to up the shoulders be no gesture in oratory, and the subject hasvantagethe the griefsoul same of inoftheir effect,the another position, as touchesthis has a full view of theThe looks and just expressions of all the eyes of the figures. we have mentioned of anger. For if other passionsexpression of gesturesshouldit seems be unbecoming more great adaptedand solemn.. and to indecent. Comedy, .. thanOthers Tragedy,We come thrust wherenow out theto all the belly, hands, and throwwhich, back as they the head,are the both chief will flow from You must lift up or cast down, your eyes, whether you will or not. 6f you with a real compassion, tears your eyes, according to the . . . instrumentssuchare capable rules of as of action, are expressing without varying exception.things, themselves so isThose it asa difficultmany natural ways, mattersignifications as tothey give 6 someof224 particular light to the gestures,SOURCES and OF THEATRICALwhat I shall here HISTORY add, will I hope, be THE RESTORATION THEATER 225 consideringwhataccusation,him regard those how actions deprecation,the large action a share young actor in thisare, particular. and in whatist. I wouldmanner have expressed; and then of the hands,threats, desire, &c. and to those actions have in all as to their expression of weigh well manner &wayshighlydoneoutfor speaking;when yourridiculous. be agreeable handyou forsay withThe to actioncome movement a repulsive in,either or orapproach, before gesture;gestures or younor, muston not the nature of the words, that you speak; of your handsafter must utterance. is the contrary, stretch occasion,ofemployed ofAnthony discourse, there in onan is hetheinsignificant no will In the beginning of death of Cesar,find that his hands a solemn speech or oration, or unbeautiful gesture. or of Brutus on the same need never be idle, or as in that openmustwhenwhen them,you you you join say, when bid your stand raiseyour hands, back, such when must a thing, youyour or gesture person; nor lift them up, order is closing; nor hang them down, command separation; nor be inviting; nor would ingtheit herebegin very his abruptly, ships hands then first in as 0 Jupiter, 0 heavens!gesture, is this at least of any consideration,our eyes, which I preserved, &c. to be borne? extend- unless allbewhen sothat visiblyyou saw say or against throwheard themnature,you. Bydown. that these youFor instances wouldall these be of gestures laughed faulty action, at by ; I as withregularHamlet one gestures in another; the scene of the between as in starting in hands, they oughtto perfectlyheaven, andthen amaze, on a sudden fright, to the ships. In all to correspond asyou thepossible may words easily every you see utter,gesture which you use would sufficiently and beautifully the right, and gather this. rule, that as much. should express the nature of pearance of his father's Ghost. This is spoke with "Save You heavenly Guards!" me, and hover o'er me with him and his your mother,wings, on the ap- littleoughtemploymight lower, not your disorder raise becausehands. them and . that above distort position the the eyes; givesbody; to a nor beauty Inmust the to theyliftingthe figure; up the hands, to preserve the grace, you stretch them farther be very ;' youitcomeshis beingshould to indecent saybe usedany suchby only thing concern, as well as his to make a gesture with arms and hands extended, and one hand, that musteyes, be and whole face. as,If an action the left alone; by the right, expressing except besides,outthetion, eye,as abhorrence, thisguards nature posture to by &c.the beinga sorteyeswhich generallyof on proceedsmechanic such anon from occasion. somemotion the surprise, object, throws the hands that affects admira- '11 because the right is For here the actions "Rather thanI'd be cut this right hand the member to suffer. must beguilty expressed of so foul a deed, off, &c. by the left hand, motionsalwaysarguesif lame no be orof passion in dead;the view head, forin of the eyes,thatyour imagination. is andeyes, very body, and disagreeable .thatYou the spectatormust to the never eye, may let andsee either of your hands hang down, a-, In short, your hands, corresponding must with the gentlyyouring,bosom,yourself, soul, onshould declaring theor the yourbreast, be right only conscience. and not the your own faculties, and applied or expressed left hand must be But this action, passions; yourbyWhen layingheart, you the speak hand of generally speak-applied to the aimpressionwhichtheir foot concurrence, willfrom makeon the .their trunka everymore senses, of agreeable,one your and in itsbody;their own and understanding. youtoby signify consequenceYour the arms same a youdeeper thing, should not stretch out side ways, above half will otherwise throw tionextremitywithThe gesturewithgentleness ofwhat violence. You must pass from the left you say,and so moderation, you must end it 6;) not by thumpingmust it be sure, as at least not stretchto the right, and there you beginas some your peopleac- do. when you have to the end youalsoyouraction; asidemust gesture buttoraise pursuequite so your that out it, hand. thewhichof yourgesture An would sight, may be verynot onlyridiculous.In answer swearing, the attestation,pro- or taking any solemn vow or oath, exclamation requires the same unless you turn your head 66 227 nunciation,226 or utterance, but both the nature of the thing, and SOURCES OF THEATRICAL HISTORY herself, and gain'd a THE RESTORATION Reputation, beyond any Woman . THEAIER 1 have butperhaps,asermons,the vice Imeaning am which ofitit mayisopinion, ofwastrue reachthe youronce words.that some handscalled the Incharacters,hands ought thepublic babblingin ^ot acting speeches, toand be speechesofought always the orations, veryhands; in in motion,seldom plays; and and, ofever ofmajestick;elevated seenPassion on Dignity, the hercould Voice beher toofull, clear, Mrs. Barry, in Characters Theatre. . Mien and Motionmuch superb, for he: and : And when. and strong,of Greatness, so that nohad Violence a Distress, or gracefullyPresence mimes,to wouldactionsmakebe wholly ofthe be toexpressing gesturesno thequiescent, contemptible words supply things and thatpassionswords, sograce clearlyif we inthe justlyhadthe withjoining player,the drawntheir art these of andhands, bythe significantrender thePanto- as poet, to the TendernessMelody,excellencies,ImaginationPower beyondandpossess'd Softness. canshe all conceive.her,gave the InsheActresses the the most Of subsidedArt of excitingintothe the former most delightfulPity,I have affecting ofshe these yet Proofs seen, two in orgreat almost what your had a all pardonablediversionmakeindeed use actioninfinitely onof thein is Tragedy, right,the more business than entertaining, any the more of wrong the than stage, than side. in pleading, itand isThere atan present. error orare sermons, issome Formore actions or gestures, which you must never softertheandof Heroic Harmony;Anger, Passionsterrible, Plays Defiance, sheof and of Otway's pour'd Dryden it orwas Resentment, out thisand particular Monimia andthe Belvidera. Sentiment In with Scenes ap enchanting Lee; and of the latter, in the while she was impetuous, Excellence, for which instrument,bendingments.they being Thus a bow, low,as you if presenting andyou must fitterhad not it fora putin musket, yourComedy yourself hands. or orplayinginto burlesque the onposture any entertain- musical of one DrydenlettialityCassandrathere it passmade for were forinthat her his severalher Character,the Cleomenes. Master-piece; above-recited other mayCharacters But havehere, when he couldCompliment, not but know, upon herin acting which herI amActiontempted apt tomight histhink Judgment his Par- to postures,andor any Verres thinglet your might of that discourse require nature, our be which ondiscourse the tne debaucheries description of. You of of must an the Anthony age,never imitate any lewd, obscene or indecent onhaveAdmiration,ground her, given for for Cassandra; her Compassion, as a infairer the noblerPretence as Lovein to of for, in no Part of that, is there Monimia; ncir equal cause for theCleopatra, Praise he orhas the bestow'd tempestu- the least Mrs. BETTEKTOWS leading tragic actress was Mrs. Elizabeth Barry (1658- 21. MRS. BARRY SheBarryousgrantedthe Jealousywas Indulgenceshone the to withof firsther Roxana. a alone,Personof much having ifbrighter whose I mistakean annual not, 'Twas in these Lights, I thought ExcellenceMerit wasthan distinguished,in Cassandra. by Benefit-Play, which wasfirst in King James's Aston'sLerTheOtway's1713). Auditory"Fatal sketches: The SheMarriage Orphan celebrated (Downes). and herVenice Her greatest artistic Preserved, triumphs profile and emerges as as Monimia Isabella from inand Cibber's Southerne's Belvidera and in parts in which she "forc'd Tears from the Eyes of oftime, this and Company, which became after the not Death common Mrs. Barry out-shin'd Mrs. of King William'sBracegirdle Queen Mary. in the Characterto others, 'till the Division ofin whatDryden,possession Skill in she his of gave Prefacealmost Life allto to Cleomenes,thethem, chief you Parts will where judge in Tragedy:heMrs. fromsays, BarryBarry, the With Wordswas always then excellent,[by the end has of inthe this seventeenth Tragedy century]excell'd 6! of handsome,AlmeriaZARAasstrove if sittingin forto the herdraw that Mourning Mouthto Favour.t'other have op'ning Way, most on her Picture drawn. Bride, aitho' Mr.and,And Congreve atyet, Times, this design'd fine composing Creature her was Face, not the Right Side, which she Mrs. Barry was 6 8 ACTORS ON ACTINGThe Art of Persuasion (t usually collect. about somewhere in thePerhaps middle ofI should them. mention now what everybody's been talking about for years, a lot of details, a lot of characteristics, and find a creatureENGLAND swimming AND IRELAND atristmakeuphimself,actingimportant or was theisthe observationthe doctor,audience.as artthe of illuminator the persuasion. In andminister order intuition. of to ifThethe achieve you human actorAt like. the that,persuades Ifheart, most somebody what hehigh-faluting, isyouhimself, asasked needimportant me first,to thetomake andputas actor the inupthrough one psychi-isyour as sentence what acting was, I should say that That's putting him very high and andShakespearetruthfulness,resultagainst that's of, theirthe don't Actors orbeliefs,that Greeklet's it Studio doesn'tcall absolute tragedy it andnaturalism, matter itheresy. the is an whichMethod. enormous And don't method it Whatevenmay task, yoube, let'sI've because as use. justcall long Butsaidit you'veasrealism, in youis exercises absolutely gotachieve let's so many alllike the it whomightily.observe will not At it, bethefind too opposite it, proud use it tosomeend scavenge of time the orpole the another. tiniest you've I'velittle got frequently bitto find,of human in observed the circumstance; actor, things, a man and I achievethefacets,Alec inside, Guinnessthe so realitymany some is angles or peoplewhat the wetruthfulnessand start would so from many call the that considerations a periphery. peripheral is necessary. actor. to Some contend people with, start in order from to 1 would say, at a guets, that I think I'm the same. thatthingeighteenmemorythankfind follow you've God,in for yearsthat youlittleif seenthe before wonderilluminatingdetails. somebody I've whatused do,key them.it somethingwasto a And wholethat itmade workscausesbit of them characterization.sometimes you do to it,store and, that, it ultimately,up.out Inof theone years little you haven't got a very good memory for anything vise, I've got a I've had things in the back of my mind for as long as ANswER:QuEsrioN: WhoWell, would I thinkheThe simplyplays,you actorpersonally say than towho was find to astartsthat findthetypical mostparts, thefrom example parts film gothe out inactorsinside ofhimself;to thethem areis interior more interior andperhaps getlikely method? people. them,not to necessarily findand behimself somebody in himself,in the else. parts but It is Qz,EsTioN:ANSWER: I suppose No, no. itcareer?knowthe Awas lotend your atof of thethings performancethe time war, contributed that that itof setwas Richard you to going it. on IIIOne the to at bethingsummitthe one Old that of Vic,of themay our towards key classicallead performances an drama. Did of your you QUESTION:ANSWER: Since Well, we're necessaryonceimportantacterizetion talkingupon of theforvery a physical abouttime camera;them thickly. you externals,to attribute, beit'sasked so very truthful mewhich your seldom that voice, underdo question thatyou your the youregard extraordinaryandhands, get Ias asaid yourfilm the mostactoreyes, microscopiceyes. which?who dares percep- to char- actorthisIWolfitsomebody didn't colleague's had want elsemade to success.in playan it. enormous At the the part time successat whenall, because as I firstRichard began I thought only to eighteenthink itto was be about successful muchmonths the too part previously. close inDonald a part,to not always, but it may, is to try to be unlike I had seen it, and when I was learning it I could hear actormarvellousthesingleThat film wascertainly part actor some ofphysical hardly youneeds years that thespecimenneeds ago. has voice. Ittothe depends go voice,certainlyin into such hardlyit.what roles Theneeds you needsasmime all demandarc the theactor vocal body, that doesn't control, attribute.except need allto Theusethe breath voice;itstage as a really it's a fusion of every onelse."mind'snothingmade a characterization And eye. itbut different. itAnd Donald's was so the I thought,childishly voicethat, without in "This my appi:Ached mind'swon't comparing do, car, differences, I've and it just with see got nothingDonald's really, to think thatbut atof himall,startc-1something at in my me I think any actor would understand this desire on my part not QUESTION:ANSWER: WhenWell, I'dcontrol,you youimaginable,been were were onall playing the thethere, stagecertainly techniques Richard,that now all needs forwas was or twenty set thethere fair hands,voice, years. afor moment your certainly I'd justfuture? when finished needsneeds you theknew makingall eyeshethe miming needs powerthem all. I,, andto Ifertilelook did,land the rightbeach,you same inaway, thankvery as another anhot you imitation waterFirst very actor. ofindeed;much. allof Now theseI b at this other old can actors times get youimitatingit may very land wrongHenry you on sometimes,Irving's to a nice voice heard imitations of old actors imitating Henry Irving; and so don'tapproachedonofHenry theto think the critics,V and,stage anybody the theI don'tfrightened, footlightssame inknow fearthe company how,ofheartand public started.or beating, why, opinionbelieved AndI camejust as inII went I just on,thehad intoproject locked simplyalways it with atthe experienced.went all. thedoor through same behind distrust I wentit. me, I think every- I that'shencedirectorlooks.Disney's why theAnd underI nose,took Ioriginal thought whom awhich, rather Big I'dabout originally, narrowBadsuffered the Wolf Bigkind inwas was Badexit-mi.; of very said vocalWolf, much toin address. haveandNew bigger I beenthoughtYork. Thenthan founded The it aboutI was thoughtphysiognomy uponfinallyJed Harris,about Jed in Harristhe of a believedbodyGynttheformances; was first off in rather threebrilliantly,my I performance,don't inplays despair think Armswhich evenabout and nonewe our thepresented, of producer,Manwhole us particularly was production. Ralph Johna success Burrell,Richardson believed And on its believednobody inown, hadany and particularlybroughtofin itournow much. per- therePeer In York acter,film. - Anda --characterization. so, with oneKenneth or two Tynan extraneous interviewsBill & Wang, externals, Laurence 1967, pp.Olivier I began 23-32. in GreattoCopyright build up© authorsa char- and BBC 1966-1967. I'm afraidlao_work mostly fs,nm_the outside in. Acting. edited by Hal Burton. New First published I side,bash.sowas I didn'tthis now rather IknowI come poor didn't to relation, think know; of withit, I wasfrom a part just the thatonce point people more of view hadgoing seenof totimeliness. have,quiteI had aasdeveloped lot we One of. say, And had athis characterization, and I had got a lot of things on my sum theLaurence U.S in Obi Tulane ier J NIDrama Kenneth Review, Tynan. Vol. XI, No. 3, Winter, 1966. Reprinted by permission of wasHitler a coreover ofthe something way, one towas which playing the itaudience definitely would as a immediatelyparanoiac, so respond. that there [ 411 ] 7 0 I notitfancy, sure I mayabout be that. quite wrong,a hit with but Ia fancy little Imore possibly humour filled than it out, a lotpossibly of other enriched people had done, but I'm 1 only know that I readACTORS a few notices, ON stayed ACTING up till three and Richardrule,different does III, light thatnot toleratethinfrom voice anything a very and allelsesharp that, I waslight in doingorder thrown tothat acrosspresent season. his But ENGLAND AND IRELAND theme for a Shakespearean produc- myselfwork. in an You entirely get into Shakespeare, as a sweetdrankdownitprepared. just asmell little tosmells the of bitBut promptsuccessand toolike there much. BrightonMy corner, was nextI cansomething anddarling performance only oyster-bars tell Diana in you the Boddington,was(I've andatmosphere. the hadthings next-day two likemy experiences There stage that.matinee, isAndmanager, a ofphrasethe foras that), I which went and I was all too ill- sexual,queerbravetion;greatbrilliantly; hetrouble withand in just my courageousall doesn't ifopinion,the butyou effeminate Ithink don'ttolerate and thing of I'mthink, a mannerisms. atit.special going Stratford: and to or I'veplay topical he never it played like talkedthat." Richard Well, to I remember Michael Redgrave once did a very He simply said, "Richard II was a homo- him about this, that it II asit worked, an out-and-out it worked hadthe"It'sstillwent first onecreatedmarvelous, timeofon our toa that kind thestage darling," the stagetheof managerscritics grapevine, or had somethinghouse at approved, theand was National, that like not thatparticular that, even thesort and public offullI audience Iheld said, hadfelt out "Oh, approved,this herhad ishandthing. felt it?" andimpelled andand I theysaid, as I felt for QUESTION: Did youGeorge."acteristicRichardworked ever find all II,So slant thatthe Hotspur you way youupon, can't hadthrough, and do"I'm to it,a change lotnotyou because of toleratinghave partsyour toat you thestop that, endcould all you'rethatShakespeare have now taken says a very characterization. performances when you going to become St of Richard III, sharp char- oftordidence.wentto comehypnotism; straight to seeI torne.I my head. felt, if you like, what an actor must finally feel: It was an overwhelming feeling, a head-reeling feeling, and it I felt the feeling I'd never felt before, this complete I felt a little power QUESTION:ANSWER: Not Now very let'stranslated much.I talkthink. about Only a Shakespearean Othello.out of respect At the character forbeginning the techniquefrom you stage were to veryscreen? of the medium, reluctant Ql.FCTION: storyanyway,extent really. that I needn't I didn't bother even withbother all to this put characterization on the limp. any more. You said there was another occasion when you felt this whiff in the air. felt that I had them. It went to my head, as I said, to such an I thought, I've got them It's an awful ANSWER: Well, I knewAndronicus,almostto playit was theimpossible. a terror.part and at Anthonyall. When Why QuaylewasI that? was playing Aaron, we was on tour in Europe one I knew from past experience that it was had a little intervaltime doing Titus ANSWER: That wastheWhen afterstagefriend Court Thewas and George Entertainer.andthat? said we together, Relph revived and "Smell it Ia went few it, it'smonthsdown okay." to later the theatreat the Palace, together, and walked my dear on oldto the It was when we'd finished the run at didn'ttogether,awful,me,back bother "Is on awful,"about thisa sofato a fivego very and to minutes. ourIbadused said, dressing-rooms, one to "But talk for you'veayou, little this playedbit, with gossip those Macbeth a huge little too. stages, bit. One we It was very hot in that part of Europe Titus Andronicus?" and I said, "Yes, I think you'll agree. day he said to sat at the and we ()PESTION: thinkmighthadwrote tricks, you inexist, which have vocal but mannerisms? Ithat mannerismstried they to answerwere and unique somephysical and of yourmannerisms.only criticsyou could who pull were them saying off. thatDo you In the 1945-6 season there was Oedipus and I can remember a notice I I said that these tricks havethat"buttheworst Macbeth you?"time, you parts, theknow And isthe ones the mostwhatI said,worst."that difficultyou moan. "Nowhy? Andhate Macbeth ones abouthe said, Isto thatTitus, bear,is "You all terrible?" are righthe's haven't the alwaysbecause ones Hedone going he is that are complaining all said, "Terrible. The the blackpositive," one'oh, yet, oh,he said,oh, look ANSWI-R: orconsciousness.ismsand does when are something cushions they're An pointed actorof or protection other, comes out and Ion feel which forto thethem. that anstage second actorBut on what developsa it'sfirst arca nightcomfort mannerisms? against and tohangs hishim, own hisManner- it giveshead,I'd self- like not to think so, of course. I know I have because I see them, QUESTION: You'dsayingatfancy beenphysically."sourcefulness 'oh,involved them oh.' doing He of in said,variations the that play"Othello to me, justof all oh,isbefore kinds,all oh, of oh.'the thatand, war Andand therefore, youhow have many it's toalso waysblack a very areup greatas It's very tough on your imagination, it's very tough on your re- when Ralph offwell."there beat of strain QiFs-rioN: One of them,andhimatsevenworks. thosea thefor little thingsendinstance, thingsIn moment theof that a future,collect line, is you your of like finally andifreality habithe's "God collect can'tnot ofat for thislilting verydoup, Harry, without. terrifyingand careful, an you've upwardEngland Those he moment; got resortsinflection andarc about mannerisms.St toand George"twenty-four, it onit goes any in first intoHenry thirty- night,the V, ANSWER: Yes, very Othello.studiedaboutRichardsonmuchit wasn't thatindeed. the Nobody production? theworks played Tony Oedipus hasof OthelloGuthrie Professor ever complex. really and Jones. I,you disputedThe as played I Nowtrouble told what youProfessor lago. was makes theWas Jonespart upthere ofOthello, was Iago,anything quite not sure before,butthe they've had part of that Nswwhengood your thing voice to suddenlydo; I probably soars up. thought It's very it wasexciting. exciting. You must: remember thatI don't think that was for any feeling of protection. I thought it was a certainlyas Well,he is; wondered andTony Jones's Guthrie about theory Iago,and was I what were that makes lagocompletely was him such sold a thoroughlyon this idea. Ralph subconsciously in love with Othello. the storybeastly goes, fellow wouldn't ofparts your of personality.that size are not usually parts into which you can segregate any one part I 71 (lid do a very special, rather limited characterization in [ 412 ] andhear Iof don't it at rememberall. However, this, there but thiscame is onethe momentstory that in is rehearsal, toldthat losingso [ 413 ] all control of myself, I flung my arms round Ralph's neck and kissed him. Whereat ACTORS ON ACTING Ralph, going to get hurt. Are you conscious of this ENGLAND AND IRELAND power you have over audiences--and ANSWER:QUESTION: No,When I didn't.youbeingmuch formorecame Thatitamore very ininto every playsorrowwas pityingbad Othello anotherrespect?actor. than me yourself,in forthing anger, having that did sort youlosthad of feelpattedcontroltroubled physically me of me.and myself said, than "Dear despising me fellow, dear boy, equipped I didn't for ANSWER: I'm not veryknowsmancourse,desirabilityover conscious otherkills veryscreams aactors ofwellwoman,of thehaving for forthat workings it. that andfor that matter?a if black ingredientofShakespeare it. in gets an idea he goes all out for it; he It's the only play in the whole of Shakespeare in which a man to kill a white woman is a very big thrill my work, very much so. I feel consciousness of the Othello, of agedtrainingthinkbelow to that attainespecially D, I hadbut about now,the for sixvoice after it, more to fora increase little notes it. exercising, in the the depth bass. I ofcan my get voice, down and to A,I actually through man- all But I did go through a long period of vocal I never used to be able to sing velvet the QUESTION: Perhaps we'dthisthatspeareindeed, better partsort gets tomoveof the easily allhold audience,parts. ofreleased that oneand or allheclosely right.doesn't guarded Therefore, pull animal if you inside fed that thing in yourself, on to your excursions into contemporary plays. any punches. As an alchemist Shake- you, you must use it in QuA.4swER: Es-rioN: WhatWell, youwasfrompointthatsemitones; knowthere I theoffelt thatin view,conventional wasyour andvery Inecessary conceptionwentthat rough helpsthrough, Othellos estimate in at ofthe the and thethat timbre ofbeginning Ipart thewe'restill themeofthat do, used the amadeof very voice.ofto the ,:iakespeareanseeing? itsevereplay, And it physicalthen, helps from the training violetthe physical course. different ANSWER: I absolutelyImosttainer,Things didn't adored wonderful [onesco's likefind them The it quite Rhinoceros,all, Sleepingpart particularly suchthat Prince I'vea andgood ever TheSemi-detached. by work. played.Entertainer.Terence It Rattigan, John Osborne's The Enter- was veryI loved interesting, Rhinoceros very a interestinglittle less well. I think it's the tragedy.toointofissureupon easily utter theIt's in constantlythemedisorder.thejealous; statue, of that aFrom said andperfect Macbeth that howthat statueShakespearean thatidea is perfect fissureyou of a get man, exceptmakes that tragedy a Othelloperfect thatthe statueishe's founded statue;is too perfect crumble ambitious; andby except Shakespeare heand disappear that he's shows onethat Lear QUESTION:ANSWER: Why I like do to you thinkwasadnetdachee think a it very wasn'tit wasn't cruel play, and I remember coming moaningI was just to mad you for it because it my fault, but it may well have been.a success? was another modern part. once and saying,I adored Semi- I think it characters,theretoois perfectweakness proud; has grownexcept that notof self-deception, Hamletall, inthat mebut he's alacksin conviction toomost asresolution;bloody-minded, aof companion them, over and thatthe fault so last weaknesstoo on. to fewpigheaded; whateverBut years, thereis accompanied thatfault thatseems in mayCoriolanus most to be me, specifiedbyof thethe is and QUESTION: What I meantswineplay;extremely"I don't wasbut without knowyouthat cruel can't itany why and redeemingalways youit is are theydo making thatcharm don't and thelike audience this piece," suffer, and and that's the idea of the or pathos.was theget first away time with you'd it." played a complete you said, "Well, it's creature.foundbyhoneymoonblooded the itcharacter I think man night, whoyou in the havedoesn'tto play.reassure to evengo alongthe worry senate with about that it; maritalthathe's heutterly relationssees perfect, himself with pure as his this beyondwife noble on any his It's so easy in the senate scene for you to present the absolutely cold- It's quite easy to find in Othello, and once you've ANSWER: Yes, lots meof meIthem. a great an I'veenormous deal, mentioned he amount,firsttaughtAre Fairbanks saw thereme bywhen a watching anyvery and I actorswas Barrymorestern seventeen him, who professionalism. inhave the hadfield of Aicredreally naturalistic Lunt taught years old. Noel Coward in hisa wayparticular influenced influence on you? whose Hamlet act-I out.reproacheasilywhich He's jealous"asisconstantly remarkable.to his character,it's wishing the most and to appallingpresent you can himself findbit of that, self-deception.in anda certain trace light,it, constantly He's even the at most through- easily I believe, and I've tried to show, that when he says "Not the end, QUESTION:ANSWER: Overlap Oh, overlapped meaningThatting;have washe what? conversations rehearsedhad when astonishing I first it forwith saw millions gifts, hishim wife, in 1929of Lynn in Caprice an astonishing virtuosity years,in overlap, it was marvellous. delicious, absolutely delicious to at the St James's Theatre. Fontanne. They must guilty,hejealous extremelymurder.givehas hethemanway wishes smallestHe thattohot-blooded immediatelythe anybody's to. passion, grounds And theindividual, ever wantsperhaps forvery writtensuspecting first to anthemurder thing about.extremely worst Desdemona, he her, The temptationdoes, immediately. savageminute almost he creaturehe in wisheson suspects, the topTherefore world, who ofto that,thinkor has whichthinks he'siskidded her to an is Field.waswatchedValentinowatch, doing and with madeThe they theEntertainer. carriedme greatest see onthat theirdelight, narcissism I is I wouldn't like anybody to think that I own tradition in that way for many, many years. think, in another field entirely, wasimportant. Sid Of all the people I've ever was imitating Sid Field when I Qut.s-rioN: There is also...Lodovicokind.himself a sense And and ofsays if managed ayou've caged it for gotus:animal to "Isthat,kid this ineverybody I yourthink the nobleperformance. you've else, Moor really allI am ...this I whomremembersorrygot time, the that passion thatbasis I amhe's of could deceived nothingthe character.not shake.inof him."the ANSWER:QUESTION: Little Well, things, thereforfreelyone. werebut different SidBut littleand Field I unashamedly.thingsknow qualities. in when it. I imitatewatch all Sid Field to this day, I still borrow from him I think the most interesting thing to was a great comicmy and colleagues Archie Rice very was carefully, a lousy admire them all see is that an actor danger,writing youthat feelyou atcommunicate any moment more that the than great almost paw any may actor lash Iout know and asomeone's sense of 73 1 414 intois most useful successful play in when a part. not The only all his virtues but man who, I think, gave( me415 the] best sort of all his disadvantages come 74 thoughts about acting was my friend Ralph Richardson. ACTORS ON ACTING I watch Rex Harrison that work gives me enough opportunity to do what I'm able to do. As one gets ENGLAND AND IRELAND ANSWER:QUESTION: N.Vell, You talkedI'vequalities, gotimitatefor about an timing. awful for themactors instance, and using copy do their themyou disadvantages. dislike unashamedly. Which of I watch all my colleagues for different qualities that I admire, and I way of flinging my hands about whichmost I as a person? your own detest, youold-r,boundI'mwe might quitecan'tafraid to naturally,helpmake narrowyou that. can't a asvery one'sIf playtheyou're good greyrangeRomeo a shotkidhairs becomes ofany atcreepseventeen it,more; butmore in thereforeifor you're limited.youthey can't disappear atheI meankid play field of King agefifty-eight doesaltogether. doesLear narrow. properlyshow, then Your It's ANSWER:QUESTION: Not Talking with anybodyabouthopeyou'veand Inarcissism,for got,else the weaknessesbest. and all, and I just let myself try to control it. But sometimes, as are you competitive as an actor? I say, sometimes a part requires all go; I let it all happen and acterizationssolimitationsI'm much afraid, about are aswhen bound timecarving different goesto showyourself on, characterizations more,one's up therefore ambitionsinto different aren'tyou're are fanecessarily going more :ets, toinclinedto besuit narrowed all different notthat to different. botherby char- Dame lutelyThethingI'm actors lovelikevery that.each mustthankful No,other: understand no,for must, it.no, No, absolutelyI each the other,teamwork know each other, help each other, abso- never feel onthat. the stage, and not with younger actors or any- must. on the stage is a great essentialI never to have me. been, I'm glad to say; QUESTION: You developedNature.whenwouldpermanent youintohave were the ensembles,developed kind beginning? of actor in subsidized the you same are ensembles,waywhen if thereyou had werein thisjoined no country. real a company Do you of thinkthat kindyou QUFSTiON: How awarethey are youare, ofhow other their performances are going' . actors on stage, of what they're doing, where ANSWER: Well, in athe way, Birmingham from time Rep. to time, for twothat seasons.has been so with me. I was with I was at the Old Vic for two years. I ANSWER: Oh, very much,ofenough,forgetto veryround very a easily. ifword,the one company actorand youstarts drying see drying it's If you suddenly nave a mental aberration and forget mu up; it catches on like a terrible disease.upsetup, theanother actor, will and another, itYou becomes can upset a sort each other without meaning it upsets you too. And, Iasure couldn't line, or hotaTheatre,was foreignpermanent breath with forcompany, Ralph of five ensemble,unity years, Richardson, thatsuch when always arrivesas thewe seemsengagedMoscowtastedupon our theto Art shores,meblessingson Theatre, towork be and moreforof which wea the permanent importantsee isOld usedtheir Vic work,troupe.tothan at the the the itidea Whenis New starthat of QUESTION: In an unguardedbastardwouldandact competitively act momenthave tohim be theoff a star. thepower with stage. anybody. to do it Is that true? I think it would be terribly wrong andanyway. I don't think II couldn't do the thing that Kean didyou to Macready once said that you need to be a bit of a QUESTION: Our situationcountry.tosystem. thoughthem.... now Our goodness is thatsubsidized we've knows got theatre howplenty many has of openings opened years it's upfo- going soactors much. to intake thisBut us if to you make could that look clear Ultimately it is more important to an audience than the star system, ANSWER: Well, I thinkto understandYou'vethoughthave that acame certaingotthat everybody. tosomebody be edge, a bit that lackedof a might bastard the be traced to being a bit of I think the most difficult equation to solve is the union out of thenecessary fact that, edge at one to be time, a star. I may haveto understand bastards, and you've got to I think you'vea bastard, got inside. ANSWER: I'd likeahead, betteractortionscompany conditions sayinmay order five atfinally the orto first Vic?tenincreasebe regardedofyear's What all: our I'd hence,would likeasactivities, an a youwhat betterimportant like changesso theatre,it that to part have eventually, would ofbetter developedthe youlife condi- perhaps,of look the into? forpeople. inthe our art own of the QUESTION: Do you That'sabsoluteofthink victionsthe actors atwo veryconfidence, andthings ought hard political thatequation. and areideas? the absolutely other For instance, would an equal amount of humility towardsto be the influenced work. atnecessary all by their to anprivate actor. con- One is confidence, you accept a really first -rate part Paul Scofield was born in Birmingham, but grew up in Sussex, where his father PAUL SCOFIELD (b. 1922) ANSWER: Only if, in thegreatoftruein character ana aboutplay antiprophet more Negroconcerned,people, of directly, theplay' and revolution. I that's more quite obviously, possible. than is done by e wa he did it was al was ableI wouldn'tto show something like politics that to was take hold Anton Chekhov, the an illumination formalthenactor.atwas the headmastera Two boysperiodtraining. terms school at a atof school theina ChurchBrighton Croydon attached of and RepertoryEngland to his the success Westminsterschool. Theatre determined He School played Theatre outside Juliethim gave ofto and London,becomehim Rosalind his first andan In the summer of 1944 he joined the Birmingham Repertory QUEsTIoN: Are thereaTiiies7U7-27111re--"Tar--",anintzof any thetov5i17,--"OrbIue have majorhuman a crackparts, heart, at?win,Shakespeare to orshow anything the like that, y. But he doesn't go out an or say they're right or wrong. or others, that you'd still like ma e re., early, ac , ofTheatre craftworkadministrativeEnglish andoverof actors.Sir was the Barry able yearsdirectorHe Jackson, wasto withexplore askedin great 1946.who "aspectsto hadsuccess. goWith toprovided Stratford-on-Avon himof humanAt was Stratfordopportunities Peter nature Brookhe thatwhen gained to Iseveralwith wanted Sir confidencewhomBarry generations to became makehe was in dear his to ANSWER: No, no, theresound aren't, like really. that, but the fact is that, 7 3 [ 416 ] It soundsas you very said, self-satisfied. 1 have got other work. I don't mean to I think Mercutioto the audience." in Romeo He and played Juliet, Cloten Pericles in Cynsbeline,and Henry V. Lucio In his in third Measure season for he Measure, played [ 417 ] Master works in RestorationComedy

Sample Lesson Plan

Mary V. Dunkerly

June 16, 1992

t Master Works in Restoration Comedy Sample Lesson Plan

I. This lesson is intended for a developmental reading class of inner-city sophomores and juniors of average or slightly below-average reading ability. The focus will be on developing critical reading skills, such as comparing and contrasting, judging author's purpose, drawing conclusions. II. The purpose of this lesson is to examine and compare the image of women as presented in Restoration Comedy with the image of women as presented in currently popular movies, videos, and advertisements, focusing on ridicule of women, violence against women, and women as sex objects. III. Lesson Plan: A. Pieparation: 1. Students will be aiven copies of advertisements from such current magazines as Elle, Glamour,Mademoiselle (samples enclosed). 2. Students may be grouped in pairs or may work individually to answer the questions that follow: (Questions for the pictures that ridicule women) a. Look at the picture(s) before you and write down three adjectives that immediately come to mind that would describe the woman in the picture. When asked, recite your adjectives to the recorder who will write them on the board. Compare your adjectives with those of others in the class. Note the frequency or similar adjectives. b. How would you feel if you were the woman in the picture? c. For what purpose would a manufacturer want to use this type of advertisement to sell a product? (Questions for the pictures of women as sex objects) a. Look at the pictures before you. What is the central focus of the picture? (Where do your eyes focus first?) If a product is not shown in the ad, try to guess what is being sold in the ad. Compare your answers with those provided by the teacher. b. For what purpose would a manufacturer want to use this type of advertisement to sell a product?

(Questions for pictures of violence against women or of women as victims) a. Look at the series of pictures as they are presented to you. What expressions, if any, are shown on the faces of the women in the ads? (Name three possible expressions.) b. What expressions are shown on the faces of the men in the ads? c. In what position do you find the bodies of the Master Works in Restoration ComedySample Lesson Plan women in the ads? d. If men appear in the ads, what are they doing? e. How do the positions and expressions of the men in the ads compare to the positions and expressions of the women in the ads?What does this tell you about the message that is intended to be presented by the ads? f. Do the people depicted in the ads remind you of any other characters that you have seen in television ads or music videos? g. Is there any humor or attempt at humor in these ads? Why would a manufacturer use humor in a situation that is potentially threatening to the women in these ads? 3. Students from each group, or individually, will present their answers orally and discuss their opinions of the results. 4. Adjectfves used in students' answers may be listed on the board to compare similarities and differences in each group. 5. Ask students to discuss the problems a woman faces when she is continually presented as an object of ridicule, sex, or violence. B Homework Assignment: 1. Ask students to watch ten to fifteen music videos over a period of two to three days, or, if music videos are not available for a student's viewing, place him/her in a group with students to whom the videos will be available. 2. Students will record their findings as they watch the videos, paying particular attention to the presentation of women in the videos. 3. Students will answer such questions as: a. What is the name of the singer or group? b. Is it male, female, or a mixed group? c. If there are women in the group, are they singing? d. If the women in the group are not singing, what are they doing? e. How are the women in the video dressed? f. Is there any physical contact between the members of the group? Is it violent? Does it ridicule women? Is it suggestive of sexual activity? g. What is the song about? (Main Idea) 4. Students will bring their results to class, form groups, discuss the answers to their homework questions, and record the similarities of their answers. Those students who were unable to watch the videos will be assigned to record the answers of the rest of the group and to form generalizations about

2 Master Works in RestorationComedySample Lesson Plan these answers. C. Class Discussion: 1. What was the total number ofvideos that each person in your group watched? Of this number, what percentage portrayedwomen as objects of sex, violence, or ridicule? 2. For what purposeare these videos shown? 3. Of all the members ofyour group, how many found at least one of the videosdisturbing? 4. Each group should develop their own theoryof what the use of such videossuggests about the status of women in oursociety. 5. After viewing thesevideos, what conclusionscan your group draw about what isacceptable treatment of women inour society? 6. What might prolongedviewing of such videos suggest to young people afterextended periods of time? D. Comparison of currentmedia portrayals ofwomen with the portrayal of women inRestoration Comedy 1. Students will beassigned to read Act IV,Scene IV of The Country Wife,Act IV, Scene V of The Rover and Act V, Scene 1 ofThe Man of Mode. 2. Discussion Questions: a. What threat does Pinchwifepose to his wife in this scene?(The Country Wife) b. How does Mrs. Pinchwifereact to her husband? c. Do you find this scene humorous? d. How is Mrs. Pinchwifeportrayed in this scene? Can you think ofa female character froma recent film that wouldresemble Mrs. Pinchwife in her predicamentor in her behavior? e. Consider the character of Blunt(The Rover). Howdoes he behave in thisscene? Is his behavior justified? Would his behavior be justified if Florinda had beena common street wench? f. Compare Florinda'streatment at the hands of Blunt with the characterportrayed by Jodi Foster in the recent movieThe Accused. g. What added tension does Frederickbring to the scene? h. Would audiences todayfind this scene amusing? i. Consider Mrs. Loveit inThe Man of Mge. How is she portrayed?Do you feel sorry for her? j. Dorimant is the hero ofthis play. What do you think of his behavior towardsMrs. Loveit? Does he remind you ofany heroes in current movies? Is he amusing? honourable? k. Is Dorimant the type ofcharacter that you

3 COMEDY UNITPLAN RESTORATION

introduction of Comedy beginningwith the Imagine a unit onRestoration production of, TheWay Of TheWorld. Huntington's

plans) prior toattendance of thelive A. Introductorypreparation (lesson performance.

performance B.Live professionaltheatre

of The Wayof The World C.Script analysisand translation

Melissa Shaffer

'El RESTORATION COMEDY UNIT

PURPOSE OF UNIT; 1. To experience translation process of poetic English into American SignLanguage with hidden agenda to enjoy analysis of both languages thereby gainingrespect and appreciation for both languages. 2. To discover cultural history as it relates to the Theatre Arts...compare society response to theatre in the 1600's to the response theatre receives today. 3.To discuss and compare ethical issues and situations that occur in the script (sexism, lies, etc.) 4.To evaluate comedy elements... compare humor from the script to the comedy seen on stage in the production. 5. To expose students to a formal stylized theatre experience

THIS UNIT'S PRIMARY PRUPOSE IS TO BECOME A LANGUAGE AND LITERATURE UNIT BY USING THATRE AS A TOOL FOR INSPIR

E2 INTRODUCTORY PREPARATION

LESSON PLAN ONE

Write a list of words on the board Provide several dictionaries Explain Dictionary Game competition rules: 1. Teams of two 2. Set a time limit 3. Each team writes a definition for each word- can be actual dictionary definition or falsely created to save time. 4. Definitions are shared and discussed as to their believabilityor huhior 5. Team with most acceptable definitions by the class... wins the competition 6. Teacher provides the true definitions for comparison

Word List: wit coquette rake fop cuckhold dowery coxcomb enamored odious

83 LESSON PLAN TWO

Show photos and/or artwork from each time period;

1920's 1600's

Lead an open discussion of visual similarities and differences between the styles.

Students create their own descriptive word list for each period based on the discussion.Example; 1920's 1600's angular lines intricate art deco circular loose clothing fancy simple too much ect. ect.

LESSON PLAN THREE

Teacher presentation on historical similarities between 1920's and 1600's and why the director would choose to update the 1680 script to the 1920's. (ie; post war celebration, economically wealthy, class conscious, cultural revolution, ect.) Student Assignment: Read The Way of the World

84 LIVE THEATRE PERFORMANCE EXPERIENCE The Way of the World by William Congreve

LESSON PLAN THREE

Lead an open discussion and critique of the performance. Student assignment: Write a brief newspaper review article on the performance. The newspaper is published for the local Deaf community,so write the article as it pertains to the Deaf community.

LESSON PLAN FOUR

Students review and self-correct newspaper articles with guidance from teacher

SCRIPT TRANSLATION PROCESS

The next several class-times will be involved with reading the play togetheras a class and going through the translation process as a method or tool for reading, When the play has been completed, the class goes back and decides on which scene or act to be formally performed.

LESSON PLAN FIVE

Choose an act from the play to be translated into American Sign Language and then later performed.

As a whole group, discuss and brainstorm ideas for translation. Teacher describes the intent or function of each English line and then the students offer ideas that match in concept in American Sign Language. This process will reguire several (or more) lessons/class-times. Script scene translation sample is attached:

Once the translation of the act is completed... preparation for performance is ready to begin. This process reguires a separate curriculum and schedule.

85 crif i 1Ji a v e_ 4.,i s ok c.5)-T/a itio\9 b E. n31:51. Ines cu r10+-es , n e_ -i-ca s tori-6-71,

SCENE I] THE WAY OF THE WORLD 81 dormitives, those I allow. These provisos admitted, in other things I may prove a tractable and complying husband. 245 MILLAMANT Oh horrid provisos! Filthy strong waters! I toast fellows, odious men! I hate your odious provisos! MIRABELL Then we're agreed. Shall I kiss your handupon the contract? And here comes one to be a witness to the sealing of the deed. 250 Enter MRS. FAINALL

NIILLAMANT e.),.4.the Fainall, what shall I do? Shall I have him? I think Imust C;',:. -do? Q° -clo?.liccePi '.?".-i have him. ti c csefi ?(Yif 0cdi vt) (A) h i CA MRS. FAINALL Ay, ay, take him, take him, what should you do? fq cc_zfoi 0 C c'epf not k.)hk.h?. P C C EIT 577

MILLANIANT ------.. . - -- Well thenI'll take my death I'm ina horrid fright 15-1-tifilc)True.-0;2_ -accept Fainall, I shall never say itwellI thinkI'll endureyou. ckerf-h gderti-k n eAter I MRS. FAINALL u Fie, fie, have him, have him, and tell him so in plain terms; for I am sure you have a mind to him. -Ten 4 cc 5-ira cc t you MILLAMANT C SQs etc*. olv,te I/ Are you? I think I have; and the horrid man Toos as he 7- 1}-4` A;ni point thought so too. Well, you ridiculous thing you, I'll haveyou 'rut, I 1"L'e.- biz po;n4._ I won't be lussed, nor I won't be thankedhere, kiss my 260 iSY11/4-i +cv hand thoughso, hold your tongue now, and don'tsay a 1<- 6K S" I yOU word.. -ic esiu - z up\Y MRS. FAINALL 'Cc1.)5.e__ .44,_ Mirabell, there's a necessity for your obedience: you have ' 54-vcci kclfric4,4 c-o neither time to talk nor stay. My mother is coming, and, in jleac Siletk.yes r /NI ss my conscience, if she should see you, would fall into fits and265 SAAk maybe not recover time enough to return to Sir Rowland, ) -Jai%OC who as Foible tells me is in a fair way to succeed. Therefore, !riceciyou spare your ecstasies for another occasion and slip down the 4.urr 111 ill 6 go?) e, back stairs, where Foible waits to consult you. er acrivt.Otr'n/1/(s. F MILLAMANT Lk..11 ess ec re_. dosed-57Y.)Poirt+- Ay, go, go. In the mean timeI suppose you have said270Cto-zy irm. something to please me. bi evict-al' Csrace_A-o n+ -kteripe- 44rm-±-s,itt-reso/vf.. 261 and don't Ql, Q2 (don't Ww) /artar esfi 244 dormitives drinks to induce sleep ryic elescei)ve) 5roe do (\54 54Vrt h -+) etidTtelt Powlarlei 4-itrytship cre,tci you 5n ectg tOci ou+ Fo; uJai -wqi p.

66 82 WILLIAM CONGREVE (ACT IV MIR.113E1.1. I am all obedience. Exit MRS. FAINALI. Yonder Sir Wilfull's drunk, .andso noisy that my mother has been forced to leave Sir Rowland toappease him; but he answers her only with singing and drinking. What they have275 done by this time I know not, but Petulant and hewere upon quarrelling as I came by. MILLAMANT Well, if Mirabell should not makea good husband, I am a lost thing, for I find I love him violently. MRS. FAINALL So it seems, when vou mind not what's saidto you. If you280 doubt him, you had best takeup with Sir MILLAMANT How can vou name that superannuated lubber? Foli! Enter WITWOUD from drinking MRS. FAINALL *:1 So, is the fray made up, thatyou have left 'em? WITWOUD Left 'em? I could stay no longer. I have laughed liketen christenings; I am tipsy with laughing. If I had stayedany285 longer I should have burst, I must have been letout and pieced in the sides like an unsized camlet ! Yes,yes, the fray is composed; my lady came in like a nolle prosequi and stopped their proceedings. MILLAMANT What was the dispute? 290 WITWOUD That's the jest, there was no dispute, they could neither of 'em speak for rage, and so fell a-sputteringat one another like two roasting apples.

,r;L. Enter PETULANT drunk

275 they have Ql, Q2 (they may have Ww) 280 when you Ql, Q2 (for you Ww) 289 their proceedings Ql, Q2 (the proceedings Ww)

287 pieced enlarged with pieces of inserted material 287 unsized candlt unstiffened material, originally rich and Oriental,but subsequently a debased shoddy imitation 288 nolle prosequi term for ending legal proceedings

S7 SCENE I] THE WAY OF THE WORLD 83 Now Petulant, all's over, all's well; Gad, my head begins to whim it about! Why dost thou not speak? Thou art both as293 drunk and as mute as a fish. PETULANT Look you Mrs. Millamant, if you can love me, dear nymph say itand that's the conclusion; pass on, or pass offthat's all. WITWOL7D Thou hast uttered volumes, folios, in less than decimose.wo,300 my dear Lacedemonian, Sirrah Petulant: thou art an epito- miser of words. PETULANT Witwoud, vou are an annihilator of sense. wrr wow) Thou art a retailer of phrases, and dost deal in remnants of remnants, like a maker of pincushions. Thou art in truth303 (metaphorically speaking) a speaker of shorthand. PETULANT Thou art (without a figure) just one half of an ass; and Baldwin yonder, thy half-brother, is the rest. A gemini of asses split would make just four of you. WITWOUD Thou dost bite, my dear mustard seed; kiss me for that. 310 PETULANT Stand off! I'll kiss no more males ;I have kissed your twin yonder in a humour of reconciliation till he (hiccup) rises upon my stomach like a radish. M IL LAMANT Eh! Filthy creature! What was the quarrel? PETULANT There was no quarrel. There might have been a quarrel. 315 W ITWOUD If there had been words enow between 'em to have expressed

295 whim it about spin 300 decimo sexto a book of very small size in which each sheet is folded into sixteen leaves (whereas a folio is composed of sheets folded into two leaves) 301 Lacedemor ian. Spartan brevity is Petulant's gift. 308 Baldwin an ass in the beast epic Reynard the Fox reprinted in 1694 (Davis) 308 gemini pair of twins 313 radish perhaps reminiscent of Sir Toby's difficulties with pickled herring in Twelfth Night, I, v, 114

88 84 WILLIAM CONGREVE [ACT IV provocation they had gone together by the ears like a pair of castanets. PETULANT You were the quarrel. MILLAMANT Me! 320 PETULANT If I have a humour to quarrel, I can make less matters conclude premises. If you are not handsome, what then, if I have a humour to prove it? If I shall have my reward, say so; if not, fight for your face the next time yourselfI'll go sleep. WITWOUD Do, wrap thyself up like a woodlouse and dream revenge!325 And hear me, if thou canst learn to write by tomorrow morning, pen me a challenge: I'll carry it for thee. PETULANT Carry your mistress's monkey a spider! Go flea dogs, and read romances! I'll go to bed to my maid. Exit MRS. FAINALL He's horridly drunk. How came you all in this pickle? 330 WITWOUD A plot, a plot, to get rid of the knight; your husband's advice; but he sneaked off. Enter LADY [WISHFORT] and SIR WILFULL drunk

LADY WISHFORT Out upon't, out upon't, at years of discretion, and comport yourself at this rantipole rate? SIR WILFULL No offence, aunt. 335 LADY WISHFORT Offence! As I'm a person I'm ashamed of you fogh! How

325 woodlouse reminiscent of The Silent Woman, II, iv, 140-42: 'Or a snaile, or a hog-louse: I would roule my selfe vp for this day, introth, they should not vnwinde me.' 328 Carry ... spider bawdy, asin Marston, The Malcontent (ed. Bernard Harris, 1968) I, iii, 40-41: PIETRO How dost thou live nowadays, Malevole? MALEVOLE Why, like the knight, Sir Patrick Penlolians, with killing of spiders for my lady's monkey. 334 rantipole grossly ill-mannered SCENE I] THE WAY OF THE WORLD 85 you stink of wine! D'ye think my niece will ever endure such a borachio? You're an absolute borachio ! SIR WILFULL Borachio ! LADY WISHFORT At a time when you should commence an amour and put340 your best foot foremost SIR WILFUL 'Sheart, an you grutch me your liquor, make a billgive me more drink, and take my purse! (sings) Prithee fill me the glass Till it laugh in my face 345 With ale that is potent and mellow; He that whines for a lass Is an ignorant ass, For a bumper has not its fellow. But if you would have me marry my cousin, say the word350 and I'll do't; Wilful' will do't, that's the word; Wilfull will do't, that's my crest; my motto I have forgot. LADY WISHFORT My nephew's a little overtaken, cousin, but 'tis with drinking your health ; o' my word you are obliged to him. SIR WILFULL In vino veritas, aunt. If I drunk your health today, cousin, I355 am a borachio ! But, if you have a mind to be married, say the word, and send for the piper, Wilfull will do't. If not, dust it away, and let's have t'other round. Tony! Od^, heart where's Tony? Tony's an honest fellow, but he spits after a bumper, and that's a fault. (sings) 360 We'll drink and we'll never ha' done boys, Put the glass then around with the sun boys, Let Apollo's example invite us; For he's drunk every night And that makes him so bright 365 That he's able next morning to light us.

345 laugh Q1, Ww (laughs Q2) 338 borachio the Spanish leathern bottle for wine, hence the term for drunk- ard and the name of the minor character in Much Ado About Nothing 342 grutch begrudge 349 bumper brim-full glass of wine 355 In vino veritas drunkards speak the truth

1-11_f ) IJ -1-

This 5-day unit is designed for low and middle-incomestudents for an urban setting for grades 9-12, in a special educationenvironment. These -3tdents reading skillsrange from very low to high. Therefore the activities in the lessors are designed toencourage focusing, critical thinking, writ-

ing and same hands-on-activities. 'Jowever, lots of discussion will be

initiated for each lesson. The following lessons will provide studentswith an inside overview unit of the "Restoration Feriod" ina productive and exciting way.

Students will make a time line historicalchart about women from the

Restoration Period 1:ntil present. We be using different plays i.e., "-he Rover," "The'ay of the World," and "The "'an of ::ode." The students will take a close lock at femalesduring that period and compare howwomen are viewed today and valued as wellas yesterday.

DAY l-7AY 3 The students willselect one of the female characters of their choice from each of the 2 playsand compare them. The students will not read the total play. The students will read the introductionto each play to decidE upon the female character. Some students may want to reada bit more in depth to get a fuller pictureof the character and thismay or may not be permissible.

AFFRCAC=r: The teacher will help to speed-upthe lesson by providing the class with some basic and interestingfacts about the Restoration Period and how women were treated or noticed. The students will discuss the personalities, styles, dress, behaviors andmanners of these women. From time to time, students may need to refer to differentsections or specific lines of each play to understand each character ingreater detail. Special needs students may need two to three days to gather thisinformation and move forward.

The teacher should be patient andsensible and allow the needed timeso, the student will not become frustrated andgive-pp. The lesson may need to be explained more than once and ina different way.

91 -2-

DAY 4: After the unit has progressed for a few daysother thoughts and themes will come forward. Today, will be a day cf sharing, discussing and high-

lighting facts and informationabstracted from the 2 playswe have perused in part. Each strident will do a five minute oralclass presentation. Ten minutes will be allowed at theend to summarize the rewly foundfacts from the

readings. Students will be allowed to presenttheir thoughts in poetry, paint-

ings, collages, etc. Students who are unable to do oralpresentations comfortably may do an essay to beplaced on display to share.

DAY 5: Today, we will have pre-discussionsabout the play, "The Way of the World."

The three suggested plays fromthe "Restoration Period": The ::.an of Iv.ode, The Way cf the World and TheRover.

Possible questions: 1) What are the sexual expectationsof women today? 2) What were the sexual expectationsof women during the Restoration Period? 3) Do some women make themselvesmore sexually available to men today than yesterday.? 4) Do women look atmen differently today than they did during the Restoration Period? 5) What may have happened towomen during the Rest- oration Period- -hadwomen been more independent or totally differentthan they are today? 4) Could there have beena women's magazine during the Restoration Period? -) uow many female rulers didwe have during the Restoration Period?

'low many females were involvedin public politics? 9) That would have happened to female gangs during theRestoration Period? 10) What would have happened 'o women who kept secrets fromtheir spouses or refused to asK their husbands permission foran example: an :bortior., etc. Themes, thoughts and ideas:

- -money alliances --having sex trying to hold on to a lover, relationship or husband. --marrying forlove

- -marrying whoyou love

-- inheritancesof_fortunes

- -marrying formoney, prestige or by appointment --having sex for favors S2 2tudent Resources:

Aphra =ehn, -The ?over." ':niversity of 7"ebraska Fress, London, Lincoln and

William Congreve, "The Way cf theWorld.- A 3 C Hack/icndon, W. ortorPew York, 10'4).

-eorge Etherege, "The ::an of . C '-'lack/London, W. W. :-orton/ "ew York,

Zther resources: :ccal and national newspapers, magazines and books.

Submitted by: Patricia ij.aye-Wilson Special Needs Teacher, :radison Park :4igh School THE WIVES EXCUSE Thomas Southern

This series of lessons is designed for students in an eleventh grade English class in an inner city public high school.

The class period lasts for 45 minutes.

The class has already had preparation in the historical background of the play. They have read other works that have acquainted them with much of the vocabulary of the period.

Act I Scene 1

The class is divided into groups of four to six students so that each student can play the role of one footman (or more,if necessary). For example, a class of twenty four could be divided into four groups with one student taking the roles of Footmen 1 and 7. Each group reads the scene simultaneously.

Students re-group according to the roles they played. All Footmen I together, all Footmen 2, etc. One person is appointed scribe. Students collaborate to list information that their character has imparted.

The class re-assembles as one group. The information form each group is written on the chalkboard in brief phrases, grouped by role i.e. all information from Footman 1 on one panel, Footman 2 on another, etc.

Students are asked to list the characters in their notebooks that the Footmen have discussed. They should put one person on each page and under.the name write anything that is known about the person as a result of the first scene. They will take these notes from what has been written on trie chalkboard. Working through the information imparteCi by the Footmen will ;ead the students to understand the author's purpose in beginning the play in this way.

The notes the students take will serve as a reference for the characters when they appear in the play and also help them to understand the plot as it unfolds.

After each reading assignment the students will be required to addany specific information they receive about the characters as theyappear in the play. Due to the fact that the language and conventions of restoration comedy are relatively alien to the students' own experience, tney are often asked to read for content. When they are given a home assignment, they must spend enough time reading to answer specific questions Tney are not required to understand everything in the play. Instead they focuson issues that enlighten them about the restoration, provide the basis fora discussion of current attitudes on the same subjects, and offerthem the opportunity to relate their personal opinions.

Day 1

Students are asked to read Act IScene Iat home. The class proceedsas described on the first two pages. Homelesson ;ead pages 51 55to find the answers to these questions: 1. What is Wilding's complaint? 2. Why did Springame's sister marry? 3. What does Springame suggest she do? 4. Does Mrs. Wittwould accept Springame's proposition? Why? 5. What do you think of Wittwould's intentionsas expressed in lines 333-5?

Day 2

Review students' answers to questions. Discuss Mrs. Wittwould's views on men, husbands and ladies' virtue. Students volunteer for roles and read pages 55 -58 Classroom discussion: Plot developments suggested by the converstion between Lovemore and Friendail.What could possibly happen as a result of Friendall's request? How does Mrs. Friendal I say she feels about her husband? Inyour opinion is she justified? Homelesson Read pages 59 -66 to answer these questions: 1. Why does Courtall's name fit so well? 2 What lines on page 60 hint at further plot development? 3. How does Mrs. Friendall help her husband save face? Take notes on the references to 'reputation' Mrs. Friendall's, Fanny's, Mrs. Wittwould's.

Day 3

Compare students' answers to questions from assignment. Discuss information on "reputation". Students read pages 66 and 67 silently. Discuss the importance of "reputation" as it relates toMr. and Mrs. Friendall as revealed on these twopages. Two student volunteers read the roles of Springameand Mrs. Friendall to page 69. Have one student summarize their "plot" Students continuereading through page 70 until someone can explain Lovemore's "hidden agenda."

Home lessonRead to page 78 Continue notes on "reputation."Be able to explain why Wilding thinks that women fall for him in spite of his character.

Day 4

Discuss "reputation" as it appears in the pages read the prWous night. Progresssing through the assignment from beginning to end ask students to volunteer their observations from their notes and commenton the "character" of the various characters expressing their opinions.

Home lesson Read pages 78-83 Explain how the problem of the duel is resolved. Day 5

Students explain the motives of Mrs. Friendall, Ruffles, Lovemore, and Springame. Students take roles and read aloud pages 83 through 92. Point out the ruse that Lovemore now puts into action. Discuss: the things that damage a man's reputation, a woman's, the differences in the way that restoration society views a husband and a wife, the difference between Mrs. Wittwould and Mrs. Sightly. Students read silently to page 95 until someone finds out why women are burdened with a double obligation with respect to reputation.

Home lesson read pages 97 105to find the answers to these questions: 1. How does Mrs. Friendall justify her defense of her husband? 2. What does she know about Lovemore? 3. What is her opinion of him? 4. What is Lovemore's opinion of women in general? 5. How doen Sightly react to Wel lvi le's revelations?

Day 6

Students volunteer answers to homelesson questions. Beginning at page 107, students read aloud, one speech each to the end of A;.:t: IV Discuss whether or not Wittwould is upset at the loss of Sightly's Friendship. Find lines in the text that support the answer. Students continue reading silently to discover Wittwould's plan. One student paraphrases the plot and Wittwould's motives. Students assume roles and read through Scene V Act II.(small masks may be used) Home lesson Finish the play

Day 7 Students debate the possibility/probability of Mrs. Friendall and Lovemore having a "future" together. Discuss the importance of REPUTATION: Is it meaningful or superficial in this play? Is it important in today's society? What is a "bad" reputation? How can it harm one? Are all members of society judged by the same standards? i.e. politicians? sports figures? entertainers ? Does the reputation of a famous person have any effect on you?

As a final evaluation of the students experience with The Wives Excuse they will be asked to write an essay on one of the following topics:

1. Describe one character's view of marriage. How does it compare to your own? 2. Give an analysis of Wittwould's personalilty. 3. Explain "cuckolds make themselves."

M.L. Burke Barry Lew June 2. 1992 Theatre Arts Teacher Leominster High School Leominster MA A ONE MONTH LESSON PLAN FOR MASTER WORKS IN RESTORATION COMEDY

A) This lesson will be presented to Advanced Theatre Arts students. who have had one year of learning the basics concerning theatrical production. Students in this class must be recommended by their Theatre Arts Teacher and their

Guidance Councelor. All students in this class have participated in a similar assignment before in basic Theatre

Arts. called "Theatrical Dinner Party". Students in this assigment, were required to design a theme dinner party and research and create authenticity for such an evening.

This assignment could be executed through it's planning stages, or actually be presented in entirety by the class. At any given time, because of budget constraints, authenticity could be substituted with creativity. The main thrust of this assignment i3 the research, preparation and creative decisions that are needed in order to create a presentation.

A RESTORATION THEATIR I CAL. F' ARTY

B) THE CLASS ASSIGNMENT IS TO CREATE AND DESIGN AN EVENING

PARTY. THIS PARTY WILL BE DESIGNED AS IF TO TAKE PLACE DURING A SPECIFIC TIME PERIOD AND PLACE, RESTORATION

ENGLAND. BEYOND CLASS MEMBERS INVITED GUESTS WILL BE

INVITED TO YOUR PARTY. EVERYTHING THAT YOUR GUESTS SEE. HEAR, TASTE. TOUCH AND SMELL WILL AFFECT THEIR PERCEPTIONS

AND ENJOYMENT OF THE EVENING AND IS TOTALLY UNDERTHE CLASS' CONTROL. THE CLASS MUST CAREFULLY DETERMINE ANDPLAN THE FOLLOWING:

1) How will the class decorate the room?

2) What historical characters will be attendingthis evenings festivities?

3) Specifically, what mood/backgroundmusic will be played throughout the evening?

4) What will everyone at the party be wearing,specifically,

(the class members as characters,servers, entertainers

etc.). How will the guests be greeted? (Guests may be instructed or encouraged to attend in costume, that decision is left up to the class)

5) Specifically, what foods and drink(s) willbe served and how will they be served?

6) What special events will occur throughout theevening in order to enhance the experience?

7) What social conventions existed? How did people speak?

What games did they play? How did they entertain themselves during Restoration England?

8) What historical events might be used to enhancethe evening?

C) AFTER A BRIEF INTRODUCTION, THECLASS WILL BRAINSTORM

IDEAS ABOUT HOW WE WILL BREAK UP INTOGROUPS, IN ORDER TO

RESEARCH AND ANSWER THE ABOVE QUESTIONS. WHEN GROUPS AND

GROUP LEADERS ARE DETERMINED, THE TEACHER MUSTRECORD WHAT EACH STUDENT'S RESPOSIBILITIES WILLBE FOR THE ASSIGNMENT.

A CONTRACT COULD BE DRAWN FOR EACHSTUDENT, USING A BASIC

FORM. THAT THE TEACHER AND STUDENTCOULD BOTH AGREE UPON.

D) THE NEXT WEEK WILL TAKE PLACE INTHE SCHOOL LIBRARY WITH

GROUPS CONDUCTING RESEARCH FOR THEABOVE

SPECIFIC TIMES FOR PROGRESS REPORT MEETINGSWITH EACH GROUP. THESE MEETINGS AND ALSO BEING PRESENTAT THE RESEARCH

SESSIONS, WILL GIVE THE TEACHER A GOOD IDEAOF WHO IS

PULLING THEIR OWN WEIGHT. RESEARCH TIME OUTSIDE OF CLASS

WILL ALSO BE DETERMINED AT THE PROGRESSREPORT SESSIONS.

E) AT THE END OF THE WEEKLONG RESEARCHPERIOD (THIS TIME

FRAME COULD BE FLEXIBLE) EACH GROUPWILL REPORT THEIR

FINDINGS TO THE CLASS. EACH GROUP IS RESONSIBLE FOR BOTH AN

ORAL AND WRITTEN PRESENTATION OF THEIRFINDINGS.

F) AFTER PRESENTATION OF GROUP REPORTS THEENTIRE CLASS WILL

102 PARTICIPATE IN THE FOLLOWING LESSON:

1) All of the students, in this class, have completedan

extensive unit on Viola Spolin's "Improvisation forthe

Theater". They should have an understanding of howto

develop and use "POINTS OF CONCENTRATION"that are fully explained in her curriculum.

2) The purpose /gals of this unit isto have the

students understand some of the costume fashionsand styles of The Restoration Period and howthese would affect and/or

reflect a Restoration character'smovement, expression and attitudes.

3) The approach/way that this lessonwill be presented will follow the format presented in ViolaSpolin's book mentioned in paragraph 1). This lesson be could integrated

into an improvisation curriculum.or be used by itself with a class already familiar with Viola Spolin's methods.

a) First the class will view slides of Restoration

prints of people (the ones thatwe saw in class would be great).

b) While they are watching, students willbe asked

specifically to jot down their descriptions ofthe

fashion clothing and accesories that theysee. What

do they show us about these people? How do they look like these people feel? How does the clothing

and wigs make them feel physically (i.e. the wigson

103 their heads) and emotionally? Can you project what they might be thinking?

c) After viewing the slides, we will discusstheir thoughts and findings.

d) We will then do some improvisationexercises. The first improvisation exerciseswill use the entire class, in our openspace, at the same time.

Students will be told that the "POINTOF

CONCENTRATION" is to imagine specificallywhat they would be wearing if they lived inthe Restoration

Period and how does this affect theirmovement. After thinking about iton their own, the teacher

will then choose one student tobe first actor and

leader. When that person is ready call"curtain".

First actor moves around stage inimaginary costume.

After costume has been established,the other

students will be told to join In theaction when

they are ready. While the action is goingon, the teacher will side coach with these ideas,

(Concentrate on how your head feels!Concentrate on

your feet! Concentrate on your midsection! Without speaking greet your neighbor! Move along, greet someone else! Ignore eveything around you except

the people in the scene!). When theentire class

joins in, or when it looks likeno one else will

join in, call "cut" and have group sit readyfor dicussion.

le4 e) Discuss, how did you feel duringexercise? What

worked?What people looked like they belongedin those slides that we watched? What could you do to make your movement and mannermore realistic?

f) The second improvisation willbe conducted the same way as the first. However, the "POINT OF

CONCENTRATION" this time will be,what do the

clothes say about yoy and theway that you feel.

Side coaching examples: (Standin costume! Holdyour

head in costume! Look around in costume! Examine

your space! Make contact with specificthings around you! Examine your neighborand what they are wearing!

g) Same discussion as subsection5.

h) If time permits, dosome "where" exercises, using

our new imaginary costumes andmanners.

4) Evaluation process. How many people involve themselves in the improvisations? Do the ones that usually lead the way, continue? Do students. who are usually reticent about joining, participate')

G) AT THIS TIME LESSON COULDBE CONCLUDED OR ACTUAL PARTY COULD BE EXECUTED.

1C 5 H) EVALUATION PROCESS FORTHE ENTIRE LESSON:

STUDENTS WILL BE GRADED FORTHEIR GROUP WORK.

INDIVIDUALLY AND ALSOTHE GROUPS WILL BE GRADED. CLASSROOM

PARTICIPATION WILLALSO BE MEASURED ALONG WITHENTHUSIASM AND THE ABILITY TO FULFILLTHE ASSIGNED TASKS.

106 Virginia Byrne Masterworks Class June 1992 Restoration Comedy Curriculum Unit One Week unit Objective for Unit Five 45-minute period lesson plans Five assignments One extra credit assignment Suggestion for evaluation

"Understanding The Women of the Restoration" Objective: To glimpse the mind of the 17th century English woman and to try to understand the attitudes that prevailed toward her through a study of the period's Female Playwrights,Actresses and Heroines. Target Audience:College or Secondary Women's Studies' Course Class #1 The Playwrights Divide the class into five sections. Provide for each section readings from Fidelis Morgan's "The Female Wits" on and by the five writers:

Aphra Behn and "the Lucky Chance" Catherine Trotter and "The Fatal Friendship" Mary Delarivier Manley and "The Royal Mischief' Mary Pix and "The Innocent Mistress"

107 Susannah Centlivre and "A Wonder :a Woman Keeps a Secret"

This class should be spent reading the materials and preparing a brief oral report on the playwright and rehearsing one two-minute scene from the play assigned.

The rest of the class will be required to take noteson all reports. Each section will also prepare a brief quiz on the materials which will be taken at the end of the week.

Assignment: Read over your part of the presentation and pass in tomorrow your contribution to the written quiz for compilation by the instructor.

Class # 2 Perform the prepared presentacions opening up to questions after each segment. Assignment: Study notes for a quiz on material at the beginning of Class # 3. Each section will be given a actress of the period to research and prepare a monlogue about which will be presented to the class as if it were a visit from this 17th century actress telling about herself.

108 3. Rebecca Marshall Elizabeth Barry Nell Gwynne Ann Bracegirdle Margaret Hughes

Day # 3 Quiz compiled from the 50 questions passed in during yesterday's class. Presentaion of the five monologues of the Seventeenth Century Actresses. The monologues should also include a description of the theaters of the times and how the women were received in the plays. Assignment:prepare for a quiz on the period theaters and the actresses presented.

Day # 4 Quiz on the assignment. Ffilvir,' class into the five sections again. Pass out five designated scenes from Restoration Plays. Give the groups time to read and analyze the scenes with an emphasis on the way women are within the context of the plays.

109 4. 1700 Congreve's "The Way of the World" Act II sc. 1 lines 89-220 Fainall and Mrs. Mar wood

1675 Wycherly's "The Country Wife"Act II sc.1 to line 130 Pinchwife, Mrs. Pinchwife, Alithea

1677 Behn's "The Rover" Act III sc, 5 Florinda, Willmore

1676 Etheridge's "The Man of Mode"Act ii sc. 1

1632 Shirley's "Hyde Park" Act I sc.2 The scenes must be presented in the next class preferably in chronological order. The students should be encouraged to look at the whole play if not in detail at least in an overview.

Class #5 Presentation of the scenes followed by discussion led by the following questions: Do you think that 17th Century England was a pleasant time and place to be a woman?Support the arguments. Why were there no women playwrights prior to this period and why do you think they emerged at this time? How were actresses viewed?W hy were there no actresses on the English stage to this point and why did they emerge at this time?

110 J.

Assignment: Prepare a two page essay on one aspect of Women and the Restoration Theatre

EXtra Credit Assignment This assignment can be offered at the beginning the the Unit. Investigate women in government or the trades during this period including the Queen and preparea written OR oral report.

Prepare a report on the art of the period looking at either Women Artists or Women in Art. This repart wouldopen the possibilities of discussion of women as they are portrayed in Visual Art.

111 Tina Langson Brockton High School Brockton, MA 02q01 RESTORATION COMEDY UNIT

I took some liberties with guidelines and devised activities For two different classes. Since I currently teach both Freshmen and seniors,I planned these projects For them; however, I think the plans For The Relapse and The Rover are suitable For any high school year. I designed the activities For The Way_of the World and comedy For seniors who are so sophisticated, urbane, witty, and literate they just astound. I would allow a week for reading each play and one to two weeks For each activity. Brockton High School is a large, urban school whose student body is racially, ethnically, and economically diverse. Course offerings are tracked on a basic to Advanced Placement level.

112 Tina Langson Brockton high School Brockton, MA 02401 These questions on The Wail of the World are suitable For seniors, or for those students who have an extensive background in literary analysis. How many you assign is your choice. Many of these questions lend themselves to lengthy analysis.

Writing

1. What is there in Millament's character that makes her one of the most comic figures in literature? 2. How does Congreve portray the shallowness of his characters? 3. Comment upon Sir Ifor Evans' crticism that in this play, triumph occurs in the form of the witty over the dull, of the graceful over the boorish "

4. What is there in this play that resembles the way people act today? What similarities do you see with your own racial, ethnic, or religious group?

S.In what ways are characters' personalities reflected by their surnames?

6. Draw a web of the relationships among the characters.

7. Diction is important in this play. "While I hated my husband, I couldbear to see h im; but since I have despised him, he's too offensive. Find other such examples and explain the impact of the chosen words and their order in the sentence.

B. Mirabell says people commit rash acts in order to preserve their reputations. Discuss this statement in relation to the entire play.

9. What does Congreve say about women when Mirabell says, "a man may as soon make..., or a fortune by his honesty, as win a woman by plain dealing and sincerity." Support this assertion by citing quotations and referrring to events in the play.

10. Cite examples of Sir Willful's ignorance. 11. Discuss Millament's views of a woman's role in marriage. What is Mirabell's view of women? How are their views similar or unlike the views people hold today?

12. Discuss Mirabell as a man of sense, principles, and modesty. Contrast him to Petulant. 13. Discuss Millament as an independent woman.

14. What difficulties are presented to the reader by having characters mentioned in Act I not appear until Act II?

113 15. Discuss Edwin Muir's observation that Millament "is a sensitive girl in an insensitive world."

16. Discuss: Characterization is more important than plot in this play.

17. Comment on Ashley Thorndike's evaluation of WOTW as a presentation of manners of a particular social group, as the refinement of raillery, flirtation and affection, as a model of style it is close to perfection." What are the typical actions (manners and beliefs) of your social (ethnic, religious, or racial) group?

Research

1. Compare and contrast sexual attitudes and mores during the Restoration and the Jazz Age.

2. In an art book, Find drawings by Rowlandson and Hogarth. Which ones would you choose to illustrate this play? Why did you select them ?

3. Read a selection of poems by John Suckling. Why does Mrs. Fainall quote him? What is the relationship between his poetry and the play's plot?

Li. Look up all the allusions to Greek mythology and write a short biography of each god and goddess.

Role Playing

1. Two teenage girls discuss their boyfriends.

2. Two women in their forties discuss their husbands.

3. Two teenage boys discuss their girlfriends.

Li. Two men in their Forties discuss their wives.

Bibliography

Restoration Theatre Edward Arnold Publishers, Ltd. London 1965

Miner, Earl, ed. Restoration Dramatists Prentice-Hall, Inc. Englewood Cliff, NJ 1966

Nicoll, Allardyce British Drama Brown and Noble, Inc. NY 1963

Thorndike, Ashley British Comedu Cooper Square Publishers, Inc. NY 1965

114 Comedy as a Genre

Chose one of the following quotations to use as the basis of an analytical essay. This essay should be at least 1000 words and incorporate quotations and incidents from The Way. of the World to substantiate your point of view. 1. "Art and discipline render seemly what would be unseemly without them." George Santayana "Carnival" Comeau: M77anina and Form

2. "Comedy aims at representing mer as worse, Tragedy as better than in actual life." Aristotle Poetics chapter II 3. "Comedy is ... an imitation of persons inferior not, however, in the Full sense of the word bad." Aristotle Poetics chap. V

Li. "Comedy, then, is an organically complrate imitation of an action which is ludicrous; in language, embellished with each kind of artistic ornament, the several kinds found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pleasure and laughter, wherewith to accomplish its kartharsis of such emotions." Nathan A. Swift, jr. Comedy: Meaning and Form S. "One of the chiefest graces" of comedy and "the greatest pleasure of the audience is the chase of wit." Dryden An Essau of Dramatic Poesy_

6. "Restoration comedy recreated a vivid likeness of that sophisticated part of society, which, however remote from the rest, marked this period historically and histrionically." Walter Sorrell Facets of Comeau 7. "It is the business of the comic poet to paint the vices and follies of humankind." Congreve Preface to The Double Dealer

Additional project for seniors: Read chapter 13 of Hobbes' Leviathan. Apply his philosophy of mankind's need for power to The Wau of the World. This essay should be at least 1000 words and incorporate quotations and incidents from both primary sources to substantiate your thesis.

115 Tina Langson

A FINAL ACTIVITY FOR THE ROVER"

I designed this activity for students who have trouble seeing the relevance of literature. I do not have a certain track in mind, for these students exist at all levels.

This as activity may draw its largest group of fans from those who believe writing to be one of their weaknesses.

Groups of four or five will work well in this project. I'd allow a week's time in the library and then two days for presentations.

DIRECTIONS: Now that we have finished our reading and discussion of The Rover, it is your job to adapt the play to a new setting. The time is the 1960's; the plrce, America. Your mission is to recast the characters in 60's roles; redefine the conflict in 60's causes; and set the whole to 60's music.

Example: Florinda and Hellena are the daughters of a US Army general who is stationed in Viet Nam. While their father is away, Florinda and Hellena's brother Anthony, an ROTC cadet at MIT, is their guardian. Seeking a little excitement, the sisters go to Woodstock where they meet Blunt, Willmore, et al, all of whom are draft resisters. Florinda and Hellena get themselves into a bit of a mess by falling in with a "hippie" crowd. Blunt and Willmore come to their aid, and a close friendship Forms. Anthony, who has discovered their receipt from the travel agent, commandeers a National Guard helicopter and lands at Woodstock to bring his sisters back home and enroll them in a convent school. Anthony highly disapproves of Blunt and Willmore and their politics. (You continue from here.)

Suggested musical selections: The General -"Ballad of the Green Berets"; the sisters "Born to Be Wild"; Blunt and Willmore "Steet Fightin' Man"; Anthony "Nowhere Man"; Lucetta "Hanky Tonk Wome;"

You will need to spend time in the IRC's doing research on the time period. There are books for specific decades and more general encyclopedic volumes in the Azure and Red IRC's. The Green IRC has books on music.

11) Tina Langson

CONFLICT IN "THE RELAPSE"

One of the thrusts of the ninth grade year at Brockton High, in both the English and social studies departments, is conflict and conflict resolution. This writing assignment, For advanced level students, Follows their reading and discussing the play. Given the number of characters and the simplicity of plot, students will keep response journals rather than answer comprehension and critical thinking questions. Thus, the final assingment is to analyze one of the major conflicts in the play. Students must incorporate the appropriate terminology, have a clearly defined thesis, have supporting details, use quotations From the text, and analyze the causeCs), the style of conflict, and the resolution.

IF your school has a computer lab, allow two class periods for them to type and print.

Peer editing, with two students reading each essay, is valuable in getting students to recognize good writing and to see their own weaknesses. IF you decide on peer editing For the rough drafts, it's a good idea to have students use ID numbers rather than their names in order to insure azi impartial reading. One class period required. Sample peer editing sheet Follows. Conflict terminology sheet Folloiws. Paper's ID Your ID

1. Copy down the thesis.

2. List all conflict terminology.

3. Copy the sentence that states the cause of the conflict.

4. List the details that support #3.

5. Copy the sentence that states the style of conflict.

6. List the details that support #5.

7. Copy the sentence that states the conflict resolution.

B. List the details that support #7.

9. Copy three direct quotations from the play used in the essay.

10. Write sp over misspelled words. 11. Write frag over fragments. 12. Write P over errors in punctuation.

13.Is the essay written in present tense?

14. Are there transitional words and phrases between paragraphs? From which paragraphs is trasnition lacking?

15. What Ilike best about your essay is

16. You could improve your essay by

118 Jo-Ellen S. Wood Restoration Comedy June 16, 1992

Three Week Plan for Class in Restoration Comedy

Class makeup: This lesson plan is designed for an eleventh/twelvth grade electivesurvey course in drama. My classes are usually made up of a mixture of students with academic abilities from basic to advanced. They are mostly students froman affluent suburban community, but not all students are affluent. Thereare also Metco students of various backgrounds in the class.

Course background, overview: In a survey course, the students would have read Greek and Medieval drama before encountering Restoration Comedy. (They would have read at leastone play from Shakespeare in earlier grades.) In this course the students would have considered many aspects of drama, including the social, political, religious, intellectual, and even economic factors. They would have contemplated theatre as a part of its society rather than apart from its society. In keeping with this overall approach, after reading and discussing the theatrical and literary approaches, they would look at the historical setting of Restoration Comedy.

Objective: The goal of this assignment is to extend students' understanding of theatreas an integral part of its society, and that a comedy of manners should be seen in the context of the Restoration Period.

Da! 1 The teacher will introduce Seventeenth Century history, Aphra Behn, and the manners and society of the Restoration. A chronology of major events and persons will be presented in a lecture/discussion format. Discuss changes in the theater since Shakespeare. Assignment: Make a list of the proper topics for art and entertainment.

Day 2: Divide the class into groups. Each group is to reach concensus about the following questions. The students must be prepared to explain and defend their decisions. 1. What are the major topics of today's entertainment? 2. Is there a difference between art and entertainment? 3. What are the appropriate topics for each? In the last twenty minutes,hold a general discussion to allow a report from each group and to discuss the answers.

1 Day 3: Describe the out of class assignment for the next two weeks. Before reading the play in class, the teacher should hand out a broadside proclaiming:

Lietlieatre4are4e1ieilatedtolie ittpit Lark Oiji414 iteee4intruLeeaa4e oftile moral eorrkptiortitriiielj the plap extolitaKdetteottra.ge.

ex tile day after the elaila reabq the Flay,alieariRa to determtiRe die merit of tliia aetioR will Lie 11eld ik tIe elaitibroo.. faeligroinof iRtere6tedrattiea may offer evideRee to a Panel of jRilsea wryiel9 will makeitfiRa1 deeiaioR Alma illtiEtijerto reeitul or to eRforee tte deeree.

Divide the class into groups which will act as interested parties. You may find the following groups useful, but feel free to work out your own. The students themselves may discover other groups they would like to represent. Puritans circa 1(50 in England Jacobites Friends of Charles II Servants and working class people circa 1650 in England Playwrights of the Restoration Period Playwrights of other times or cultures, ie. Sophocles, Shakespeare, Moliere (The class would not yet have studied Ibsen or Rostand.) Characters or real people from other periods of history which interest the students

The students will have time outside of class to research the group they represent while class time is given to reading and discussing the text. This will

120 probably take about six class periods. The researchers are to learn about historical background, attitudes and beliefs, social and economic standing, education, leaders, and so forth for the group they represent.It would also be wise to be prepared for arguments which might be presented by opposition groups. Each group must also submit a preliminary and final outline of their information and a bibliography.It might be practical to set a time limit for each group's presentation.

Grading will be based on accuracy and thoroughness in both writtenand oral work.

Ideally, some teachers and students from outside the classcould serve as the panel of judges. Obviously, this needs to be arranged well inadvance of the "hearing "

Day 4: The class will visit the library to begin findingsources for information. Begin group research.

Day 5 - 10: Begin reading aloud in class The Rover, by Aphra Behn. Studentstake parts for reading.I do not usually have students prepare their parts in advance, but we do interrupt ourselves to ask questions, check comprehension,and discuss the play.It is helpful to keep the following charts on a blackboardor sheets of newsprint. There should be one chart for each character containing some of the following information: 1. Character's name, physical and biographical information, and relationships withother characters. 2. Major effects on events and other characters 3. A few revealing and/or typical lines of dialogue.

Day 11 or 12: Groups must turn in their preliminary outline and bibliography for research.

If a class reads particularly quickly, I would insert the following activity into the Restoration Unit.

Present the class a copy of the scene from Etherege's Man of Mode in which Harriet gives instrucion on the way to convince people thatone is in love (Act III, scene i, lines 87- 162). Divide the class into pairs. After a brief time of rehearsal, students may show the way in which they would deliver thescene

121 Day 13: Read from Collier's View of the Immorality and Profanities of the English Stage and discuss the censorship issue. The studentsnever have trouble relating this subject to modern cases.

Day 14: The class period will be spent in hearing opinions fora decision about allowing the theaters to continue operation.

At the end of each unit, I ask the students to writean evaluation of the project. Thsy are to tell what part of thecourse worked well for them and to make suggestions for what would have been better.

122 Paulette J. Idelson June 16, 1992

Huntington Theatre Company Master Works Study in Restoration Comedy

Assignment

Develop a teaching unit using Restoration England background and three plays studied thus far. The curriculum will be divided into day to day teaching units with discussion questions, writing assignments, activities, and quizzes. Huntington Theatre Company Master Works Study in Restoration Comedy

Teachin_a_ Unit Nssianment

Target Class: High School Seniors

Objectives: Students will demonstrate knowledge of important historical events occurring in the seventeenth century.

Students will exhibit a basic understanding of characteristics of Restoration Comedy.

Students will compare codes of social behavior in seventeenth century England with contemporary codes of social behavior.

Time Frame: Twenty classes (1 1 1/2 hours per class)

Approach: Class discussion, reading and writing assignments, class activities, vocabulary quizzes, and test on entire unit.

Materials: Plays:

The Wives Excuse (Thomas Southerne)

The Relapse (John Vanbrugh)

The Way of the World (William Congreve)

Handouts:

Seventeenth Century Chronology Activity Projects Writing Assignments Restoration Period Vocabulary

Evaluation: Writing Assignments Vocabulary Quizzes Participation in Class Activities Activity Project Test on Entire Unit

124 Huntington Theatre Company Master Works Study in Restoration Comedy Day by DaY Teaching Units

Introduction to Restoration Comedy Handout: Seventeenth Century Chronology

Codes of Social Behavior, Male/Female Relationships Lifestyle of the Upper Class

Restoration Comedy Character Types: Fops, rakes, mistresses, pseudo-wits Prologue and Epilogue Characternyms Homework: Read The Wives Excuse (Thomas Southerne) Handout: Vocabulary Sheet

Introduction of The Wives Excuse Biography of the playwright Where the play was first presented and how the audience liked it Description of the characters Handouts: Activity Projects Writing Assignments

Discussion of Play, Scene by Scene

Vocabulary Quiz Presentations of Activity Projects

Presentations of Writing Assignments Discussion Homework: Read The Relapse (John Vanbrugh) Handout: Vocabulary Sheet

r Day

9 Introduction of The Relapse Where the play was first presented andhow the audience liked it Description of the characters Handouts: Activity Projects Writing Assignments

10 Discussion of Play, Scene by Scene

11 Discussion of Play, Scene by Scene

12 Vocabulary Quiz Presentations of Activity Projects

13 Presentation of Writing Assignments Discussion Homework: Read The Way of the World (WmCongreve) Handout: Vocabulary Sheet

14 Introduction of The Way of the World Where the play was first presentedand how the audience liked it Description of the characters Handouts: Activity Projects Writing Assignments

15 Discussion of Play, Scene by Scene

16 Discussion of Play, Scene by Scene

17 Vocabulary Quiz Presentations of Activity Projects

18 Presentation of Writing Assignments Discussion

19 Class timer, devoted to review of essentialmaterial covered in class.

Field Trip: View a Restoration Comedy Play(or movie). 20 Test on entire unit.

126 The Wives Excuse

Discussion Questions

A. Why e-.1 Southerne create the footman scene at the beginning of the play?

B. What is the main plot of the play? What are the secondary plots?

C. In a moral system of rewards and punishments vicious action should be punished and constancy in virtue should be rewarded. Is this true in "The Wives Excuse"?

Consider:

Mrs. Friendall Frieodall Mrs. Wittwoud Welvilie Fanny

D. Could Southerne have created "The Wives Excuse" to depict real life in the world of 1691?

Writing Assignment

Write an alternate ending to the play. Be prepared to discuss your changes with the class.

Activities (Choose One)

A. Sketch a set for one act in the play. Indicate where props are to be placed.

B. Design the costumes for one scene in the play.

C. Describe a typical day in the life of one of the characters.

D. Explain the meaning of one song in the play.

127 Restoration Period Vocabulary Quiz The Wives Excuse

Twenty Questions; Five points each

1.chere entire (whatever one wishes)

2.bones (dice)

3.set (wager)

4.pretious (precious)

5.spark (a fool)

6.bilk (cheat)

7.joynture (dowry)

8.clutter (clatter)

9.borachio (leather wine skin)

10.pam (jack of clubs)

11.intelligence (news, instructions)

12.parl (talk)

13.writings (marriage contracts)

14.fresko (in the fresh air)

15.lanterlow (card game)

16.cogitabund (meditating)

17.upper galleries (theatre seats for lowest classes)

18.commodes (womens' tall head-dresses)

19.dog'd (closely trailed)

20.rake-hell (rascal)

128 The Relapse Discussion Ouestions

A. In the play Vanbrugh contrasts provincial life with town life. How do these life styles differ from one another?

B. What do the following characters desire?

Loveless Amanda Berinthia Worthy Lord Foppington Young Fashion Hoyden

State which characters are successful in achieving their desires.

C. Berinthia becomes Amanda's confidant in trying to deal with Worthy. How does she treat Amanda?

D. Contrast the philosophy of life of Hoyden and Amanda with that of Hoyden's Nurse and Berinthia. Writing Assignment

A charge against Vanbrugh is that he offended deliberately against accepted social morality. Yet he presented contemporary conduct with a frankness and acceptance which delighted as much as it shocked.

What, in your opinion, are the major offenses which the play commits against morality?

Is anyone corrupted by the behavior of the characters? Activities

A. Design a total look for Lord Foppington. Describe how he would attempt to achieve this look.

B. Act out the role of Lord Foppington, selecting parts of the play denoting his self-occupation with the role of a beau.

C. Sketch a set for one act in the play. Indicate where props are to be placed.

D. Explain the Epilogue spoken by Lord Foppington.

129 Restoration Period Vocabulary Quiz The Relapse

Twenty Questions;Five points each

1.portmantle (traveling-bag)

2.Jacobite (supporter of James II)

3.rents (pay, or salary)

4.by tale (tally, counting by numbers)

5.perspective (telescope)

6.bubble (cheat)

7.padnag (easy-going)

8.running horse (racehorse)

9.ombre (a card game)

10.strollers (vagabonds)

11.degage (nonchalant)

12.chatre (castrated)

13.physic (medicine)

14.babies (dolls)

15.Phtlasic (asthmatic)

16.scour (run)

17.skip-jack (professional deceiver)

18.Baal (false god)

19.murrain (plague)

20.gibberidge (gibberish)

13C) The Way of the World Discussion Questions

A. Compare Mirabell with Fainall. How are they alike? How are they different?

B. Contrast the love scene between Millament and Mirabell with that between Lady Wishfort and Sir Rowland (Waitwell in disguise).

C. Which of the characters use the term "the way of the world"? What does it mean?

D. This play has been praised for the wit of its dialogue. Cite some examples.

Writing Assignment

Congreve's purpose in writing The Way of the World was to find a means of reconciling the ideals of moral conduct with the actualities of social experience at the time. Explain, by citing some examples from the play, how he endeavored to accomplish this goal.

Activities

A. Draw a chart depicting how some of the characters in the play are related to Millament.

B. Design costumes for Witwoud and Petulant

C. Design a set for a scene in the play.

D. Pretend you are Mirabell. Write a monologue revealing how you feel when you see Millament.

.131 Restoration Period Vocabulary Quiz The Way of the World

Twenty Questions;Five points each

1.prefer (offer)

2.sufficiency (ability)

3. fable (plot)

4.bubbles (victims of fraud)

5.buttered (lavishly flattered)

6.humours (moods)

7.shift (take care)

8.understanding (intellect)

9.condition (gentle birth)

10.fobbed (tricked)

11.of force (of necessity)

12.prevent (anticipate)

13.moity (half)

14.streamers (balloons)

15.peruke (wig)

16.crips (crisp)

17.watch-light (night-light)

18.frippery (old ragged clothes)

19.burnish (grow plump)

20.strange (reserved)

132 Dorothy Dudley Masterworks Curriculum Restoration Comedy Unit 16 June 1992

Congreve's The Way of the World

Objectives:

* To bridge the curriculun_ gap that currently exists between Shakespeare and Sheridan in the grade eleven British literaturecourse for college prep. and honors level classes.

* To acquaint students with the historical background as well as the "look" and "feel" of the Restoration.

* To expose students to The Way of the World as a "masterpiece" of Restoration comedy.

* To familiarize students with use of denotative names [characternyms] in drama.

* To examine the significance of the title of the play in context of romantic relationships: viz. the hero/heroine; villain/ villainess.

* To explore various plot devices, characterizations, and conventions in comparison/contrast to Shakespearean drama and in anticipation of Sheridan and Wilde.

Estimated duration- two weeks

133 Dudley 2

Procedures:

Week One: Introduction to the Restoration and to Congreve's TheWay of the World.

* Day One- Before students begin to read the play itself, spendone or two days on Introduction. (See 'The Restoration: An Introduction"enclosed)

* Day Three- Begin to read the play in class with studentstaking parts. Use this forum to explore the characternymsas Congreve applies them. Compare to Bunyan's allegorical use of names in Pilgrim's Progress.

* Day Four- Review the notes on "Love and Marriage in Congreve's England" before continuing to read with the class.

* Day Five- Review student responses to Mirabellas a prospective husband. (See homework Day 4, below). Some lively discussion will provide a chance to note the Restoration tendency for deference, verbal indirection, excessive politeness. These same tendencies may also abet the aims of self- seeking, manipulative types. Also review some characternyms: Fainall, Marwood, Witwoud, Petulant, Wishfort, etc.

Homework assignments:

* Day One-Read selections from Pepys' Diary : "Personal Affairs," 'The Execution of a Regicide," "The Coronation of Charles II," 'The London Fire."

* Day Two- Write a paragraph or two in which you compare/ contrast the "look" of Commonwealth (1649-1660) fashion with that of the Restoration. (See Exhibits A & B)

134 Dudley 3

* Day Three - Begin to read The Way of the World. Complete Act I.

* Day Four- Prepare a brief summary of Mirabell's "love" matchesas gleaned from your reading of the exposition in Act I. Commenton Mirabell as a potential husband. Does he seem like a promising prospect? Would he make a good husband by today's standards?

* Day Five- Read Acts II and III.

Week Two: Finish reading and analysis of The Way of the World.

* Day_p_rie- Since students have now completed three acts, theywill need little help identifying characters once terms like wit,truewit, dunce, fop, rake, mistress, and coquette have been made clear. Ask theclass to review mentally the events of the play.Have them comment on the relationships that they see. What has gone on between Mrs. Fainall and Mirabell? What about Mrs. Marwood and Mr. Fainall? Whatare the Fainalls feigning? What do you think of Millamant? Is shea match for Mirabell? Are Petulant and Witwoud serious love interests for Millamant? And what about Sir Wilfull Witwoud? Is he seroious at all?

* Day TwQ- Discuss the comic effect of Sir Wilfull's arrival. Note Congreve's use of the rustic as a clown. How are other characters made comic? Foible? Mincing? Lady Wishfort? Remember how Petulant's flaws were made to look like virtues by Witwoud in Act I? Does social class have something to do with comedy? Are any of these stock characters thatwe may expect to see again in comedy? Which ones? How do you know? Did Shakespeare make use of such characters so far as you know?

135 Dudley 4

* Day Three- Begin by asking students if they were struck byany particular scene in Act IV. Then examine the famous "Proviso Scene,"using the questions from the Huntington Study Guide as a basis for discussion.

* Day Four- Now that stuck ..-its have finished reading the play, itis important to ask for comments about the title. Have students locatethe three times that the title is used. (Twice by Fainall;once by Mirabell) How does this title encapsulate what we have seen about love,marriage, money, manipulation, scheming, and human nature however civilized it might be? Does Congreve intend to have Millamant simply "dwindleinto a wife?" Do any of the other female characters haveany better chance for happiness than Millamant? What do you think Congreve's point is?

Homework Assignments:

* Dv One- In a paragraph, summarize Lady Wishfort's objectionto Mirabell as a suitor for Millamant. State the "problem" that Lady Wishfort's disapproval poses for Mirabell. Indicate in a separate paragraph the plan that Mirabell has put together in order to force Lady Wishfort's consent.

* Day Two- Read Act 1V.

* Day Three-Read Act V.

* Day Four- Prepare final essay by exploring the following premise. According to experts, The Way of the World is a masterpiece of Restoration comedy, and it sets the standard for the comedy of mannersas a literary genre. Defend this thesis by citing examples from the play. Be sure to define comedy of manners somewhere in your proof.(approx. 500 words)

136 Dudley 5 Outcome:

* To give students a significant taste of the Restoration and its principal comedy.

* To establish the groundwork for future dramatic study, citing The Way of the World as an integral part of the evolution of British comedy of manners.

* To establish the comedy of manners genre as a basis for comparison when students study Sheridan's The Rivals and Wilde's The Importance of Being Earnest later in the course.

Bibliography:

Congreve, William. The Way of the World. London: A&C Black, 1991.

Huntington Theatre Company. The Way of the World: Study and Curriculum Guides. Boston: Huntington Theatre Company 1992.

Pepys, Samuel. "Excerpts from the Diary." Reprinted in Adventures in English Literature. New York: Harcourt, 1990. MASTERWORKS TEACHING UNIT (about 10 class days)

RESTORATION COMEDY

June 16, 1992

Bill Collins

Students for whom this curriculum is designed: a sel-ior English IV class; college-bound students from both inner city and suburbs; in an independent ( Jesuit) high school.

Goals of the unit.

Each student will: --have a heightened capacity for enjoying and appreciating a live performance of Congreve's The wa of the World.

- - understand the genre of comedy better--its vocabulary, traditions.

--have a sense of Restoration comedy (comedy of manners).

- -have an understanding of the challenges of producing a classic script for a modern audience, particularly the actor's contribution and the problem of language.

preparation: A reading of The az of the World. Library research and group work as in the one-day lesson plan (June 2, Mastereinorks).

Day 1. Vocabulary of comedy and traditional stock characters of the genre.

Assignment: Read Act II, scene ii of Shakespeare's merchant of Venice (Xerox) prepare for reading aloud and think about how to bring these lines to life as an actor.

Day 2. a) ask for five volunteers to act the role of Launcel five others to act the father's role. b) divide into five groups of five: two actors, three "coaches." c) edit and adapt the script where needed. d) today and tonight: rehearse the scene; look up the word cameo.

Day 3. Five performances. Show video: PBS production Discuss the importance of the actor's contribution to the total effect in comedy; cf. Charles Dean as Sir Willful Witwoud in the June 1992 Huntington production.

Assignment: read selections from Vanbrugh's The Relapse (Xerox).

138 Day 4. a) ask for new volunteers to act the roles of Lory and Fashion. b) divide into five "companies"--two actors and three "coaches." c) today and tonight, rehearse and adapt the script for performance; the focus this time is on the language.

Day 5. The Relapse: mini-performances; discuss the problems of language when producing a classic play, especially: allusion, alliteration and assonance, onomatopoeia, humor. Assign one act of The Wad of the World to each "company."

Assignment: each student read the assigned act, looking for a five-minute scene to present.

Day 6.In groups: a) choose the scene for presentation; b) do one aloud reading, considering changes in the script (especially language); c) rehearse, after selecAng the actors in your group.

Assignment: work on your scene; the goal: to make the comedy come alive.

Day 7. Rehearse.

Days 80: Performances. Discussion of the problems of acting and language in comedy.

Assignment: see your other teachers to get homework for the class you will miss tomorrow; do that homework.

Day 10. Performance at the Huntington.

Assignment: each student will write a five-paragraph essay based on the material in this unit. During the day of the play, be thinking about what topic interests you (see the suggestions from the Huntington Curriculum Guide, p.9 (Xerox)

Bring your choice of topic and a preliminary outline with you to class tomorrow.

Evaluation: in reading the writing assignments, t#e primary focus will be to see an appreciation for Restoration comedy in a modern production.

139 36 THE MERCHANT OF VENICE [ACT its saysthebidswith"honest fiend, methythe Launcelot pack,heels."fiend, "for the"Hal" "andWell, Gobbo,heavens saysrun." the do themostrouse Well, not fiend, courageous run,up my a "away!"scorn braveconscience running mind"fiend says so Lawn. Certainly, my conscience will this Jew my master: the fiend is at mine elbow,Enka [LAUNCELOT and GOMM] (the clown) alone. [SCENE II.- Venice.] serve me to run from hangingthingforhonestto me: indeed growabout man's"My myto; the honestson, hefather neck had or ofrather friendadid kindmy something heart,an ofLauncelot"-being honesttaste says ;-well, smack, woman'svery wiselymy some- con-son, an 15 Launcelot,away."Launcelotgoodtempts Launcelot," me, My Gobbo,takesaying conscience heed touse orme,honest your "goodsays "Gobbo, Gobbo,"legs, "No; Gobbo," takeLauncelot take or the heedas or start,aforesaid Gobbo, "goodhonest run 5 saysscienceII,"Conscience" the should"you saysfiend,-"Budge counsel stay" Launcelot withsay well,"-to I, the not!""you budge Jew be sayscounsel rul'dmy not my master, by!"-"Budge well,-Fiend"conscience. my conscience,who !" (God say 20 46. meal] max. Q, F. Cornets] at Dyes; Est. Q; alb I. 45 F. set awayg. beds.]t8. Q,not!] F.Qs; not, boles; Q, F. Q, F. t t. for) Q, F; 'fore Collier (ii). Budge!) bouge Q, F. to. Fia!) 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(Florio, to pack] their be gone. via; "an aduerbe of en- a little.faithful, cf. Lr.,i. ii. 9.streack]16.15. have sontethisig] Mist] a flavour; For adv., hose for tofigurative some degree, chaste, (cf.pliedIIL iii.Abbott, from the1391) following46. bless]superlative blessedest is perhaps im- 171. Launcdotmymustwhy conscience, beallow should imagines it (cf. go-so ...") IL himself26-8 his2 ff. conscience below: the the fuss/ cen- "in . hasp me, . .1 ingusualElsewhereing, may Wordform or be may oisinfluencedinft' ShakespeareWordsisrepresent found; (1598), by here a finddialect thethe quoted follow- morespell- (south- Dyee) quiringtomapplieduse d. of join, thetoan milk unpleasantsaucepan,1.1.208 when -9. burnt andtaste"17 thence to grow (Claren- the bot-ac-to] "A household phrase of the(I) thecompaay, part was and played (2) LauncelotS.D. by down]the down is probalAy in two senses; Scow it J. Isaacs,forcommon(1g27),tral Tsample,character Shakespeare p. in94). Elizabethan of F..Such a Hutchins,morality sal arguments the literature; Thaws, play Davits were (cf. Careern)theheaven; form it heauens Altered (cf. a petty Klikeritx, you(16o9), oath mad 1.p.(cf. Capriccio, v.323). Jonson,42-3:it. for 'for the hold hams] 'fore heaven, by Tie bar.,"howster,implication;don). Devil's Egg:theyBut theregrow"His La cf. GIST istastetogether".Vas., probably (1623), delicious, mo and 1-a bawdyii. Web- ..."278: tests] Cf. clearlywelldoublefrom emendedthe meaningEden country, valour because cf. A71.,a rustic.naming conscience n.1. iv. For servo]away, 66-7. the allow; cf. Iv. L 44o. Hai- science:Slinglogue"between (1581) ...(K5). made whichthe Diuel in contains fame and3-5. of "A the G.M.a bandDia- Con- . . Launcelot "darestabsurdity,makinghooke andthouthe Lend see line").be so tuse H valiant The4,it (so it. wit Candi),asiv.15-12. to lies51-4: play bravein no] For a similar authoritative.thereI.rections" 35 below)is no in reason thisshow scene to a believelack (especially20-1. of thathumour; well ill . atis. well) Q2'S other "cor- but it is dangerous to try confusions 140 affects legal pnxisioa. timidshowtheit coward ?" it wife (soa fair Poolcr). or withpair mistress-a of thy beds indenture, and variant 13.rem hanging from and of . . . heart] i.e., like the omennatingdecentas an(so as apology O.E.D.), remark;a formula before cf.the Gatt., tophrase averta22-3. profane tv. was aniv. used21.evil or in- 141 math] Probably origi- sc. 0] bless the mark) is a kind of devil; and to run away THE MERCHANT OF VENICE 37 38 you tell me whether one Launcelot THE MERCHANT OP VENICE that dwells with [ACT n thefromscience,(saving Jew the is Jew your the tomy offer very Ireverence)conscience should todevil counsel be incarnation, is ruledis the mebut devil by toa kindstay the andhimself: fiend, withofin myhard thecertainly whocon- con-Jew; 25 Laura.Gob. TalkNo "master" you of young sir, but Master a poor Launcelot? man's son,-hisofMarkhim, young father dwell me now,Master with nowhim Launcelot! orwill no I ?raise the waters ;-talk you [Aside.] 45 Cob. Master young man, you I pray you, which fiend,theis the fiend waymy givesheels theare moreat your friendly commandment, counsel: I will run.run Enter Old GOBBO with a basket. 3o Laun.Gob. Well, Your let worship's his father friend be what and a Launcelot will, we talk sir. ofand(though youngMaster (God I beLauncelot.say't) thanked) is an wellhonest to live.exceeding poor man, 5o Laun.Gob. [Aside.] Master 0 young heavens! gentleman, this is my I praytrue-begotten you whichknowswhoto father, Master isbeing theme Jew's? not,-Imore willthan trysand-blind, confusions high with gravel-blind, him. 35 Laun.Laun.Gob. But Of Ergo ILauncelot pray Master you an'ergo tLauncelot,-talk please old man, your ergo mastership. I beseechnot ofLauncelottalk you, you of father,young Masterfor the youngLauncelot. gentleman (accord- Master 55 Laun. Turn up on your right hand at the nextbutway turning,indirectlythe at to very the Master nextnext to the Jew's?turning Jew's turnof house. all of on no your hand, left; but marryturn down at 40 Gob. Marry God forbid! the boy was the verying staffgonedeedSisters to fatesof todeceased, my Three,heaven. and destinies,and or suchas you andbranches would such sayoddof learning), in sayings, plain terms, is in- the 6o Gob.beauens,31.23.'ewes. youngmark)) Be God's Q,roan) Q. F.F. F. Q2 sonties ; Whined 'twill Q., F. be a hard way to hit,-can 38. up on] Q; vpon F.35. confusions]26. Q, incarnation) F; conclusions Q, F;Qs. inearnall Qs. 33. S.D.) johruon; OM. Q,F. 42. Be) Q, F; By F4. 27. but] Q;37. ors. Jew's?) F. Qs; heavens!] sir]now,44. no?)Q; (1. an. 46)Qs; F. Johnson; no.55. Q.,Launcelot.) F.am. Q, F. Q, F; Launcekt ? Qs. 63. forbid!)age, myforbid, very Q, prop.F. 45. Launcelot ?J Qs; Launcelet, Q, F. 47. Launcelot?) Q2, F; Launcelet. Q. S.D.] after 53. ton,for1814, an Afetarnorpherir indelicate pp. vii-viii: remark; of "oldAjar25. cf.revise (1596),Tarlton Han-ing- your ed. was reverence) an apology blindwhophrase'gravel-bliad'" are between for quite it, as so:these,stone (Capell). Launcelot -blind whichhigh] is he for finds ancalls- those intensitive; a cf. "high good declinescall(pf.Mr. 1621),me the Thorney; by title 1.my inii: name,Witch spare"No45. Gentleman, Master]ofJohnthe Mastership, Carter; Carter, I, a rich yeoman, "accustomedaccordingwordhe[or waswasrefrain) cald ludicrously to to to nothingNashe, make anie thing it but overworked;Harveythe Cabtiellher Faburden spake was Ergo save-reverence,wontly's to blunder, say, this 1-15,11.iii. makessame excellent it 26. 35all (so iscarnatiat]manner- JY.C.S.).word Cf. Mistress Quick- turn"(Ham., (Tit.,1. tit. i.iv. 397). t95).35.38-41. amfariertsj Tarn Cf. "try conclusions" . . house] Warburton beforeMaster him, is were a title acquainted my5o.46. Father, wellwaters) with." to nor live)i.e., his tears.well to do; cf. Wint., M.Er.,onvp 66-7). theand tv. stage; iii.Clownsdowse 57. cf. the All'sfrequently Colkdge" W., t. iii. used 53,(Wks, itand moreness).Launcelot familiar as"thou" his son when (I.31. he87) you] accepts (so Old Fur- Gobbo changes to the ence,comparedubiieris, Ad:1phi, ad f DianeAd an sinistram "indirection" veneris hac/ Ito recta ad in dextram. Ter- plates: "ubi ear pricier- u1.paredlife"it iii. meant 125. (Furness' LLI.,v. "withPerhaps everyii.paraphrase). old574: prospectGobbo "Your53. Tow thought ofservant, a long Laaneelot] Stem com- dresshumour72. to an lies old partly man; in58. cf. the6o. /siker]Lr., tautologySisters tv. a vi. common of form of ad- 77trve] the Fates. The theludicrous, Ghetto for at 5.000 Venice Jews31-2. (cf. 34.could C. scat liveRoth, -bled] in purblind ; "a vulgar tx (19S31, 150-2). . . jew'i] The question is priusBeformsprobably quamis a of dialect saintad from portam form.such L142 samtus,as 42.venias, sont, Be Gad'sant, -i, ..." or :sante. rootlet) old By God's saints; great.deprecateand Costard," the where title Costardof54. Pompey ergo] seems therefore the to (fron L.), The andheroicsincongruousthese Pistol "odd of (s Thisbesayings", Kelevation 4,1t.iv. (M.ND., and 213).of partlystyle; v. i. d.in 343) thethe Gob.sc.Laws. u]Mack [Aside.] the day! Do I know I look like a cudgel or a hovel-post,staff, or a aprop 65 ?-Do you know me father? THE MERCHANT OF VENICE you not young gentleman, 39 40 bingotLord my! thouwosshipp'd fill haft-horse got hasmight more on hebe,his hair tail. onwhat thy chin, than Dob- THE MERCHANT OF VENICE a beard hast thou [ACT 90 Gob.Lam.Law/. Mack Nay,Do siryou indeed I amnot sand-blind, knowif you me had father? I know alivebut orI pray dead? you tell me, is yourmy eyes boy you(God might rest his fail soul) of you not. 70 Gob.Lam. LordIt should how seemart thou then chang'd! that Dobbin's How dolt tail thouhaveward. and of I am sure he bad my face when I last saw him. more hair of his tail than I grows back- thy 95 soncomeson,-[Kneels.]ownthe may, knowingto child. light, but Well,in murder me:thegive old endit me isman, cannot truth a your wise I will beblessing,-truth father tellout.hid you long,that news knows a man's of will your his 75 Lax. Well, well, but for mine somemy'grecmaster rest you ground; agree?to now? run myaway, I have master's so brought I will a not him rest a till I have run own part, as I have set up very Jew,-give him a 100 present; how Lines.Gob. Pray Pray you you sir let's stand have no more fooling aboutgivecelot it, but memy your boy. blessing: I am Launcelot your boy that up, I am sure you are not Laun- 8o rarepresentribs:service-present? newfather toYou giveliveries,-if one I am himMaster glad a Ihalter Bassanio,serve !-Inot am him,who famish'd indeedI will run ingives hisas may tell every finger I have with my you are come, give me your 105 Lams.Gob. I cannotI know think not what you are I shall think of that: butLauncelotwas, I your son the that Jew's is, man,your child and Ithat am shall sure be.Margery my son. am 85 ofgo. my]Thesdaid. got!] Q, F;got; on Q,tiny F. F.y. far as God has 93. of his] Q, F; on his Rome. 9z. fill -hone] Pate (ii);any plulhorselast] ground. Q2; lost Q, F;Q, 0 Thlll-horse F.rare fortune! here 94. have] Q, 95.F; hadchang'd Jolwe. dsangd : Q., F. Gob. Her name is Margery indeed,-Ill be swornyour if be wifethou Launcelot, is my mother. thou art mine own flesh and blood: tioo,Q,g6. F. agree and usariltifrp'd ?] Qr; agree, snicks8g. Q, he LordF. hen .phrase to6. fortune!) fortune, Q, F. Lord is an =damn- tot. present? ... halter!) present, ... halter, ed anotherwith gaming, use of in the the phrase, sense of unconnect- take up footing)75_GODDace65. S.D.]S.D.] (ii). Q, Qr, Collier;Collier;Qr. F; fooling, ern.on. Q, F.Q. father ?) Father. Q., F. 6g. dad ?] dead. Q, F. 66.76. pop?) murder) prop: F; Q, =oder F. Q; Murther Qs. 67. day!] day, Q., F. r. father?] Qr; Father. Q, F. you] Q, F; you not 68. God) F; 80. beardhead,Oldused Gobbo to and(so avoid Staunton). mistake feel irreverence the the back whatlong (soof a hairhis Pooler).beard) son'sfor aStage tradition makes farm."rest,"Alien*one's0590, ... abode; Seeand resolveded. alsoso W. sobecame Ram.,W. Lodge, there Greg mistressv. to iii.(1907).Rosalyn& set I to,up of andherP.the 51: usually transposed (cf. Tilley,75.73-4. give 309). it . .. . Meatus(]. child) Henley proverbial, (Var. but light."And time will bring this80. trecherie fooling) toQ's comma might indi- theAnother "fills", or form shafts was ; cf. "dulls". 92-3.TroiL,92. backward) fillnt. -horse]ii.48. ai.e., horse shorter, which with draws a in implied.Lr., 1. i. 125 where both senses102.too. very] mayWag.] inbe the "The fullest Q. sense. period de- hair.thepractised'78) reosgnition saw allusionson the by blindness feeling to the75-6. Latmcdot'sofdeception Isaac; both d. . . long) two proverbs aboutallowsottocate that waxeverythinghimself disat in parenthesis; the it else. freedomshould82. be Launcelotofdad... spokenfooling Latmcdot probably phrasesoLauncelot'spossible Pooler). originated reference "beard" to g8-g. in(cf. the a 1.cardset position 89, . game note; of . . rest] determined; the ownitlottraditionalnotes into seizes left stage-burinen;contact band his action father's which with by the are whichhand probably fingersextended and La[u]nce- bringsof rib-thehis arethe(t(cf.. combined 594), author Tilley, tit. in vi.both 14113t5Kyd, 58-6o: of Spanish truth "The sod and beauens TragedyTi). right,, are I murder cannot be hid: / Time is 59 They jokesStever).future,hishood" onduty is the'thew oldto idea hisage, him offather or so "second ehe be shall, hehis means chlld for thethat(so .. child- lotiii.c*lkd O.E.D.).ture 27.makes Primero, The one's explicit, punThis final where on is rat,stakeillustrated is it whichreinforced means or reserve Launce- into En.,ven- by (sorv. willPoolerlike override, compared his / As chest" far Ras (X.C.S.). sr, land 1. iii.105-6.to3.will 251-2: wee)let arferme." ethic "I ... dative.ground) proverbial; 144 u, i";' 3r; L , oc,i- 145 I.ORY So. Now, sir, I hope you'll own yourself a happy man, you (Exit WATERMAN) 35 JOlIN VANIIILl 434 FASIII.ORY ION HowhaveWhy, so,outlived you have all your nothing left to take care of. sir? cares. LORY careSir,please 1 of am us, %cry to let consider, it glad pi occed to find that from you the whathave army ita aloneconscience will be able but to a takcscant %vitt; but I desire you'll (A' I 65 LORYFASHION Sir,Yes, if you Sirrall, could I have myself and you to take cafe of but prevail with somebody else to do that for ../ Snit somenowmaintenancegofore are directlyauxiliary turn paid). fool for to guineas onceayour person morebrother. for of your foryour your menus generosity service, (at and least advise as rents you to I shall see you stand in damnable need of plaisirs; 1 will there- 70 FASHION Why,present if thou sooft, canst little I fancy moneytell mewe andmightwhere so both tomuch apply fare humility myself,the I better for't. about me, I have at 40 FASHIONLORI' helpArt thou me withthen aso farthing? impregnable a blockhead, to believe he'll LORY anddon'tWhy apply know then, to but sir, Sir Iyour Novelty,may fool follow advises yotir a fool'selder you advice.tobrother. lay aside all animosity, 45 FASHIONLORI' Why,Not if howvon tiwouldst eat him have me treat him? de haut en bas, as you use to do. LORYFASHION however.WithDamn all my my elder heart; brother! but get him to redeem your annuity, FASHIONway LikeCanI a youtrout- starve? tickle Can'thim. flatter. 75 FASHIONLORY powder-puffMy annuity!Look you, 'Sdeath,to sir,redeem you he's must my such soul. wheedle a dog, him, he would or you not must starve. give his 50 FASHIONLORY Yes. can't. Good-bye eye, sir (Going) FASHIONLORY Look you, sir, I will neither wheedle him, nor starve. FASHIONLORY toStay; him? thou wilt distract me! What wouldst thou have me say speak $0 FASHIONLORY Why,You what can't will take you thedo then?oaths; you are a Jacobite.go into the army. 55 youtoSay pounds.his arenothing periwig, well I'll to engagewithhis him, cravat, themdesire apply you his prosper. yourself feather, tohis his snuff favourites, him to lend you a thousand -box, and when 85 FASHIONLORY atheist.ThouSir, may'stI ask your as well pardon; say I Ican't find I-didtake notorders know because the strength I'm an of FASHION world'SdeathGad. before and furies! me? 0 Why Fortune! was thatFortune!thou coxcomb thrustart a bitch, into the by (Exeunt) FASHION yourknownMethinks, conscience that sir,the sostrengtha personwell as of Iof thedid your theconscience experience proceeds should from weakness of your purse. have the 60 6866 yourrents MOMS pay, or you salary menu (Q1): Mellift plauirs trifling pleasures 5550 Jacobitepowder puff for the wig, not the face weakness of the purse. supporter of James 1 4 6 147 28FASH ION And how the devil wilt thou do that? JOHN VANBRUGH (ACT I SCENE LORYIII) Ay, sir, if the devil don't step between the cupTHE RELAPSE and the lip, 29 COUPLER notWithoutThemanaged one last of the the that bydevil's family me,was aid,andwrit ever all Ito saw;warrant theSir theTunbellyletters thee.whole go Thy businessClumseythrough brother's my(for facehands. that's has been 255 FASHION as itmyWhy,he againat usesfortune, me. faith, now;to heand but has if played I me many do. egad I'm almost afraid should tell thee how, thou'dst a damned trick to he's at work about wonder 285 spoil thetoshallwould old fallhave gogentleman's desperately be theaway down romantic immediately, in name),ina fortnightpleasurelove aswas pretend soon of toto surprising consummate. tell asyou youhim, writ see hisyourthat her; Now,letter make onlyyou that mistress;lordship 260 LORYFASHIONLORY Indeed,How dostsir, Iknow? should not. FASHION fatigueyourswingingEgad, plea of forthe purse marryingwedding-night's of gold, her you dog over, you. you shall send me a immediately, and, when the FASHION atBecause, No?you nowhat sir,more. wouldstI have thou say wondered if aat qualm you so of often, conscience should I can wonder 290 COUPLERFASHION SirAh, rah, you letyoung me muzzlehot lusty you. thief, let me muzzle you i (Kissing) old dad, I'll put my hand in thy bosom now. 265 LORYFASHION spcdm.y.-decigia2-I would eat my words, and wonder more than ever. COUPLER P'sha, the old lecher! (Aside) t playedWhy, faith, many Lory, a roguish though trick, this is so I am a young rake-hell, young a cheat,and I have 295 FASH ION pocketWell; I'll now; warrant no, one thou may bast see not it ina farthingthy face. a souse, i money in thy 270 LORY Theyfindcrease, I mustare pray,strong take sir,pains symptoms to come up make your will. of death; if you find they to't, I have scruples in- COUPLER anMustNot andhour, eat and a pullet, and when I have given thee some fartherI advance then? Well, sirrah, be at my lodgings in half by Jupiter! see what may be done; we'll sign, and seal, FASHION No,ofmyI willmy a brotherphilosopher; consciencehearken to to it,myshan't reasons starve the bottom, I'll speak to before I execute this project. (though they press him home) me neither. But him with the temper I will trythus far of all 300 FASHIONCOUPLER rotherinstructions,UM buss, and thou so shalt adieu. hoist sail and be gone.I P'sha! (Kissing) 275 shall(t6ughhethe yet hastruths be yetwith clothedthey so a much urgemoderate with so aid), I'll shall be so nakedhumanity to offend about him as to much modesty, not one drop my project at his his sight. If assist me 305 FASHION brideAh,So, you haveLory; young on't. Providence, warm dog thou you, seestwhat ata deliciouslast, takes night care willof men the of (Exit COUPLER) asktofeeLand he'd make do showfor me. him This I can one do SucceedIf I subdue or no, his still heart, victory's my for himconclusive much more trial than of him I resolve 'tis well- if not lot; what I 310 270257 mutefortnight Inu (CE) fnrthnightmerit; we (Q1) are in a fair way to be great people. 148 280 shall subdue my conscience to my plot. (Exeunt) 149 -1 AC4 'Ti, TICUt vi4e1

WRITING ASSIGNMENTS

words from the vocabulary list in the study guide 1. Write a short story or poem using for this play.

2.Choose a character in this playand write an entry for his or her diary, dealing with some events in theplay. of the characters of The Way of the World, revealing 3.Write an inner monologue for any his/her innermost thoughts, e.g., whatMirabell really thinks about Fainall, Witwoud, and Petulant, or how he feels when he seesMillamant.

4.Pretend you are one of the charactersfrom the play.Write a letter to a friend about what is happening to you.Or, write to one of the characters you don'tspeak to on stage.

5.Write a paper comparing any twocharacters from The Way of the World.

6.Write a sequel to The Way of the World.

7.Write a script for the story of Little Red RidingHood (another fairy tale or fable would also do) in the style of William Congreve.Have your script acted out in front of the class.

8."Conflict" in a narrative arises from a problem;defining it attempts to put in general terms the nature of the struggleof the narrative's story.Be alert to the nature of the struggle in The Way of the World.Prepare by recalling stories that show a struggleof each of these three types: Man vs. Nature,Man vs. Society, Man vs. Himself.Write a paper analyzing one of these conflicts in The Wayof the World.

9.Write an essay analyzing a central themepresented in The Way of the World. 10. Write a short story based on oneof the themes in The Way of the World. 11. Write a review of the HTCproduction of The Way of the World. Have itpublished in your school newspaper. Be sureto send us a copy.

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