Advanced Placement Summer Institute
Advanced Placement English Literature & Composition
Skip Nicholson
[email protected]
www.skipnicholson.com
South Pasadena High School
South Pasadena, California
University of California, Riverside, Extension
147
Decoding Shakespeare’s Language
Students need to understand that Shakespeare’s language differs from their own partly because of the
limitations of their English, partly because of some changes, most of them superficial, in the language since
1600, partly because Shakespeare wrote poetry. Faced with Shakespeare, kids are trying to deal with at
least four discrete sets of language problems:
1. CONVENTIONS:Shakespearewritesforthetheater.
1.
2.
3.
4.
5.
6.
Exposition (“atmospheric description”)
Boy actors
Impenetrability of disguises
Soliloquy
Aside
Royal address and reference
2. WORDS:Shakespearewriteswitharichvocabulary.
1. modern words kids don’t know
2. words whose meanings have shifted
3. words now obsolete
4. words that never gained currency
5. lost idioms
3. INFLECTIONS:ShakespearewritesinearlymodernEnglish.
1. Familiar pronouns & verb inflections (-st)
2. Obsolete third person inflections (-th)
3. Some rare obsolete plural forms (as eyen for eyes)
4. Question formation
4. POETICLANGUAGE:Shakespearewritespoetry.
1. meter[apostrophe • clipping • omitted words • inverted word order]
2. soundpatterns [rhyme • alliteration • assonance • consonance]
3. rhetoricaldevices [antithesis • apostrophe • oxymoron • paronomasia]
4. figurativelanguage [metaphor • simile • personification ]
5. shiftsinpartsofspeech
6. playfulnesswithlanguage [irony • puns • insults]
7. allusionsandproverbs
8. patternsofimagery
148
Early Modern English Grammar
©
D The Second Person Familiar
Modern English has dropped a set of pronouns and verbs called the "familiar" or "thee and thou" forms
once used among close friends and family and to children, inferiors, animals, and inanimate objects. These
old forms did, though, survive into Elizabethan England and appear frequently in Shakespeare. They
correspond roughly to the tuforms of the Romance languages, the tyforms of the Slavic languages, the su
forms of Greek, and the kimiforms of Japanese. Shakespeare will have characters shift from the ‘you’ to the
‘thou’ forms with purpose.
Singular
Plural
1st
2nd
3rd
1st
2nd
3rd
I
thou
he/she/it
we
you
they
me
thee
him/her/it
us
you
them
Possessive adjective [genitive]
my
mine*
thy
thine*
his/her/its
our
your
their
Possessive pronoun
mine
thine
his/hers/its
ours
yours
theirs
Subject [nominative]
Object [accusative]
*Substitute forms used before a noun beginning with a vowel
D Second person familiar verb inflections
Second person singular (familiar): adds the
ending ‐est, ‐‘st, or ‐st.
Examples: thou givest, thou sing’st
irregularexample:thou wilt hear
Someirregularverbs:
you
are
have
will
can
shall
do
thou
art
hast
wilt
canst
shalt
dost
you
were
had
would
could
should
did
thou
wast
hadst
wouldst
couldst
shouldst
didst
present:
past:
The negative of the second person familiar is
formed by adding the word not after the verb.
Examples: thou art not, thou canst not, thou
couldst not
D Third person singular verb inflections
The third person singular often substitutes ‐th for
more modern ‐s.
Examples: she giveth (for she gives), it raineth
every day (for rains).
© 1994 Skip Nicholson; All Rights Reserved
149
Romeo and Juliet / 2.2
5 10 15 20 25 30 Juliet O Romeo, Romeo, wherefore are you Romeo? Deny your father and refuse your name; Or, if you will not, be but sworn my love, And I’ll no longer be a Capulet ‘Tis but your name that is my enemy; Romeo, doff your name, And for your name, which is no part of you, Take all myself. 35 Romeo I take you at your word. Call me but love, and I’ll be new baptiz’d; Henceforth I never will be Romeo. 40 Juliet What man are you that thus bescreen’d in night So stumble on my counsel? Romeo By a name I know not how to tell you who I am. My name, dear saint, is hateful to myself, Because it is an enemy to you; Had I it written, I would tear the word. 45 Juliet My ears have yet not drunk a hundred words Of your tongue’s uttering, yet I know the sound. Are you not Romeo, and a Montague? 50 Romeo Neither, fair maid, if either thee dislike. Juliet Romeo How came you hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who you are, If any of my kinsmen find you here. 55 With love’s light wings did I o’erperch these walls, For stony limits cannot hold love out, And what love can do, that dares love attempt; Therefore your kinsmen are no stop to me. 60 Juliet If they do see you, they will murther you. 150
Romeo Alack, there lies more peril in your eye Than twenty of their swords! Look you but sweet, And I am proof against their enmity. Juliet I would not for the world they saw you here. Romeo I have night’s cloak to hide me from their eyes, And but you love me, let them find me here; My life were better ended by their hate, Than death proroguèd, wanting of your love. Juliet By whose direction found you out this place? Romeo Juliet By love, that first did prompt me to inquire; He lent me counsel, and I lent him eyes. I am no pilot, yet, were you as far As that vast shore [wash’d] with the farthest sea, I should adventure for such merchandise. You know the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which you have have heard me speak to‐night. Fain would I dwell on form, fain, fain deny What I have spoke, but farewell compliment! Do you love me? I know you will say, “Ay,” And I will take your word; yet, if you swear, You may prove false: at lovers’ perjuries They say Jove laughs. O gentle Romeo, If you do love, pronounce it faithfully; Or if you think I am too quickly won, I’ll frown and be perverse, and say you nay, So you will woo, but else not for the world. In truth, fair Montague, I am too fond, And therefore you may think my behavior light, But trust me, gentleman, I’ll prove more true 65 70 Romeo Juliet 85 90 95 105 Romeo What shall I swear by? 80 100 Juliet O, swear not by the moon, th’ inconstant moon, That monthly changes in her [circled] orb, Lest that your love prove likewise variable. Romeo Lady, by yonder blessèd moon I vow, That tips with silver all these fruit‐tree tops ‐‐ Juliet 75 Than those that have [more] coying to be strange. I should have been more strange, I must confess, But that you overheard, ere I was ware, My true‐love passion; therefore pardon me, And not impute this yielding to light love, Which the dark night hath so discoverèd. 110 Do not swear at all; Or if you will, swear by your gracious self, Which is the god of my idolatry, And I’ll believe you. If my heart’s dear love ‐‐ 115 Well, do not swear. Although I joy in you, I have no joy of this contract to‐night, It is too rash, too unadvis’d, too sudden, Too like the lightning, which doth cease to be Ere one can say it lightens. Sweet, good night! This bud of love, by summer’s ripening breath, May prove a beauteous flow’r when next we meet. Good night, good night! as sweet repose and rest Come to your heart as that within my breast! 120 Romeo O, will you leave me so unsatisfied? Juliet What satisfaction can you have to‐night? 125 Romeo Th’ exchange of your love’s faithful vow for mine. Juliet I gave you mine before you did request it; And yet I would it were to give again. Romeo Would you withdraw it? for what purpose, love? Juliet But to be frank and give it you again, And yet I wish but for the thing I have. My bounty is as boundless as the sea, My love as deep; the more I give to you, 151
The more I have, for both are infinite. [Nurse calls within.] I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again. [Exit above.] Romeo O blessèd, blessèd night! I am afeard, Being in night, all this is but a dream, Too flattering‐sweet to be substantial. [Enter JULIET above.] Juliet Three words, dear Romeo, and good night indeed. If that your bent of love be honorable, Your purpose marriage, send me word to‐morrow, By one that I’ll procure to come to you, Where and what time you will perform the rite, And all my fortunes at your foot I’ll lay, And follow you my lord throughout the world. [Nurse. Within.] Madam! Juliet I come, anon. ‐‐ But if you mean not well, I do beseech you ‐‐ [Nurse. Within.] Madam! Juliet By and by, I come‐‐ To cease your strife, and leave me to my grief. To‐morrow will I send. Romeo So thrive my soul ‐‐ Juliet A thousand times good night! [Exit above.] Romeo A thousand times the worse, to want your light. Love goes toward love as schoolboys from their books, But love from love, toward school with heavy looks.
[Retiring] HAMLET: Word Count
RankOccur Word
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 228 123 83 70 70 67 56 52 49 45 44 42 41 40 40 39 38 36 36 35 35 35 33 33 33 33 33 32 32 30 29 29 28 28 28 28 27 27 27 27 26 25 25 24 23 22 21 20 20 20 20 20 20 20 20 20 19 lord good love father man * king time think look heaven mad(ness) night mother god soul eye death play world hear life nature dear * heart pray true young/‐th son * words indeed dead thoughts call fear follow matter blood day find part sweet ear * queen head fire live * fair * believe end England lost murther noble old poor seem faith RankOccur Word
58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 19 19 19 19 19 18 18 18 18 18 18 17 17 17 17 17 17 17 17 17 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 16 15 15 15 15 15 15 14 14 14 14 14 14 14 14 14 14 14 hand honor lie * sleep spirit brother Denmark drink grief sword tongue farewell fit * grow little player purpose remember sound * watch act answer body cause command daughter fortune grace grave * honest lady light * majesty marry * mind question reason revenge sense virtue air fellow free mark * please swear bear* bed damned die * drown duty friend haste right state villain RankOccur Word
115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 14 13 13 13 13 13 12 12 12 12 12 12 12 12 12 12 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 9 9 work face fool * gentlemen kill passion brain Dane fine * foul judgment name Norway offense proof/‐ve strange action business deed draw full ground hell help hour husband joy maid peace tears * three uncle breath buried crown danger guilty knave late marriage memory news obey phrase place Phyrrhus rank * return seal'd second soft star understan wind wisdom age arms * 152
RankOccur Word
172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 black confess custom dread effect excellent hope land letters mouth patience sea shame sick sight sure woe adieu beast charge conscienc dream eat fashion fault heavy lack list * music note particular power secret service soldiers sun table violence wife wrong year * angel beard breathe cold dare * dust false feed fingers foils feneral ghost health noise season * sister RankOccur Word
229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 286 7 7 7 7 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 sorrow strook wholesome woman beauty choice course discourse double dull fare fat fie gracious hit home hot laugh moon prithee quiet ready slain truth wicked wits choose circumsta cock * color commission conceit disposition dumb figure flesh fly * hard liberty mass * methinks morning mortal motive nunn'ry piece read report silence skull stir sudden terms treason trumpet vile snow Hamlet • Word Study
RULES OF THE GAME
You will choose one of the topics under the number that ends your school ID number. In each set, the first number is the word's rank (the list includes numbers 1 through 70); the second is the number of times the word occurs in the play. You will want to find specific mentions of your word in the text of the play, although the concrete detail you use in your study certainly need not all be from lines in which your word appears. Ending in "1" rank no. 1 11 21 31 41 51 61 228 44 35 29 26 20 19 word lord mad(ness) life dead sweet
lost sleep Ending in "4" rank no. word 4 14 24 34 44 54 64 70 40 33 28 24 20 18 father
god heart fear head old Denmark Ending in "7" rank no. word 7 17 27 37 47 57 67 56 38 33 27 21 19 18 time death young/‐th blood fair * faith sword rank no. rank no. word 2 123 good
12 42 night
22 35 nature
32 29 thoughts
42 25 ear *
52 20 murther
62 19 spirit
Ending in "5" Ending in "3" rank no. word 3 13 23 33 43 53 63 83 41 33 28 25 20 18 love
mother
dear *
call queen
noble
brother
Ending in "6" rank no. word rank no. word 5
15
25
35
45
55
65
70
40
33
28
23
20
18
man *
soul
pray
follow
fire
poor
drink
6 16 26 36 46 56 66 67 39 33 28 22 20 18 king
eye
true
matter
live *
seem
grief
Ending in "8" Ending in "9" rank no. word rank no. word 8
18
28
38
48
58
68
52
36
32
27
20
19
18
think
play
son *
day
believe
hand
tongue
9 19 29 39 49 59 69 49 36 32 27 20 19 17 look
world
words
find
end
honor
farewell
word rank no. word rank 30
40
50
30
27
20
indeed
part
England
60 19 lie *
70 17 fit *
10 45 heaven 20 35 hear Ending in "2" Ending in "0" 153
no. word E N G L I S H S H A K E S P E A R E Shakespeare’s Plays
Playsrankedbylength
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Play Lines HAMLET CORIOLANUS CYMBELINE RICHARD III OTHELLO TROILUS AND CRESSIDA ANTONY AND CLEOPATRA KING LEAR WINTER'S TALE HENRY IV, PART TWO HENRY V TWO NOBLE KINSMEN HENRY VIII HENRY VI, PART TWO ROMEO AND JULIET HENRY IV, PART ONE ALL'S WELL THAT ENDS WELL HENRY VI, PART THREE MERRY WIVES OF WINDSOR MEASURE FOR MEASURE LOVE'S LABOR'S LOST AS YOU LIKE IT RICHARD II MUCH ADO ABOUT NOTHING MERCHANT OF VENICE HENRY VI, PART ONE TAMING OF THE SHREW KING JOHN TWELFTH NIGHT JULIUS CAESAR TITUS ANDRONICUS TIMON OF ATHENS PERICLES MACBETH TWO GENTLEMEN OF VERONA TEMPEST MIDSUMMER NIGHT'S DREAM COMEDY OF ERRORS 4042 3752 3707 3667 3551 3531 3522 3487 3348 3326 3297 3261 3221 3130 3099 3081 3013 2915 2891 2891 2829 2810 2796 2787 2701 2695 2676 2638 2591 2591 2538 2488 2459 2349 2288 2283 2192 1787 Total: 112230 Average: 2953 High: 4042 Low: 1787 Words
Spchs
29551 26579 26778 28309 25884 25516 23742 25221 24543 25706 25577 23403 23325 24450 23913 23955 22550 23295 21119 21269 21033 21305 21809 20768 20921 20515 20411 20386 19041 19110 19790 12748 17723 16436 16883 16036 16087 14369 830056 21844 29551 12748 1136 1107 856 1086 1185 1139 1177 1067 746 904 741 838 711 794 840 776 936 813 1022 899 1050 815 554 979 636 662 893 549 925 794 567 802 638 649 858 653 504 608 31909 840 1185 504 154
Playsrankedbyuniquewords
Play
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Unique words
HAMLET HENRY V CYMBELINE TROILUS AND CRESSIDA KING LEAR HENRY IV, PART TWO HENRY IV, PART ONE RICHARD III HENRY VI, PART TWO HENRY VI, PART ONE CORIOLANUS WINTER'S TALE ANTONY AND CLEOPATRA TWO NOBLE KINSMEN OTHELLO LOVE'S LABOR'S LOST ROMEO AND JULIET RICHARD II HENRY VI, PART THREE KING JOHN HENRY VIII ALL'S WELL THAT ENDS WELL TITUS ANDRONICUS MEASURE FOR MEASURE MACBETH PERICLES TIMON OF ATHENS MERRY WIVES OF WINDSOR MERCHANT OF VENICE AS YOU LIKE IT TAMING OF THE SHREW TEMPEST TWELFTH NIGHT MIDSUMMER NIGHT'S DREAM MUCH ADO ABOUT NOTHING JULIUS CAESAR TWO GENTLEMEN OF VERONA COMEDY OF ERRORS Total: Average: High: Low: 4700 4562 4260 4251 4166 4122 4122 4092 4058 4058 4015 3913 3906 3895 3783 3772 3707 3671 3581 3567 3558 3513 3397 3325 3306 3270 3269 3267 3265 3248 3240 3149 3096 2984 2954 2867 2718 2522 137149 3609 4700 2522 Some Ideas for Shakespeare Compilations
FATHERS AND SONS
FATHERS AND DAUGHTERS The Comedy of Errors Hamlet Polonius & Laertes 1 Henry IV Julius Caesar Brutus & Lucius King Lear ‘Gloucester & Sons’ Romeo and Juliet The Winter’s Tale As You Like It Hamlet Henry VIII King Lear The Merchant of Venice Midsummer Night’s Dream Much Ado About Nothing Othello Pericles Romeo and Juliet The Taming of the Shrew The Tempest Titus Andronicus The Winter’s Tale MOTHERS AND SONS
Coriolanus Volumnia & Coriolanus Hamlet Macbeth Lady Macduff & son Richard III Margaret & Richard Titus Andronicus FRIENDS
As You Like It Rosalind & Celia King Lear Kent to Lear Merry Wives of Windsor Mrs Ford & Mrs Page A Midsummer Night’s Dream Helena & Hermia Much Ado about Nothing Beatrice & Hero; Benedick & Claudio Othello Emilia & Desdemona Twelfth Night Antonio to Sebastian; Sir Toby & Aguecheek MOTHERS AND DAUGHTERS
Romeo and Juliet The Winter’s Tale SIBLINGS
The Comedy of Errors Hamlet Measure for Measure Twelfth Night The Taming of the Shrew 155
Acting Companies: Performance Preparation
Editing
1. Make copies of the scene for everyone in the
company
Characterization
16. Read through your lines silently and aloud many
times until you’re sure you understand what you
want every word, phrase, and sentence to mean.
2. Read the scene aloud going around the group. As
you read, circle any words and phrases you don’t
understand.
17. Identify your character’s objective in the passage.
18. Decide what words, phrases, or ideas need to be
stressed and indicate them on your script.
3. For those words, decide on a definition. Only if you
feel a pressing need, get a definition from notes,
dictionary, or the teacher.
19. Decide where pauses are appropriate and indicate
them on your script
4. Read the scene again, deciding together what each
speech means.
20. Identify your movements and gestures.
5. Read the scene again, deciding on the objective of
each character. Agree on the subtexts.
6. Decide how your passage fits into the context of the
act and the whole play.
7. Read the scene again to edit out lines. Remember
that your performance is limited to ten minutes, but
cut only lines unessential to the scene’s meaning.
8. Read the scene again; decide if the editing works.
21. Read your part aloud many times. You are to
memorize the part fully, but you should feel
comfortable with it when you perform for the class.
You will not read your lines during the performance.
22. Enjoy yourselves. But remember that you will play
the scene ‘straight.’ Parodiesforfeitallcredit.
Furniture, Props, Costumes
23. Decide if you need furniture. Remember that
classroom desks can be trees, walls, nearly anything.
Casting
9. When everyone has a comfortable understanding of
the scene, cast parts.
10. If you don’t have enough people in your company,
you may have members “double,” that is, play two
roles—or, if the extra characters have only one or
two lines, you might find other ways to work the
scene.
24. Decide what props you need and who will bring
them. Rehearse at least twice with all the physical
pieces you will use.
25. Decide on costumes. These should not be elaborate
but should clearly suggest your character.
Rehearse
26. Rehearse your scene several times. Remember the
more you practice, the more relaxed you will be.
11. If you have too many people, you may split larger
parts (have two Violas, for instance) or consider
including choral reading.
12. Appoint a director to oversee the whole production.
Blocking
13. Read thorough the scene, locating character
entrances and exits. They do not have to be in the
places the original script has them.
27. Get on your feet and go through the scene, acting out
the parts.
28. Use your notes on blocking to help you decide
where to come in, where to stand, which direction to
turn while speaking, where to exit, and the like.
29. Listen to your director for suggestions about
changes in blocking, movement, inflections, pauses,
characterization, and the like.
14. Decide on appropriate placement and movements
for the characters and write them into your script.
30. Consider making a video of your rehearsal. Then
watch it and decide what you want to improve.
Improve it.
15. Move through the blocking several times, talking
about what to do is not the same. Are you avoiding
lining up like prisoners awaiting execution?
31. Recruit someone from outside your team to act as
prompter during your performance.
adapted from ShakespeareSetFree.
156
Group Participation Evaluation
Play: Date: Name of group: Criteria (1 (low – 10 (high) 1 Attended all meetings Present at all scheduled meetings 4 Completed responsibilities Total possible: 50
Positive comments: 5 Worked as a group member Helped the group move toward success member 3 Was positive member Indicate which responsibilities (e.g., actor, leader, editor, recorder, wardrobe, research, video, or specify which other) member 2 Came on time to all meetings member member own name Negative comments: (if any) FolgerShakespeareLibrary[AliceKotake,Honolulu]
157
Live Performance Reviews
The staging includes sets, lights, sound effects,
makeup/costumes, props, and overall blocking
(movement around the stage).
 Describe and evaluate the sets, lights, and
sound. Did these things seem unified? Did they
help the overall meaning of the play? Why or
why not?
 Was the stage balanced? Did the movements of
the characters seem random? Purposeful?
 Were there any dominant or symbolic uses of
color, etc.?
Some purposes of viewing live performances for
students are to acquaint them with final
productions, to familiarize them with different
genres, to expose them to what is possible and to
heighten their skills of analysis. At a play, you want
to watch, among other things:
 the actors
 the staging
 the audience
Assess the actors:
 Are they believable? Why or why not?
 Can you hear them?
 Does it seem like the characters are listening to
each other and responding as people?
 Are the actors’ movements distracting or a part
of the character?
 Was there any energy?
 Which characters were most memorable? Why?
Audiences play a large role in the total theatre
experience. Size and responsiveness are key
elements to the actors’ performances.
 Did the audience laugh appropriately?
 Was there applause?
 Did the audience talk about the performance
during or after the show? What did they say?
Why?
Thefollowingtabledescribesthecriteriaonwhichyourperformancereviewswillbeevaluated.
ACTING
STAGING
AUDIENCE
QUALITY OF WRITING
5
Adds more depth to actor evaluation. Adds valid areas for judgement and supports all opinions. Adds more depth. Adds valid areas for judgement and supports all opinions. Really looks at the audience and gives specifics of reactions. Explains the reactions. Smooth prose, few errors. Does not read like a worksheet. 4
Addresses all of the questions above. Addresses all of the questions above Addresses all of the questions above Clear, though brief. No more than asked for. 3
May leave out some details and one of the questions. Doesn’t support judgement with specifics. May leave out some details and one of the questions. Doesn’t support judgement with specifics. May leave out some details and one of the questions. Doesn’t support judgement with specifics. Errors. Some factual or writing problems. May be sloppy and hard to read. 2
Very brief. No/few details. Very brief. No/few details. Leaves this one out or too vague. Many writing errors and too brief. Could also just be a weak paper. 1
Can barely tell if show was seen. Leaves out one of these three sections or more. Can barely tell if show was seen. Leaves out one of these three sections or more. Can barely tell if show was seen. Leaves out one of these three sections or more. Many writing errors and too brief 0
Nothing Nothing Nothing Nothing Kristina Z YOUNG [[email protected]]Wed 8/30/00 16:01 158
Annotating a Scene
The stage Thedefault
1. Scenery Describe the scenery at the scene's opening and use marginal notes to show where changes are needed. Bare stage 2. Costumes Describe the costumes at each character's entrance and with marginal notes where changes are needed. Traditional costume for the play 3. Sound Effects: Show with a marginal note at the appropriate line; indicate if the sound is to precede, accompany, or follow a specific word. No sounds Music: Identify the music and show with a marginal note at the appropriate line where it is to begin and where it is to end. No music 4. Lighting Identify what kind of lighting is to be used; describe colors and brightness; identify characters to be lit differently from the rest of the stage; use marginal notes to indicate lighting changes or spotlights on characters or objects. No stage lighting; natural lighting only on stage and house 5. Properties Identify the props needed for the scene in a separate list at the end of the script. No props 6. Blocking All actors grouped at Indicate in the margin at the appropriate line where characters are to enter, stand, change position on the stage, center stage down and exit. 7. Gestures and Business. Indicate marginally gestures to be made by the speaker (or by others on stage) and "business," telling which character is to start and stop doing what at what points No gestures or stage business The script 1. Cut lines Indicate lines to be cut by a single line through the words to be deleted. All lines as printed 2. Rearrange lines Indicate lines to be moved by arrows or by recopying. 3. Reassign lines Indicate lines to be given to different characters by changing the speech label. 4. Stress Indicate words or phrases to be stressed by underlining. Monotone delivery 5. Pauses Indicate pauses by a double slash: [//]. No pauses 159
Character Analysis Sheet
…aplacetostart
1. Sex 14. Position in the community (community leader, very social, few friends, loner, etc.) 2. Age 15. Political affiliations 3. Height and weight 16. Amusements, hobbies Physiology
4. Color of hair, eyes, skin Psychology
5. Posture and character center 17. Sex life 6. Appearance— the impression your physical appearance creates (sloppy, neat, dirty, clean, stylish, tacky, etc.) 18. Moral standards 19. Personal goals (major emotional wants or needs which you would like fulfilled) 7. Defects (deformities, abnormalities, diseases) 20. Frustrations, chief disappointments Sociology
21. Chief sources of pride, satisfaction, fulfillment 8. Class (lower, middle, upper) 22. Chief fears, inhibitions, superstitions, phobias 9. Occupation (type of work, hours, income, working conditions, feeling about job, suitability for job, career ambitions) Favorites/Allergies
10. Education (amount, kind of schools, marks, favorite subject, poorest subject) 23. 11. Home life (parents: are they living? are they divorced? Do they work? Do you have siblings? Your family status: single? married? with children?) 25. 24. 12. Religion 13. Nationality RosemaryWalsh,
DukeEllingtonHighSchoolfortheArts,
Washington,DC
160
SHAKESPEARE
A M IDSUMMER N IGHT ’ S D REAM
Act 1, Scene 2
Enter QUINCE the carpenter and SNUG the joiner and BOTTOM the
weaver and FLUTE the bellows mender nd SNOUT the tinker and
STARVELING the tailor.
Bottom1 That will ask some tears in the true performing of it.
If I do it, let the audience look to their eyes. I will
move storms; I will condole in some measure. To the
rest––yet my chief humor is for a tyrant. I could play
Ercles rarely, or a part to tear a cat in, to make all
split.
Quince1 Is all our company here?
Bottom1 You were best to call them generally, man by man,
according to the scrip.
Quince1 Here is the scroll of every man's name, which is
thought fit, through all Athens, to play in our
enterlude before the Duke and the Duchess, on his
wedding day at night.
Bottom1 First, good Peter Quince, say what the play treats on;
then read the names of the actors; and so grow to a
point.
Quince1 Marry, our play is The most lamentable comedy and
most cruel death of Pyramus and Thisby.
The raging rocks
And shivering shocks
Shall break the locks
Of prison gates;
And Phibbus' car
Shall shine from far,
And make and mar
The foolish Fates.
This was lofty! Now name the rest of the
players.This is Ercles' vein, a tyrant's vein; a lover is
more condoling.
Bottom1 A very good piece of work, I assure you, and a merry.
Now, good Peter Quince, call forth your actors by the
scroll. Masters, spread yourselves.
Quince2 Francis Flute the bellows mender.
Flute2 Here, Peter Quince.
Quince1 Answer as I call you. Nick Bottom the weaver.
Quince2 Flute, you must take Thisby on you.
Bottom1 Ready. Name what part I am for, and proceed.
Flute2 What is Thisby? a wand'ring knight?
Quince1 You, Nick Bottom, are set down for Pyramus.
Quince2 It is the lady that Pyramus must love.
Bottom1 What is Pyramus? a lover, or a tyrant?
Flute2 Nay, faith; let not me play a woman; I have a beard
coming.
Quince1 A lover, that kills himself most gallant for love.
Quince2 That's all one; you shall play it in a mask, and you
may speak as small as you will.
161
Bottom2 I grant you, friends, if you should fright the ladies
out of their wits, they would have no more
discretion but to hang us; but I will aggravate my
voice so that I will roar you as gently as any sucking
dove; I will roar you and 'twere any nightingale.
Bottom2 And I may hide my face, let me play Thisby too. I'll
speak in a monstrous little voice, "Thisne! Thisne!
Ah, Pyramus, my lover dear! thy Thisby dear, and
lady dear!"
Quince2 No, no, you must play Pyramus; and, Flute, you
Thisby.
Quince3 You can play no part but Pyramus; for Pyramus is a
sweet fac'd man; a proper man as one shall see in a
summer's day; a most lovely gentleman like man:
therefore you must needs play Pyramus.
Bottom2 Well, proceed.
Quince2 Robin Starveling the tailor.
Starveling2 Here, Peter Quince.
Bottom3 Well; I will undertake it. What beard were I best to
play it in?
Quince2 Robin Starveling, you must play Thisby's mother.
Tom Snout the tinker.
Quince3 Why, what you will.
Snout2 Here, Peter Quince.
Bottom3 I will discharge it in either your strawcolor beard,
your orange tawny beard, your purple in grain
beard, or your French crown color beard, your perfit
yellow.
Quince2 You, Pyramus' father; myself, Thisby's father; Snug
the joiner, you the lion's part. And I hope here is a
play fitted.
Quince3 Some of your French crowns have no hair at all; and
then you will play barefac'd. But, masters, here are
your parts, and I am to entreat you, request you, and
desire you, to con them by tomorrow night; and
meet me in the palace wood, a mile without the
town, by moonlight; there will we rehearse; for if we
meet in the city, we shall be dogg'd with company,
and our devices known. In the mean time I will
draw a bill of properties, such as our play wants. I
pray you fail me not.
Snug2 Have you the lion's part written? Pray you, if it be,
give it me, for I am slow of study.
Quince2 You may do it extempore, for it is nothing but
roaring.
Bottom2 Let me play the lion too. I will roar, that I will do any
man's heart good to hear me. I will roar, that I will
make the Duke say, "Let him roar again; let him roar
again."
Quince2 And you should do it too terribly, you would fright
the Duchess and the ladies, that they would shrike;
and that were enough to hang us all.
Bottom3 We will meet, and there we may rehearse most
obscenely and courageously. Take pains, be perfit;
adieu.
All That would hang us, every mother's son.
Quince3 At the Duke's oak we meet.
Bottom3 Enough; hold, or cut bow strings.
162
Exeunt
Rhythm and Meter
Say!
And this weak and idle theme,
I like green eggs and ham!
No more yielding but a dream,
I do! I like them, Sam-I-am!
Gentles, do not reprehend.
And I would eat them in a boat.
If you pardon, we will mend.
And I would eat them with a goat…
And I will eat them in the rain.
And, as I am an honest Puck,
And in the dark. And on a train.
If we have unearnèd luck
And in a car. And in a tree.
Now to ‘scape the serpent’s tongue,
They are so good, so good, you see!
We will make amends ere long;
Else the Puck a liar call.
So I will eat them in a box.
So, good night unto you all.
And I will eat them with a fox.
Give me your hands, if we be
And I will eat them in a house.
friends,
And I will eat them with a mouse.
And Robin shall restoreamends.
And I will eat them here and there.
[Exit.]
Say! I will eat them ANYWHERE!
(AMidsummerNight’sDream, 5.1.423-38)
I do so like green eggs and ham!
Thank you! Thank you, Sam-I-am!
If we shadows have offended,
Think but this, and all is mended,
That you have but slumb’red here
While these visions did appear.
163
“The Witches’ Spell”
Shakespeare
Macbeth, Act 4, Scene 1
Background Effects 1 Witch Thrice the brinded cat hat mew’d 2 Witch Thrice: and once the hedge‐pig whin’d. 3 Witch Harpier cries: ‐‐ ‘tis time, ‘tis time. 1 Witch Round about the caldron go; In the poison’d entrails throw.‐‐ Days and nights hast thirty‐one Swelter’d venom sleeping got, Boil thou first i’ the charmed pot! All Double, double toil and trouble; Fire, burn; and, caldron, bubble. 2 Witch Fillet of a fenny snake, In the caldron boil and bake; Eye of newt, and toe of frog, Wool of bat, and tongue of dog, Adder’s fork, and blind‐worm’s sting, Lizard’s leg, and howlet’s wing,‐‐ For a charm of powerful trouble, Like a hell‐broth boil and bubble. All Double, double toil and trouble; Fire, burn; and, caldron, bubble. 3 Witch Scale of dragon, tooth of wolf, Witches’ mummy, maw and gulf Of the ravin’d salt‐sea shark, Root of hemlock, digg’d i’ the dark All Double, double toil and trouble; Fire, burn; and, caldron, bubble. 1 1 1 2 2 2 3 3 3 1 & 3 2 2 2 1 1 1 1, 2 & 3 3 3 3 1 & 2 3 3 1 & 2 3 1, 2 & 3 Group1=Soundsofwind
1. Wind 2. Dogs (wolves & the like) Group2=Dogshowling&c.
3. Birds (owls & the like) Group3=Owlshooting&c.
164
Hamlet
Soliloquy Analysis
Hamlet's soliloquies
1 1.2.129‐158 2 2.2.544‐601 3 3.1.56‐88 4 3.2.379‐390 5 3.3.73‐96 6 4.4.32‐66 Claudius's soliloquies
1 3.3.36‐72, 97‐98 2 4.3.61‐71 Somequestions
O that this too, too solid flesh would melt.... O what a rogue and peasant slave am I.... To be or not to be.... 'Tis now the very witching time of night.... Now might I do it pat.... How all occasions do inform against me.... O my offence is rank.... And England, if my love thou hold'st at aught.... 1. Who delivers the soliloquy? 10. What images in the soliloquy would you have an actor try to stress? How do they relate to the rest of the play? Do any images recur during the soliloquy? 2. In what act and scene the soliloquy occur? 3. What specific incident or what words of other characters seem to prompt the soliloquy? 11. What figurative language stands out in the soliloquy? What irony? Would you have the actor stress it in delivery? How? 4. What actual facts does the soliloquy contain about the plot? about the character's motivation and actions? 5. What general mood or frame of mind is the character in at the point of the soliloquy? What one dominant emotion would you have an actor work to communicate through the soliloquy, and what are your second and third choices? Should the actor show a shift in emotion or attitude? At what point? 12. Do you want the actor standing, sitting, leaning, crouching? Where on the stage should the actor stand? Do you want the actor to move during the soliloquy? At what point in the speech and to where on the stage? Does the text give the actor any business during the soliloquy? Do you want to add some? Where and what? 6. What inferences can we draw from the soliloquy about the character's attitudes toward circumstances, other characters, life, or fate? Have any of those attitudes changed? 13. How do you want the actor to read the soliloquy? At what general pace should it proceed? Where should the pace change? Where do you want the actor to pause, and for how long? That facial expressions do you want the actor to use, and where should they change? 7. Does the soliloquy seem to divide naturally into parts? How many parts, and where are the divisions? Do the main ideas appear to be arranged in a deliberate order? 14. What scenery and what props should be visible during the soliloquy? Do you want to project any images onto the stage? What kind of lighting would be most effective? Would it change? Would any sound effects enhance the soliloquy? 8. Does one question or problem dominate the soliloquy? Do any answers or solutions appear? 9. Do any words, phrases, or grammatical constructions recur during the soliloquy? What effect would they create on stage? 165
Writing with Shakespeare Study
While reading: Dialectical journal
After casting: Character development
Summarize each act briefly, with key actions Identify the lines that create complexity, tension, or contradiction in your character. Or is your character “all one way”? not many characters in Shakespeare are. Assign titles, chosen from the words in the text, to acts or scenes Collect pieces of “thick text”—hard parts, great parts, pattern parts List important single words or phrases that you particularly want to shape, pop, spring, thrust, squeeze, wring, bubble up, spit, holler, or toot for your audience. Respond to those quotations in your journal with Questions on words or actions Ideas for staging Connections to anything you find relevant Research option: look up these words in the Oxford English Dictionary and the Harvard Concordance to Shakespeare. Record in your journals what alternate meanings were used around Shakespeare’s time (OED) and other uses of these words in this and other plays. What can these rich possibilities do for your role? Before casting: Application paragraphs
Name three roles you would like to play: one major, one “character part,” one minor. Identify a key line or pattern of words in each role, and write a paragraph for each role, explaining how you see yourself delivering those lines. Write a creative response to your character: a “biography” or sequel, a poem or missing scene, an interior monologue, or any other literary writing that will help you make this character your own. The only limits are Shakespeare’s own words; you must resonate with them. During rehearsal: Helpful questions for
actors in your company
Write out thoughtful questions to help other actors clarify certain lines for you. You are their first audience. Help them connect. Deliver the questions on paper or electronically and then work on those you receive about your role. Write back, but also enact the answer on stage. Paul Sullivan; Austin; Skip Nicholson, Los Angeles
166
THE STORY
Lear, king of Britain, a petulant and unwise old man, has three daughters: Goneril, wife of the duke of Albany, Regan, wife of the duke of Cornwall, and Cordelia, for whom the king of France and duke of Burgundy are suitors. Intending to divide his kingdom among his daughters according to their affection for him, he bids them say which loves him most. Goneril and Regan profess extreme affection, and each receives one‐third of the kingdom. Cordelia, disgusted with their hollow flattery, says she loves him according to her duty, not more nor less. Infuriated with this reply, Lear divides her portion between his other daughters, with the condition that he, with 100 knights, shall live with each daughter in turn. Burgundy withdraws his suit for Cordelia, and the king of France accepts her without dowry. The earl of Kent takes her part and is banished. Goneril and Regan reveal their heartless character by refusing their father the maintenance they had promised, and finally turning him out of doors in a storm. The earl of Gloucester shows pity for the old king, and is suspected of complicity with the French, who have landed in England. His eyes are put out by Cornwall, who receives a death‐wound in the affray. Gloucester’s son Edgar, who has been traduced to his father by his bastard brother Edmund, takes the disguise of a lunatic beggar, and tends his father till Gloucester dies. Lear, who has gone mad from rage and ill‐treatment, is taken by the disguised faithful Kent to Dover, where Cordelia receives him. Meanwhile Goneril and Regan have both turned their affections to Edmund. Embittered by this rivalry, Goneril poisons Regan and takes her own life. The English forces under Edmund and Albany defeat the French, and Lear and Cordelia are imprisoned, by Edmund’s order. Cordelia is hanged, and Lear dies from grief. The treachery of Edmund is proved by his brother Edgar. Gloucester’s heart has “Twixt two extremes of passion, joy and grief, Burst smilingly.’ Albany, who has not abetted Goneril in her cruel treatment of Lear, takes over the kingdom ABOUT PRODUCTION
The rule for producing Shakespeare's plays is that no words are ever to be added. Directors often move lines, though, or assign them to other characters and are always free to cut words, lines, or whole scenes. The director must also add stage "business," since the text gives little. There is no "right" way to do a Shakespeare play since setting, too, always reflects directorial—not authorial— decision. so directors must decide in what general place and time they are going to set a play..Shakespeare’s plays get “moved” frequently. We’ve seen The Tempest set in tropical islands, fantasy islands (yes!), and outer space. We’ve seen Hamlet wearing everything from armor to pyjamas to jeans and cowboy boots. Tonight’s production of King Lear will use modern dress and sets. Now you think as a producer/director: • What setting will you use? • What kids of costumes will you choose for each of the characters? What colors will you have dominate the sets and costumes? • What one special effect will you use to enhance your production? (Money’s no object.) What music will help your production, and in what scenes? The
Long Beach
Shakespeare
Company
The Richard Goad Theater
Long Beach
SIX IDEAS
King Lear can be studied as a definition. Choose
one or two major characters and watch what
they say and do to give definition to one of these
terms:
love
duty
madness
loyalty
evil
sight/blindness
The summary of King Lear is adapted from Margaret Drabble,
The Oxford Companion to English Literature, revised 5th ed., Oxford:
Oxford UP, 1995. Print.
167
Our High School
Drama d English Pasadena
THE FOOL
EARLY MODERN ENGLISH
Fools were popular well before Elizabethan times, In the Middle Ages, jesters were common as household servants to the rich. They often wore the traditional costume of the coxcomb (jester’s cap) with hells, and a motley (multi‐coloured) coat Their role—to entertain with witty words and songs, and to make critical comment on contemporary behaviour. An ‘allowed fool’, such as Feste in Twelfth Night, was able to say what he thought without fear of punishment. Lear’s Fool is ‘all‐licensed’, and so can speak frankly and critically about anything and anyone, especially his master, the king He acts as a kind of dramatic chorus, an ironic commentator on the action he observes,, constantly reminding Lear of his folly. Lear is relentlessly used as the butt of the Fool’s barbed comments. The Fool moves easily between different styles of humour: stand‐up comedy (‘Thou hadst little wit in thy bald crown when thou gav’st thy golden one away’), song (‘Fools had ne’er less grace in a year ...‘), rhyme or proverb (‘Fathers that wear rags / Do make their children blind ...‘); and innuendo (‘She that’s a maid now . ‘) Some of the Fool’s words may be puzzling, but all carry significance for Lear’s plight For example, ‘So out went the candle, and we were left darkling’, spoken as Goneril begins to undermine Lear’s sanity, eerily prophesies the blindness and confusion that follow. From his first appearance, his special relationship with Lear is evident. It allows him to escape punishment for his stinging criticisms, and sees him following Lear selflessly into the storm, almost as if he were Lear’s alter ego, his second, more sane self One production highlighted the relationship between Cordelia and the Fool by beginning with an ominous tableau of them with their necks linked by a hangman’s noose. And… it’s not unusual to cast the same actor to play both roles, another way to leave an echo in an audience’s mind. HEARING SHAKESPEARE
SOME GRAMMAR OF
“Familiar” pronouns: Modern English has dropped a set of pronouns and verbs called the “familiar” or “thee and thou” forms once used among close friends and family and to inferiors children, animals, and inanimate objects. These old forms did, though, survive into Elizabethan England and appear frequently in Shakespeare. Singular 1st
I
2nd
thou
3rd
he, she
Plural 1st
we
2nd
you (ye)
3rd
they
me
thee
him, her
my, *mine thy, *thine his, hers us
you
them
our, ours your, yours their, theirs *forms used before a noun beginning with a vowel or unpronounced ‘h’ Verb forms: The second person singular (familiar) adds the ending ‐est, ‐’st, or ‐st. Examples: thou gives, thou sing’s Here are the forms of some “irregular” verbs: present
you
are
have
will thou
art
hast
wilt past
you
were
had
would thou
wert
hadst
wouldst
present
you
can
shall
do thou
canst
shalt
dost past
you
could
should
did thou
couldst
shouldst
didst We talk about “seeing” or “going to,” a play or a movie. People in Renaissance England, though, spoke of “hearing” a play. We watch to see what happens. They knew what was to happen; they listened for how it sounded. The biggest challenge Shakespeare’s plays pose for us is not that the language is old; it isn’t; it’s Modern English. The challenge is that it’s poetry. Nearly all of Lear is written in “blank verse,” that is, in unrhymed iambic pentameter—lines of five “feet,” each one an iamb, or set of two syllables, the first of which is unstressed and the second of which is stressed—like the word ‘to‐DAY.’ Cordelia tells her father that she loves him, “according to my bond, no more, nor less.” Although that rhythm is entirely natural to English speech, Shakespeare will often do things we are not used to in order to accommodate the beat. Words will come in an unusual order, as when France says, “Thee and thy virtues here I seize upon” instead of “Here I seize upon thee and thy virtues.” Words even disappear at times, as in “Let’s away” for “Let’s go away.” It takes most people about 15 minutes to get used to the rhythms and word order and to be comfortable with the language. The best advice is to relax and listen to it as music. The meaning will come. Honest. The second challenge comes from the grammar (see the panel to the left). The third challenge is Shakespeare’s huge vocabulary. There are a few tricks for dealing with it, but in the theater it’s best to let the actors help define the words with tone and gesture. This table might help with six common words: Third‐person verb endings: The third person singular often substitutes ‐th for ‐s. Examples: she giveth (for she gives) it raineth every day (for rains) 168
here
there
where
to
hither
thither
wither
from
hence
thence
whence
SOME RESOURCES FOR TEACHING SHAKESPEARE For Younger (chronologically or at heart) Readers General Overviews: Russ McDonald. The Bedford Companion to Shakespeare: An Introduction with Documents, 2nd ed. Bedford/St Martin’s, 2001. Print. ISBN: 978‐0312237134 Barbara Holdridge. Under the Greenwood Tree: Shakespeare for Young People. Owings Mills: Stemmer House, 1986. Print. ISBN: 978‐
0880450294 Gina Pollinger. Something Rich and Strange: A Treasury of Shakespeare’s Verse. New York: Kingfisher, 1995. Print. ISBN: 978‐0753402955 J. C. Trewin. The Pocket Companion to Shakespeare’s Plays, rev. ed.. London: Mitchell Beazley, 1999. Print. ISBN: 1857323408 Leslie Dunton‐Downer and Alan Riding. Essential Shakespeare Handbook. New York: D. K. Publishing, 2004.Print. ISBN: 0 7894 93333 0 Anita Ganeri. The Young Person’s Guide to Shakespeare [Book and CD set]. London: Pavilion, 1999. Print. ISBN: 978‐
0152021016 Editions of the Plays Renwick St James and James C. Christensen. A Shakespeare Sketchbook. Shelton: Greenwich Workshop Press, 2001. Print. The Cambridge School Shakespeare Series: Hamlet [The Cambridge School Shakespeare] 2nd ed. Richard Andrews (volume ed.), Rex Gibson (series ed.). Cambridge UP, 2005. Print. ISBN‐13: 978‐0521618748 Teaching Shakespeare: Louis Fantasia. Instant Shakespeare: A Proven Technique for Actors, Directors, and Teachers. Chicago: Ivan R. Dee, 2002. Print. ISBN‐13: 978‐
1566635035 Peggy O’Brien, ed. Shakespeare Set Free. Washington Square Press (2006): Book 1: Teaching Romeo and Juliet: Macbeth: A Midsummer Night's Dream ,1993. Print. ISBN‐13: 978‐0743288507; Book 2: Teaching Hamlet, Henry IV, Part 1, 1994. Print. ISBN‐13: 978‐0743288491; Book 3: Teaching Twelfth Night, Othello, 1995. Print. ISBN‐13: 978‐0743288514. 169