Shakespeare & Violence Prevention
TWELFTH NIGHT
2015
STUDY GUIDE
Study guide written by Kaily Anderson & Dr. Amanda Giguere
Edited by Dr. Amanda Giguere
This program is made possible with generous funding from the CU Boulder Outreach Committee, the
Boulder Arts Commission, the CU College of Arts and Sciences, and the CU School of the Arts.
About this production
The Colorado Shakespeare Festival
is committed to educating students,
teachers, and community members
about the power of Shakespeare’s
language and its contemporary
relevance. To that end, CSF has
teamed up with CU Boulder’s
Center for the Study and Prevention
of Violence and the Department of
Theatre & Dance to create a touring
program that simultaneously
increases awareness of
Shakespeare and violence
prevention.
We believe that Shakespeare was a
master of humanity. He understood
how people behaved. And people
today aren’t much different from
people in Shakespeare’s day. Take
the “gulling” (pranking) of Malvolio
as an example. Toby and his friends
are frustrated because Malvolio is
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rude to them, so they trick him.
They plant a letter for him to find,
which he believes to be from Olivia.
Sound familiar? This situation is
similar to contemporary examples of
cyber-bullying, in which young
people create fake identities on
Facebook to harass their enemies—
or convince their enemies that a
fake “person” really likes them.
Shakespeare may have worn tights
and pumpkin pants, but he’s a lot
more similar to us than we often
think. Our actors will visit your school to
perform a shortened version of
Twelfth Night that pays extra
attention to bullying and the cycle of
violence, using the latest research
from the Center for the Study and
Prevention of Violence. We cut
Shakespeare’s original play down to
a 50-minute version that draws
parallels between Shakespeare’s
world and our own. Theatre allows
audiences to observe human
behavior and to feel empathy for a
range of characters. By following
the paths of these characters,
students will discover how each
character’s behavior impacts the
story. This play will open up the
dialogue about your school’s
climate, and what each person can
do to make it safer and healthier
than it already is. The post-show classroom
workshops are designed to activate
your students’ voices. Through
theatre exercises and play-related
improvisation, the workshops
engage your students physically
and vocally, to empower them with
the knowledge that they can help
prevent bullying situations. Plot Synopsis
Twelfth Night takes place in Illyria, where three
different stories collide in one fast-paced, love-filled,
and thought-provoking play. “What country, friend, is this?”
Young Viola has recently survived a terrible shipwreck,
and finds herself in Illyria. Her twin brother, Sebastian,
who was on the ship, is nowhere to be found. A sailor
informs Viola of the local gossip about the Duke
Orsino’s love for the Countess Olivia. Viola concocts a
plan: she’ll dress up as a boy to seek employment at
Orsino’s house. The sailor agrees to keep her secret. “If music be the food of love…”
Then, we discover the Duke Orsino, who is head over
heels in love with the beautiful Countess Olivia. Olivia
has sworn off all men, because she is mourning the
recent deaths of her father and brother. Olivia won’t
return Orsino’s love, so he spends his heartsick days
listening to beautiful music instead. “My masters, are you mad?”
Olivia’s butler, Malvolio, cannot tolerate the wild
behavior of his employer’s rowdy uncle, Sir Toby, and
his drunken friends. When Malvolio makes fun of
Feste, Olivia’s fool, Feste comes up with a plan to
embarrass Malvolio, and convinces Sir Toby and his
friend Sir Andrew to help her. They write a letter in
Olivia’s handwriting, in which “Olivia” confesses her
true love for Malvolio. Feste leaves the letter for
Malvolio to find. When he finds it, he is thrilled, “My
lady loves me,” he exclaims. The letter instructs
Malvolio to wear bright yellow stockings. He follows
these instructions and becomes the laughingstock of
the household.
“O, Time, thou must untangle this, not I…”
The stories intersect when Viola (disguised as the male
Cesario) develops a crush on Orsino. Orsino sends
“Cesario” to deliver love messages to Olivia, but Olivia
falls in love with the messenger instead. Meanwhile,
Malvolio is parading around Olivia’s house in yellow
stockings, and his enemies are delighted. Further
complications arise when Viola’s twin brother arrives in
Illyria, marries Olivia, and starts fighting with the
locals. The prank on Malvolio goes too far when he is
thrown in prison, and the pranksters reluctantly agree
to set him free. Just as Viola, Orsino, Olivia and
Sebastian have sorted out a happy ending for
themselves, Malvolio arrives to promise revenge. Character Descriptions
Orsino: The noble Duke of Illyria. He thinks he is
desperately in love with Olivia, but he is possibly
more in love with love. He learns that true love is
right under his nose. Olivia: A countess in Illyria. Her brother and father
both died within the last year, and she has sworn
off men for seven years. Something changes,
however, when a young, handsome messenger
arrives to deliver Orsino’s message. Olivia’s heart
begins to melt as she falls in love with…Viola,
disguised as a boy. Viola: A young female shipwreck survivor who
believes her twin brother has drowned. To hide
her sadness, Viola dresses up as a boy, adopts
the name Cesario, and gets a job with Orsino. Malvolio: Olivia’s steward, or butler. He is firm,
stern, and described as a Puritan. He is secretly a
social climber, and wishes to rise in rank to marry
Olivia. He mistreats Sir Toby and friends, and they
decide to play a cruel joke in retaliation. 2
NOTE: This production only has four actors to play
all of these roles! Pay attention to how an actor
switches characters. Can you find connections
between the characters played by one actor?
Sir Toby Belch: Olivia’s drunken uncle. He hasn’t a
care in the world, and loves to dance, party, and listen
to music. Feste: A fool who knows more than anyone in the
play. When insulted by Malvolio, Feste concocts the
plan to trick him.
Sir Andrew Aguecheek: Sir Toby’s friend. He has
arrived to woo Olivia, though it quickly becomes clear
that he’s a buffoon. Sir Toby keeps him around because
he is rich. Sebastian: Viola’s twin brother. He was rescued
from the shipwreck, and eventually finds himself
in Illyria, where he is mistaken for Viola’s
fictional persona, “Cesario.”
William Shakespeare
Born in England, William
Shakespeare lived from 1564 to
1616. He grew up in Stratfordupon-Avon in Warwickshire, born
to John Shakespeare and Mary
Arden. At the age of 18, he
married Anne Hathaway, a
woman eight years his senior.
The couple had a daughter,
Susanna, then twins: a boy,
Hamnet, and a girl, Judith.
Hamnet later died at age eleven.
William eventually moved to
London and made his living as
an actor, poet, and playwright.
He was a partial owner in a
theatre company known as the
Lord Chamberlain’s Men during
the reign of Queen Elizabeth I
(later called the King’s Men after
James I ascended the throne).
Here is a list of the
commonly accepted
plays in Shakespeare’s
canon.
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Shakespeare’s company
performed at the outdoor
Globe Theatre and the indoor
Blackfriar’s Theatre. His plays
were immensely popular during
his time. Shakespeare returned to
Stratford and died at the age of
52. After his death, two of his
friends published his works in
1623. This edition, now called
the First Folio, contained 36
plays. Now, scholars believe
Shakespeare actually wrote
between 37-39 plays, and
probably co-wrote even more.
All’s Well That Ends Well
Antony and Cleopatra
As You Like It
The Comedy of Errors
Coriolanus
Cymbeline
Hamlet
Henry IV part 1
Henry IV part 2
Henry V
Henry VI part 1
Henry VI part 2
Henry VI part 3
Henry VIII
Julius Caesar
King Lear
King John
Love’s Labour’s Lost
Macbeth
Measure for Measure
The Merchant of Venice
The Merry Wives of Windsor
A Midsummer Night’s Dream
Much Ado About Nothing
Othello
Pericles
Richard II
Richard III
Romeo and Juliet
The Taming of the Shrew
The Tempest
Timon of Athens
Titus Andronicus
Troilus and Cressida
Twelfth Night
The Two Gentlemen of Verona
The Two Noble Kinsmen*
The Winter’s Tale
*probably co-written by Shakespeare
and John Fletcher
THEMES OF THE PLAY
Disguise: Twelfth Night reveals several
examples of people who put on a costume to
“perform” another function. Olivia dons a black
mourning veil to indicate her grief, Viola puts on
male clothing to hide her true identity, and
Malvolio boldly displays yellow stockings to
prove his love for Olivia. Although wearing a
disguise can often make you feel safe, hidden,
and secure, it can also lead to tricky situations.
“Disguise, I see thou art a wickedness,” Viola
tells herself when she realizes she’s at the
center of a love triangle. A disguise always falls
away, and we must face the real person
beneath the mask. Each character drops his or
her disguise, and must learn to face who they
are. Social Status: The characters in Twelfth Night
are obsessed with rank. Olivia won’t marry
Orsino, partly because she refuses to marry
someone from a higher social position. Malvolio,
on the other hand, is desperate to rise above his
rank by marrying Olivia. Although we no longer
have a formal system of ranking people, in what
ways is status still part of our culture? Music: The play begins and ends with music.
Characters demand music when they’re sad,
when they’re in love, and when they’ve had too
much to drink. The word “song” appears 9 times
in the play, and “music” appears 6 times. The
name of the fictional location—Illyria—even
contains the name of a musical instrument: the
“lyre.” Olivia says that she would rather hear
Cesario speak than “music of the spheres.” In
ancient culture, music was thought to be a gift
from the gods. Of all of Shakespeare’s plays,
Twelfth Night (along with The Tempest) is one of
the most musical. Do you turn to music when
your emotions are especially strong? How does
music contribute to important moments in the
play? Gulling: Malvolio’s story is sometimes called
“the gulling of Malvolio.” In Shakespeare’s time,
a gull was a person who was easily fooled
(similar to our word, “gullible”). To gull someone
was to play a trick, to cheat, or to dupe an easy
target. Gulling is quite similar to another word
we use today: bullying. The gulling of Malvolio
begins as a way for Toby and his friends to get
even, because Malvolio is unkind to them.
However, they take the trick too far, and
Malvolio ends up locked in a dark room. Toby
decides that the joke is no longer funny, and
says, “I would we were all rid of this knavery.”
Have you ever taken a joke too far, and
regretted it? Once you have gulled or bullied
someone, is it possible to restore their trust?
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Excessive Behavior: Orsino begins the play in
a moody, fluctuating state, in which he demands
music—“give me excess of it.” By the play’s
end, his excessively dramatic behavior has been
corrected; he is greeted with real, human love
from Viola, rather than the tormented,
passionate, excessive emotions he experienced
when he thought he loved Olivia. Similarly, Olivia
does not simply mourn her brother; she drapes
herself in black and swears off men for seven
years. In other words, she mourns in excess.
She has turned away Feste the jester, and has
given up laughter and feasting. Malvolio is a
likewise excessive character; he is too stern, too
puritanical, too uptight. Toby is certainly
excessive in his drinking, and he is told to
“confine [himself] within the modest limits of
order.” This play seems to advocate a balance;
we should not be too emotional, too angry, or
too sad. We have to find a way to walk the line,
to balance the scales, and to find our truest self.
Like Viola, we all must navigate our dual selves
in order to find out who we truly are. We are all,
it seems, somewhere in the middle. Misrule: The play is named Twelfth Night for
the Feast of Misrule, which traditionally took
place twelve days after Christmas. During this
time, the world became topsy-turvy, social
rules were broken, and economic class could
be transcended. A king could be a beggar, and
a beggar could be a king. Consider all of the
fanciful, unrealistic (for Shakespeare’s
audience) events that occur in this play: a
butler wears bright yellow stockings and falls
in love with the lady of the house; a young girl
in male disguise fights a duel with a foolish
knight; a countess shuns a wealthy duke in
favor of his messenger (who is actually a girl in
disguise). These are unlikely occurrences for
Shakespeare’s world, and suggest that the
playwright is welcoming the silly, the
improbable, and the “high fantastical.”
Shakespeare lets the characters enter a world
of social upheaval, broken boundaries, and
gender confusion. After this “merry madness”
subsides, will social order be restored? Will
things go back to “normal?” Does “normal”
exist in Illyria?
Glossary
Barful: Difficult
Barren: Dull and dry
Barricadoes: Obstructions
Geck: Fool
Hart: A male deer Betimes: Early
Kickshawses: Delicacies, fancy trifles (from
French “quelque chose”)
Bird-bolts: Short arrows for shooting small
birds
Lethe: A river of forgetfulness in Greek
mythology
Castiliano vulgo: Speak of the devil
Glass: Mirror
Catch: A round (song)
Overweening: Arrogant
Clamorous: Loud
Peevish: Silly, annoying
Cockatrice: An imaginary creature that kills
by the look
Penthesilea: Queen of the Amazons
Curate: Parish priest
Cut a caper: Make a lively leap
Dexterously: Skillfully
Dote: Treat with love; to adore
Elysium: Paradise, in Greek mythology
Fadge: Turn out, occur
Fulsome: Wearisome
Fustian: Bombastic, pompous
Gait: Walk (“address thy gait unto her”
means “go to her”)
Pestilence: A contagious disease, germs
Quaffing: Drinking a lot
Surfeiting: Filling up, swelling
Sepulchre: Tomb, grave
Sneck up!: Go hang yourself
Shent: Blamed, rebuked
Sophy: Shah of Persia
Usurp: To steal the place of another Whirligig: A spinning top.
Woo: To win someone’s heart
FUN FACT
Not only were Shakespeare’s plots almost always adapted from other sources—he even
borrowed from himself for Twelfth Night, reusing the “girl disguises herself as a boy and helps
her beloved woo another woman” plot from The Two Gentlemen of Verona and the
shipwrecked twins idea from The Comedy of Errors. 5
Critical and Historical Context
Understanding Twelfth Night
Original Production
Twelfth Night was probably written around 1601,
and some scholars believe that the play may have
been first performed at Whitehall for a visiting
Italian nobleman named Orsino, for whom
Shakespeare may have named his lovesick Duke.
The first recorded performance took place on
February 2, 1602 at Middle Temple Hall for an
audience of lawyers. One young man in the
audience, John Manningham, wrote about the play
in his diary. Feste was played by the great comic
clown in Shakespeare’s company, Robert Armin,
and Malvolio was played by Richard Burbage.
Scholar Harold Bloom claimed that Shakespeare
probably played the role of Antonio (cut in our
production).
Source Material
Shakespeare was fond of “borrowing” storylines
from existing books, myths, and plays. We would
now consider this cheating, because of copyright
laws, but it was acceptable in Shakespeare’s day
to use someone else’s work for inspiration.
Shakespeare probably used Barnaby Rich’s tale,
“Of Apolonius and Silla” (1581) as source material,
along with an Italian comedy called Gli Ingannati.
The Malvolio plot, however, belongs entirely to
Shakespeare, which suggests that it was important
to him. Why do you think he added Malvolio’s
story? Illyria is also an imaginary location—no
Illyria existed during Shakespeare’s lifetime,
though there was a region known as Illyria in the
ancient world. Why would he set this comedy in a
location that no longer existed?
Why the Title?
Twelfth Night refers to the twelfth night of
Christmas, when the Feast of Fools was observed.
This celebration took place on the eve of January
6, or Epiphany, which celebrates the arrival of the
three wise men to meet the baby Jesus. In
England, Twelfth Night was celebrated as a feast of
misrule that turned normal society on its head.
Standard hierarchies were ignored or reversed, and
citizens were allowed to cross boundaries. The
play’s subtitle, “What you will” references this
topsy-turvy holiday, and suggests an “anything
goes” tone.
Cross-dressing in Shakespeare’s Day
Twelfth Night features a female character (Viola)
who dresses up as a man (Cesario). The humor of
this situation would have been enhanced by a
certain convention of theatrical performance in
Shakespeare’s day. Women were not allowed to
perform in plays in Elizabethan England, and all
female roles were played by men. Therefore, the
actor who played Viola would likely have been a
young male apprentice in Shakespeare’s acting
company. While contemporary audiences usually
see a female actress as Viola, Shakespeare’s
audience would have watched a boy pretending to
be a girl pretending to be a boy—this would
certainly have created a layered, complex, and
humorous commentary on gender and identity. It
was not until 1660 that female actresses were
allowed to perform in England, as a result of the
return of Charles II to the throne. Is this a Comedy?
Most Shakespearean comedies end with marriage, and most tragedies end with death. By
those standards, Twelfth Night is a comedy. The play is more complicated as a genre, however,
when we consider Malvolio’s storyline, not to mention the death and sadness that pervades the
play. Twelfth Night begins with two deaths: Viola has lost a brother, or so she thinks, and so
has Olivia. Throughout the play, Shakespeare mingles tears with laughter, and seems intent on
reminding us that life is never purely a tragedy or a comedy. As Feste points out in one song,
“present mirth hath present laughter.” We may be happy for the time being, but “what’s to
come is still unsure.” This is a bittersweet comedy, and each hilarious moment is undercut by
deep loss. Viola disguises herself as a boy, and gets herself into humorous situations, but she
is doing so to distract herself from her twin’s death. We can laugh at Malvolio in his yellow
stockings, but he is not simply a laughable character—he is a victim of a cruel prank, and he’s
desperate to abandon his life as a butler. Rather than simply making us laugh, Shakespeare
reminds us of life’s complexities, and underscores the presence of comedy and tragedy in our
lives. Shakesepare seems to be leaning towards a new genre here: romance. His later
romances contain shipwrecks, miraculous reconciliations, and fantasy (think The Tempest,
Pericles, and The Winter’s Tale). Twelfth Night spills over the boundaries of comedy, and seems
to prepare us for a new kind of story that contains laughter and sadness.
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Critical and Historical Context (continued)
Rethinking Malvolio
The CSF in the Schools production focuses on
Malvolio’s journey as a way to think about
current bullying trends. Read below to learn
more about the character’s journey through the
production history of Twelfth Night.
Since the 17th century premiere of Twelfth Night,
actors and directors have started to rethink
Malvolio. In the twentieth century, Malvolio
frequently took on tragic undertones, and artists
began exploring the character’s internal state.
Malvolio’s plight in theatre history has taken a
similar path as that of Shylock, the money-lender
in The Merchant of Venice. Originally written as
laughable figures, both Shylock and Malvolio are
now explored with more humanity than
Shakespeare (or his audience)
first granted them.
In Shakespeare’s company, Malvolio was played
by Richard Burbage, the actor who originated
such extraordinary roles as Hamlet, Othello, and
King Lear. Although we have no empirical data
about how Burbage
interpreted the role,
scholars assume that
“The genius of Shakespeare is
the original Malvolio
extraordinarily sensitive to the
CSF has staged Twelfth Night
was haughty, selfseven times. In the 2005
hour
and
the
age.
Into
his
book,
involved, and slightly
production, Malvolio was
despicable—in other
each age has peered, as into a
played by Sean Tarrant.
words, audiences were
mirror, to see its own face.”
Tarrant, at 6 ft. 6 in., towered
meant to laugh at him.
-Esther
Cloudman
Dunn
above the rest of the cast,
His name, after all,
making the “yellow stocking”
translates to “evil
scene
particularly memorable. desire” or “ill-wisher.”
Elizabethan audiences would likely have felt
Malvolio’s evolution in theatre history is a
satisfaction when Malvolio is tormented by Sir
testament to the power of Shakespeare’s
Toby and others. Chances are high that few
language. Twelfth Night is a play written in 1601-2,
Elizabethan audience members pitied Malvolio
but which stands the test of time, because the
when he exclaimed, “I’ll be revenged on the
characters can uphold multiple interpretations.
whole pack of you.” He was certainly more of a
There is no single way of seeing this play, and we
comic lead than a tragic hero. He was probably a
will continue to find new things about it.
highly popular one at that—after Shakespeare’s
death, the play was performed at court, but retitled Malvolio.
Sean Tarrant as Malvolio in the 2005 CSF production of Twelfth Night
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Introductory Mini-Lesson Plan
Elementary Students
Rationale: This is a mini-lesson that you can use with your students to prepare them
to view and discuss Colorado Shakespeare Festival’s touring production of Twelfth
Night. This lesson will provide your students will basic information about the plot of
the play, introduce them to some of the key ideas of this production, and prepare
them to take part in a bullying workshop with one of CSF’s actors after the show. Objective of the lesson: Students will be able to make predictions about what will
happen in Twelfth Night. Students will be able to draw from their opinions and their
experiences to write about how they would react if they were bystanders to the
events of Twelfth Night. Standards Specifically Addressed: CCSS.ELA-LITERACY.W.K-2.8: With guidance and support from adults, recall
information from experiences or gather information from provided sources to answer
a question.
CCSS.ELA-LITERACY.W.3-5.1: Write opinion pieces on topics or texts, supporting a
point of view with reasons and information.
CCSS.ELA-LITERACY.RL.3.6: Distinguish their own point of view from that of the
narrator or those of the characters.
Learning Experience Sequence:
Introduction: Use any relevant information from the study guide to introduce some of
the plot points and themes of Twelfth Night to your students. If you wish to use it, we
have composed a Prezi with a basic summary of the plot and some of the key ideas
we will explore in our production; that can be found at: https://prezi.com/
cclcqrklfeqp/csf-twelfth-night-tour-intro/.
Anticipation Guide: Hand out the graphic organizer (on the next page) which asks
students to make a prediction about what they think might happen after Malvolio
finds the letter that has been left for him and explain what they would do if they were
a bystander for Feste and Malvolio’s conflict. Read the instructions to the students
and make sure they understand. Be available to assist students as they complete the
graphic organizer. After the students have completed their work, allow them to share
their answers in pairs or in a whole-class discussion. 8
NAME: _______________________________________
Before You See Twelfth Night…
Actors from the Colorado Shakespeare Festival will be putting on a play for you called Twelfth Night. In the
play, a character named Malvolio makes fun of another character name Feste. After that, Feste and her
friends decide to play a trick on Malvolio. They write a letter that tricks Malvolio into thinking that his boss,
Olivia, loves him and that she wants him to wear ugly yellow socks and never stop smiling. Answer the
following questions, and remember your answers as you watch the play.
1. Draw a picture of what you think might happen when Malvolio finds the letter.
2. I think that when Malvolio finds the letter, he will:___________________________________________
________________________________________________________________________________________.
I am making this prediction because:_______________________________________________________.
3. If I heard Malvolio making fun of Feste, I would:____________________________________________
________________________________________________________________________________________.
I would do/ say this because:______________________________________________________________.
4. If Feste told me that she was planning to play a trick on Malvolio, I would tell her:______________
________________________________________________________________________________________.
I would say this because:__________________________________________________________________.
9
Introductory Mini-Lesson Plan
Secondary Students
Rationale: This is a mini-lesson that you can use with your students to prepare them
to view and discuss Colorado Shakespeare Festival’s touring production of Twelfth
Night. This lesson will provide your students will basic information about the plot of
the play, introduce them to some of the key ideas of this production, and prepare
them to take part in a bullying workshop with one of CSF’s actors after the show.
Objective of the lesson: Students will be able to discuss and defend their opinions
about certain key ideas related to Twelfth Night.
Standards Specifically Addressed:
CCSS.ELA-LITERACY.SL.6-8.1: Engage effectively in a range of collaborative
discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade
6-8 topics, texts, and issues, building on others' ideas and expressing their own
clearly.
CCSS.ELA-LITERACY.SL.9-12.1: Initiate and participate effectively in a range of
collaborative discussions (one-on-one, in groups, and teacher-led) with diverse
partners on grades 9-12 topics, texts, and issues, building on others' ideas and
expressing their own clearly and persuasively.
Learning Experience Sequence:
Introduction: Use any relevant information from the study guide to introduce some of
the plot points and themes of Twelfth Night to your students. If you wish to use it, we
have composed a Prezi with a basic summary of the plot and some of the key ideas
we will explore in our production; that can be found at: https://prezi.com/
cclcqrklfeqp/csf-twelfth-night-tour-intro/.
Anticipation Guide: Either put students in a small group of about 3-4 people or allow
them to form their own groups. Hand out the following anticipation guide, which asks
students to defend their opinion about certain key ideas related to Twelfth Night.
Explain to students that they should fully discuss each statement before writing
down their answer. Remind them that it is okay if their answers don’t match the
others in their group. After each group has had enough time to discuss and complete
their work, ask students to remember their answers as they watch and discuss the
play.
10
NAME: _____________________________________________________
Statement
We all hide important parts
of ourselves from other
people.
If someone mistreats you,
you should be allowed to
seek revenge.
Love makes us vulnerable/
weak.
Practical jokes are a type of
bullying.
Changing our appearance
changes the way people
treat us.
People usually need
to act cruelly or
aggressively to raise
their status,
popularity, or power.
Violent words or
actions always lead
to more violence.
It is possible to fall
in love at first sight.
The biggest source
of conflict is
misunderstanding or
miscommunication.
11
Agree Disagree Explain your answer in a full sentence.
Additional Activities
for the classroom
1. SCREEN TO STAGE: Watch the 1996 film version of Twelfth Night (directed by
Trevor Nunn) in class. Discuss the overall tone, and the interpretation of the
characters. Then, watch the film She’s the Man (starring Amanda Bynes) and discuss
the differences. What changed in the adaptation? How else might one adapt Twelfth
Night to a contemporary setting? Ask students to write a one-page synopsis of their
own adaptation.
2. WRITE A SEQUEL: Imagine what happens to Malvolio after the end of Twelfth
Night. Write a short story about where Malvolio goes after his famous “I”ll be
revenged on the whole pack of you” moment.
3. STATUS GAMES: Write numbers 1-20 on index cards, and give a card to each
student (create as many cards as number of students in the class…if you have 30
students, create 30 index cards, each with a different number). Ask each student to
place the notecard (without looking) on his/her forehead, so that others can see the
number. The students must then interact, based on the numbers they see—the
highest number is the highest status, and #1 is the lowest status. Give the students
a scenario (a tea party, a subway station, a karaoke party) in which to improvise the
scene. After the exercise, ask the students to line up (without talking) from lowest to
highest. Then discuss the following questions:
a. How did you figure out your number in the improvisation? Were you
correct?
b. What did it feel like to be unaware of your number?
c. How did the low numbers feel in this exercise? How did the high
numbers feel?
4. FRIENDSHIP: We see several examples of relationships in Twelfth Night. Sir Toby is
friends with Andrew because he has lots of money. Olivia likes being around Malvolio
because he is “sad and civil” and she finds that appropriate for her time of mourning.
Are these good reasons to have friends? Why or why not? Think about your own
friendships, and why you are friends with certain people. Create a list of all the best
reasons to be friends with someone. Then, create a list of bad reasons to be friends
with someone. Compare lists with the class.
5. BULLYING RULES: Create a list of bullying rules (using the reasons below to start):
• We will not bully other students
• We will try to help students who are bullied
• We will make it a point to include ALL students who are sometimes left out.
• When we know somebody is being bullied, we will tell a teacher, parent, or adult
we trust. Telling isn’t tattling when we are trying to help someone.
COME UP WITH SOME RULES OF YOUR OWN!
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Pre-show discussion questions
1. Based on reading the play, what is
your impression of Malvolio? Does he
remind you of anyone in your life?
2. This play has been described as
“melancholy” or “bittersweet.” What
lines or moments in the play support
that interpretation? Would you call it a
comedy?
3. This is one of Shakespeare’s most
musical plays; how do the songs in
the play serve the story? Are they
simply entertainment, or do they
forward the plot?
Post-show discussion questions
1. Discuss which actors were doubled as
which roles (Orsino also plays
Malvolio, for example). Do you see any
meaning behind the double-casting?
2. Which moments in the full-length play
were omitted for the 50-minute
production? Did you notice any
characters missing? If you were to
adapt this play, which moments would
you cut? Which would you be sure to
keep?
3. How does Twelfth Night resonate with
a contemporary audience in ways that
it might not have in 1601? How is our
time different from Elizabethan
England, and how does that impact an
audience’s experience?
4. Who is at fault for Malvolio’s
victimization in the play? Which
character could have intervened to
prevent his mistreatment? How would
that impact the comedy in the story?
5. We combined the characters of Feste
and Maria—how did that change the
story? Why do you think we made that
change?
Discussion
Questions
And what about the end?
What do you think about Malvolio’s final
line of the play? What do you think will
happen next with Malvolio? When the
other characters say they will “pursue
him, and entreat him to a peace,” what
do you think that conversation looks
like? What would you say to Malvolio?
Do you have other thoughts or questions about
Twelfth Night?
Please share them with us!
E-mail your thoughts to [email protected] and we’ll do our best to respond
quickly.
We love hearing from you!
-the Colorado Shakespeare Festival Education Team
13
Contemporary Relevance
An Overview of Bullying
A student is bullied or victimized when he or she is
exposed, repeatedly and over time, to negative actions
on the part of one or more other students.
Bullying is characterized by three criteria:
1. It is aggressive behavior or intentional "harm-doing"
2. It is carried out repeatedly and over time
3. It occurs within an interpersonal relationship
characterized by an imbalance of power
Types of Bullying
Direct bullying is a relatively open attack on a victim. It
can be physical or verbal in nature. • Physical attacks: hitting, kicking, pushing, choking
• Verbal attacks or harassment: name calling,
threatening, taunting, malicious teasing, rumor
spreading, slandering
• Indirect bullying is more subtle and may be more
difficult to detect: Social isolation, intentional
exclusion, making faces, obscene gestures,
manipulating friendship relationships
Where Bullying Occurs
Bullying takes place in the classroom, on the playground,
in hallways, in gyms, in locker rooms, in bathrooms, and
online. Bullying is two to three times more likely to occur
at school as on the way to and from school.
Why Should We Attempt to Prevent/Reduce Bullying?
Short-term effects on the victims:
• Painful and humiliating experiences can cause
young victims to be unhappy, distressed, and
confused.
• Victims lose self-esteem and become anxious and
insecure.
• Physical injury or threats of physical injury may
affect concentration and learning and result in a
refusal to attend school.
• Victims may feel stupid, ashamed, and
unattractive, and may start to view themselves as
failures.
• Victims may develop psychosomatic symptoms
such as stomach and headaches.
• Constant devaluation of themselves may lead to
depression and suicide.
Long-term effects on the victims:
• Former victims tend to be more depressed and
have poorer self-esteem than their non-victimized
peers.
Long-term effects on bullies:
• Students (particularly boys) who bully are more
likely to engage in other antisocial/delinquent
behavior (e.g., vandalism, shoplifting, truancy, and
drug use) into adulthood.
• Bullies are four times as likely as non-bullies to be
convicted of crimes by age 24.
• Physical bullying is a moderate risk factor for
serious violence at ages 15-25.
Effects on school social climate:
• Students tend to feel less safe and are less
satisfied with school life in schools where bully/
victim problems occur.
• In schools where bully/victim problems are
ignored, students may start to regard bullying
behavior as acceptable. This may result in more
bullying behavior as well as other, possibly more
severe, problems. Four basic principles for prevention/
intervention in bully/victim problems
Foster awareness and the warm, positive
involvement of adults.
2. Set and stick to firm limits as to what behavior is
unacceptable.
3. Consistently apply non-hostile, nonphysical
negative consequences for rule violation and
unacceptable behavior.
4. Encourage adults to act as authorities and
positive role models in students’ academic
learning and social relationships in school.
1.
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Cyber Bullying
Connections to Twelfth Night In the play, characters spread false information through technology. In the internet
age, rumors can spread very quickly, and cyber bullying has become a significant
problem. Read below to learn more about cyber bullying, and how to reduce it.
What is Cyber Bullying?
• Cyber bullying is using the internet, cell phones,
video game systems, online social networks or
other technology to send or post text or images
intended to hurt or embarrass another person.
• Cyber bullying can be an extension of bullying that
children already receive at school, and cyber
bullying can be even more emotionally destructive.
• Since cyber bullying can occur anywhere and at
any time, kids who are cyber bullied often have no
safe retreat from the bully, even while at home.
• Cyber bullying can occur 24 hours a day, 7 days a
week.
• Many teens believe that their peers cyber bully
because they think that it’s a joke, not realizing the
overwhelmingly negative impact that it might have
on the victim.
• Cyber bullying can escalate into actual violence if
it is not properly handled.
Things that parents can do to help decrease the
possibility of cyber bullying:
• Learn what kids/teens are doing online and keep
track of their online behavior
• Tell kids/teens not to give out their personal
information online
• Keep computers in a highly trafficked room of the
house where online activities are difficult to hide
• Teach kids/teens about cyber bullying and let
them know that engaging in cyber bullying is
unacceptable
Parents and teachers can talk to children to combat
cyber bullying:
• Tell kids/teens not to respond to the cyber bullies
• Block or delete the cyber bully’s messages
without reading them
• Report bullying incidents to Internet Service
Providers (ISP’s) and website moderators
• Keep records of bullying incidents, including
Cyber Bullying Facts:
printouts
• If cyber bullying involves threats or harassment,
http://cyberbullying.us/cyberbullying-research-2013-update/
• On average about 1 out of every 4 teens (20%)
call your local police
• Over 70% of teens said that being able to block
has experienced cyber bullying, and about 1 out
of every 6 teens (about 15%) has done it to others.
cyber bullies was the most effective method of
• Traditional bullying is still more common than
prevention
• Encourage your school to be proactive in enacting
cyber bullying.
• Traditional bullying and cyber bullying are closely
cyber bullying policies
• It is important to report cyber bullying. If you or a
related: those who are bullied at school are bullied
online and those who bully at school bully online.
friend is cyber bullied, tell a parent, teacher or
• Cyber bullying is related to low self-esteem,
authority figure.
suicidal ideation, anger, frustration, and a variety
of other emotional and psychological problems.
How bystanders can intervene in cyber bullying:
• Cyber bullying is related to other issues in the ‘real
• Speak up! Put a stop to unkind behavior online by
world’ including school problems, anti-social
telling those involved that you don’t appreciate it.
behavior, substance abuse, and delinquency.
Ask that they take down inappropriate posts. Once
• Adolescent girls are just as likely, if not more likely
one person speaks up online, others will often rally
than boys to experience cyber bullying (as a victim
together.
• Don’t give the bully an audience. You should
and offender). never forward, post, or share negative messages.
What Cyber Bullying Includes:
This choice protects both the victim’s and your
• Provoking text or email messages
own digital footprint.
• Insulting or demeaning messages posted to online
• Support the person being bullied. You can be a
social networks such as Facebook
friend to the victim, send supportive messages
• Creating websites that make harassing comments
online, and encourage the victim to talk to a
about classmates
trusted adult.
• Sending inappropriate images to other students
• Report the bullying to the site on which it is
via computer or phone
occurring.
• Bullying through email, chat rooms or on a website
15
TAKE ACTION
What if you are being bullied?
• Tell your parents, a
teacher, a trusted
counselor, or principal.
Telling is not tattling.
• Do not retaliate or get
angry.
• Respond evenly and firmly
or else say nothing and
walk away. A bully likes to
feel powerful and see that
he or she has upset you.
False beliefs about bullying
“Being bullied builds character”
“Bullying is part of growing up”
“Kids will be kids.” Or “Boys will be boys.”
“Sticks and stones may break your bones, but names can never
hurt you.”
“What did you do to him to make him treat you that way?”
“You just have to toughen up”
“Hit him back. He won’t bother you again.”
“I was bullied (or a bully) in school and I turned out fine.”
“No kids are bullied in this school”
“Only children who are different get bullied”
“Only children in large classes get bullied”
Tips from the Center for the Study and Prevention of Violence
How to prevent being bullied
• Develop friendships with other
children. A bully is more likely
to leave you alone if you are
with your friends. This is
especially true if you stick up
for each other.
• Develop interests in social and
physical activities. This will
help you develop friendships
with other people who share
your interests.
• Act confident. Hold your head
up, stand up straight, make
eye contact, and walk
confidently. A bully will be less
likely to single you out if you
project self-confidence.
How to Avoid Bullying Situations
• Sit near the bus driver on the
school bus.
• Take a different route to and
from school.
• Leave a little earlier or later to
avoid confrontation with a
bully.
• Do not bring expensive items
to school or lots of money to
school.
• Take different routes through
the hallways or walk with a
teacher to your classes.
• Avoid unsupervised areas of
the school and situations
where you are isolated from
your teachers and classmates.
• Make sure you are not alone in
the locker room or bathroom.
How to help a victim of bullying
• Refuse to join in if the bully
tries to get you to taunt and
torment someone.
• Get a teacher, parent, or other
responsible adult to come
help. This isn’t tattling. You are
saying that you don’t think
bullying is acceptable and do
not want anyone to get hurt.
• Try to get the child that is
being bullied to tell his/her
parents or a trusted teacher.
Tell the victim that you will go
with them.
• Tell a trusted adult yourself if
the victim is unwilling to report
the bullying. Do not let the
bully know so that he or she
does not become aggressive
toward you.
School Climate Surveys
One of the most important components of a safe school is a climate where youth feel secure and supported
in their learning environment. The Center for the Study and Prevention of Violence has developed online
student, staff, and parent school climate surveys that are free to any Colorado school. These assessment
tools are anonymous and available free online, through a secure website. Using core questions on school
climate, bullying, violence, alcohol, tobacco and drug use and protective factors, schools can gain a better
understanding of their specific violence prevention and safety needs and develop a strategic plan to meet
those needs. For more information, contact [email protected]
Why Should Our School Take This Survey?
If you are committed to reducing bullying in your school, it is important to know your school’s
strengths and weaknesses. Taking this survey will ultimately save you effort and money in the long
run. It will help you identify the best programs and strategies to target your school’s needs. We
encourage all participants in the Shakespeare & Violence Prevention program to take the schoolwide survey, in order to gain a better understanding of your school climate.
16
If you are a victim of
bullying, or if you are a
bystander, Safe2Tell is a
resource you should
know about.
Safe2Tell Mission:
To ensure that every Colorado student, parent,
teacher and community member has access to
a safe and anonymous way to report any
concerns to their safety or the safety of others,
with a focus on early intervention and
prevention through awareness and education.
Safe2Tell is an anonymous tip-line for reporting bullying and other inappropriate behavior.
You can use your voice to make the life of someone else better. Sometimes if you don’t
speak up for someone, no one else will. You can make a difference. When you make a call
or go online to report bullying, no one will ever be able to know that you are giving the tip.
No names are asked, and phone calls to Safe2Tell cannot be traced. It is completely
anonymous.
What should you
report to Safe2Tell?
Bullying
Planned Fights
Fire-Starting
Dating Violence and Stalking
Threats
Drug or alcohol abuse
Safe2Tell also
handles:
Animal cruelty
Assaults
Child abuse
Cyber bullying/Sexting
Ditching class
Explosives/Weapons
Gang Activity
Planned Parties with
underage drug/alcohol use
Stealing
Suicide threats
Vandalism
Thefts
Cutting
Neglect, Depression & more
17
Why report it to
Safe2Tell?
Students know long
before adults what is
going on in a school.
Students have the
power to let someone
know in a way that
keeps them safe.
How to report:
Phone: (877) 542-7233
This phone line is
staffed 24/7
Online:
www.safe2tell.org
You can submit a
message through the
website, and upload
photos if you think it will
help solve the issue.
Don’t forget—it’s
anonymous!
Every tip gets
attention. The adults
at Safe2Tell will
LISTEN to your tip,
and will follow up
with school
administrators and
law enforcement, if
necessary.
r
e
m
m
Su mps
Ca
Shake up their summer this year.
Camp Shakespeare (ages 10-18)
Shakespeare’s Sprites (ages 6-9)
Parking and Transportation
Services is happy
to support the efforts of
The Colorado Shakespeare
Festival’s Shakespeare
& Violence
Prevention Program
www.coloradoshakes.org/education/summer-camps · (303) 492-1973
Curious about theatre?
The Colorado Shakespeare
Festival offers theatre classes,
workshops, and camps to kids
and teens. For details, call (303) 492-1973
or visit www.coloradoshakes.org/
education/csf-school-theatre
This program is made possible with generous funding from the CU Outreach Committee, the Boulder
Arts Commission, the CU College of Arts and Sciences, and the CU School of the Arts.
For more information:
Center for the Study and Prevention of Violence
www.colorado.edu/cspv (303) 492-1032
Colorado Shakespeare Festival in the Schools
www.coloradoshakes.org/education/csf-schools
18
To book a tour, or to send us feedback about your experience,
email [email protected] or call (303) 492-1973
© 2015