Othello Scene Project
Selecting your Group and Scene:
1. Choose a group of two to four students (don’t disregard this rule; it would not be great if your group
was split up because you didn’t follow directions). You may also choose to work alone and do a
shorter piece.
2. Choose a five minute dialogue (around 150 lines) with a speaking part for every group member.
3. The scene should be thematically significant (involve the main characters and deal with the central
conflict of the play).
Performance Promptbook (complete in ink)
As a group:
1. Paraphrase the lines into a cohesive script. You’ll submit one copy of this, which will be returned to
you, for evaluation. Everyone is responsible for his or her own copy.
2. Complete the scene analysis – write several paragraphs analyzing the scene, showing a complete
understanding. Use quotations to support your points.
a. Why is this scene important? What do we learn about the characters in this scene?
b. What imagery, diction, syntax, figurative language, or other literary devices does Shakespeare
use in this scene, and to what effect?
c. How does this scene contribute to bigger themes or ideas of the play?
3. Create a set design. Remember: you will actually perform using this stage design, so only work with
materials to which you have access.
4. Design costumes for each character in the scene. Draw or describe in detail each costume.
Remember that you will be wearing these (keep them school appropriate).
Promptbook Group Evaluation (___ / 20 points)
 (___ / 5) Paraphrase (submit one copy: end of class 24 March)
 (___ / 10) Scene analysis (due: end of class 25 March)
o Why is this scene important? What do we learn about the characters in this scene?
o What imagery, diction, syntax, figurative language, or other literary devices does Shakespeare
use in this scene? To what effect?
o How does this scene contribute to bigger themes or ideas of the play?
o Supporting quotations (at least three)
 (___ / 5) Set design and costumes (due: end of class 26 March)
Individually, complete a character report (due: end of class 25 March—work on this at home):
1. At the top of your paper, list your name and the character you will be playing. If you are playing more
than one character, you only have to do ONE character report for ONE of the characters you are
playing.
2. What is your character’s objective in the play? How do you know? Use quotations to support your
claims. Include act, scene, and line numbers. (You may quote from anywhere in the play for this
question, not just your group’s scenes.)
a.
A character’s objective is his or her long-term goal and rarely changes. The individual intentions the
character has in each scene are all part of a larger objective. For instance, a character may have the
intention of impression another character in a scene or giving the same character a gift in the next
scene, all with the objective of winning the other character’s love. The character usually believes that
achieving his intention in a scene will help him achieve his objective.
3. In your chosen scene, what is your character’s intention? How do you know? Use quotations to
support your claims. Include act, scene, and line numbers. (You must quote from your selected scene
for this question.)
a.
A character’s intention (sometimes referred to as motivation) is his or her immediate goal or desire in a
scene. Intentions often change from scene to scene. Intentions may be abstract (i.e. I want revenge, or
I want to impress another character) or concrete (i.e. I want a sandwich or I want the other character to
give me a raise.)
4. What is your character’s subtext? What thoughts or feelings does he or she express aside from the
literal meaning of the dialogue? How do you know? Use quotations to support your claims. Include
act, scene, and line numbers. (You must quote from your selected scene for this question.)
a.
The subtext of a scene includes the thoughts or feelings communicated aside from or beneath the
dialogue. Body language, tone of voice, and movement are all ways in which characters (and the actors
portraying him) communicate more than the words themselves. Sometimes a character is aware of his
or her subtext. For example, when we are being sarcastic, we know that our tone of voice, not our
words, communicates our true feelings. On the other hand, a character may not realize his true feelings
of love (or hate) for another character.
Promptbook Individual Evaluation (___ / 9 points)
 (___ / 3) Objective: explained with at least two supporting quotations
 (___ / 3) Intention: explained with at least two supporting quotations
 (___ / 3) Subtext: explained with at least two supporting quotations
Rehearsal (27 March - 6 April: two class days, memorize lines over break)
1. You are required to memorize your lines. This will need to take place over several days and, once
memorized, the scene should be reread at least twice daily to refresh your memory.
2. You need to develop some interesting blocking for your scene (write it down so you remember it from
day to day).
Performance Evaluation: 7 April (___ / 24 points)
Each of the below will be graded with to the following levels:
Excellent (3 pts)








Good (2.7)
Fair (2.4)
Poor (2.1)
Unacceptable (1.8)
Concentrated and focused work during rehearsals
Cooperation with each other during rehearsals
Memorization and preparation of lines on schedule
The imagination and responsibility applied to assembling or constructing your own costumes and
props
Intelligent attention to the text in working out blocking
The clarity, understanding, and expression with which you deliver your lines
Professional demeanor offstage as well as staying in character onstage
The energy with which you perform
Scene: ________________________________________________
Othello Performance Evaluation (___ / 24 points)
Excellent
Good
Fair
Poor
Unacceptable

Concentrated and focused work during rehearsals
3
2.7
2.4
2.1
1.8

Cooperation with each other during rehearsals
3
2.7
2.4
2.1
1.8

Memorization and preparation of lines on schedule
3
2.7
2.4
2.1
1.8

The imagination and responsibility applied to
assembling or constructing your own costumes and
props
3
2.7
2.4
2.1
1.8

Intelligent attention to the text in working out blocking
3
2.7
2.4
2.1
1.8

The clarity, understanding, and expression with which
you deliver your lines
3
2.7
2.4
2.1
1.8

Professional demeanor offstage as well as staying in
character onstage
3
2.7
2.4
2.1
1.8

The energy with which you perform
3
2.7
2.4
2.1
1.8
Character
Played By
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