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Presented by:
In partnership with:
This educational resource was created for Shakespeare WA, as part of
the 2012 ―Shakespeare in the Park‖ season of The Comedy of Errors
and The Tempest. This workbook provides various teaching materials to
support senior secondary education programming.
This is a free resource which has been created with the sole purpose of
providing accessible materials and ideas to increase (and encourage)
the value and importance of Shakespearean education. Material
collated within this package has been sourced from online websites.
ALL information and worksheets copied have been acknowledged and
duly referenced. At the time of going to print, the websites mentioned
were accessible and accurate. The material has been collated for
practical usage within the classroom environment, not for financial gain.
We would sincerely appreciate any comments, feedback or suggestions
for improving this document. Please contact us if you wish to use any of
the material located in the package <[email protected]>
This material was collated and published by Shakespeare WA LTD.
38 St Georges Terrace, Perth, Western Australia, 6000.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Acknowledgements
Artistic Director
Paige Newmark
General Manager
Katie Kent
Education Liaison
Elisa Dumitru
Editors
Andrew Kocsis
Tiffany Wendt
With additional assistance from
Jenny de Reuck
Cover Design
Karen Smart
Illustrations
Karen Smart
Allison Bell
Thanks to
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Introduction to Three Fold Shakespeare
When approaching this workbook, each ‗scene‘ provides a three ‗fold‘ (or
three step) approach to completing the student objectives. In each ‗scene‘,
three different descriptions are used to provide a bridge to the next ‗scene‘.
The eight individual ‗scenes‘ have been scaffolded towards a final
performance piece. ‗Folds‘ focus predominantly upon the following concepts...
View
Play
Discuss
Research
Read
Write
Perform
– Suggest websites or videos of interest to engage and
focus the learning.
– Provide improvisational tasks or theatre games to
explore subject themes.
– Encourage class discussion as a means to examine the
text, characters or other areas of interest.
– Create opportunities for investigation into the historical
aspects of the text and themes
– Allow the reading and comprehension of textual
examples of the subject and its influences
– Offer scope for creative writing and drawing as a means
of communicating personal ideas
– Provide an arena for staging (in front of the class) a
progression or final assessment piece.
The individual ‗Scenes‘ follow the Department of Education‘s Scope and
Sequence descriptors. This enables the workbook to support the principles of
an effective Drama program and the assessment requirements of each
course. Please note there are direct references to indicate the source of the
various student worksheets. Some worksheets and activities have been
altered to fit the requirement of this package and to link more appropriately
with the scope of the program.
The activities and worksheets included in this package have been chosen to
support the differentiation of learning and the development of individual
learning styles in order to make the program more accessible and inclusive.
Warm up and vocal exercises have not been included in this package as
these aspects are a reflection of the style and preference of the individual
teacher. Please feel free to make use of the resources provided in a manner
which best suits the requirements of your students and your personal teaching
approach.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Locate YouTube clips of comedy in
The Comedy of Errors, then discuss the style shown...
View
Propeller Theatre Company
http://www.youtube.com/watch?v=ha6-15TVQOM
Southwest Shakespeare Company's production
http://www.youtube.com/watch?v=P6imsiLMyOU
Royal Shakespeare Company's
http://www.youtube.com/watch?NR=1&v=-hie-ks6gD8
Identify the comedic elements in The Comedy of Errors,
and compare them to modern day TV Shows...
See page 6
Write
Terms sourced from http://artsalive.ca/pdf/eth/activities/comedy_of_errors_guide.pdf
Use the Shakespearean insult lines to create a comedic
scene in a modern setting...
Perform
Dissembling harlot,
thou art false
. in all!
The Comedy of Errors
(Act 4, Scene 4)
In small groups, improvise a scene
in a Courthouse, a Department Store
or a traditionally “unfunny” location.
Then occasionally use “insult” lines
to change the space into a comedic scene
See pages 7 and 8
Sourced from http://www.pangloss.com/seidel/shake_rule.html
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Sources of Humour in The Comedy of Errors
Example in the Play
Example in Popular
Culture
The Situation
Plot:
Character:
Mistaken Identity:
Misunderstanding:
Timing
Coincidence
Physical Humour
Language (Puns,
Images, Bawdy,
Insults, Jokes, Wit
Surprise
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Shakespearean Insults
Thou artless base-court apple-john
Thou bawdy bat-fowling baggage
Thou beslubbering beef-witted barnacle
Thou bootless beetle-headed bladder
Thou churlish boil-brained boar-pig
Thou cockered clapper-clawed bugbear
Thou clouted clay-brained bum-bailey
Thou craven common-kissing canker-blossom
Thou currish crook-pated clack-dish
Thou dankish dismal-dreaming clotpole
Thou dissembling dizzy-eyed coxcomb
Thou droning doghearted codpiece
Thou errant dread-bolted death-token
Thou fawning earth-vexing dewberry
Thou fobbing elf-skinned flap-dragon
Thou froward fat-kidneyed flax-wench
Thou frothy fen-sucked flirt-gill
Thou gleeking flap-mouthed foot-licker
Thou goatish fly-bitten fustilarian
Thou gorbellied folly-fallen giglet
Thou impertinent fool-born gudgeon
Thou infectious full-gorged haggard
Thou jarring guts-griping harpy
Thou loggerheaded half-faced hedge-pig
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Thou lumpish hasty-witted horn-beast
Thou mammering hedge-born hugger-mugger
Thou mangled hell-hated joithead
Thou mewling idle-headed lewdster
Thou paunchy ill-breeding lout
Thou pribbling ill-nurtured maggot-pie
Thou puking knotty-pated malt-worm
Thou puny milk-livered mammet
Thou qualling motley-minded measle
Thou rank onion-eyed minnow
Thou reeky plume-plucked miscreant
Thou roguish pottle-deep moldwarp
Thou ruttish pox-marked mumble-news
Thou saucy reeling-ripe nut-hook
Thou spleeny rough-hewn pigeon-egg
Thou spongy rude-growing pignut
Thou surly rump-fed puttock
Thou tottering shard-borne pumpion
Thou unmuzzled sheep-biting ratsbane
Thou vain spur-galled scut
Thou venomed swag-bellied skainsmate
Thou villainous tardy-gaited strumpet
Thou warped tickle-brained varlot
Thou wayward toad-spotted vassal
Thou weedy unchin-snouted whey-face
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Read
Read through a review of The Comedy of Errors.
Highlight points where the reviewer employs
description and comparison to discuss characters and
popular culture...
See pages 10 and 11
Write a personal response for The Comedy of Errors
production identifying your opinions...
Write
Try to include aspects like
the effects of the play for you
and whether you found it
believable or interesting, and why
See pages 12 and 13
Devised from http://www.squidoo.com/TheatreReviews
Play
Conduct ‘Hot Seating’ interviews with characters from
The Comedy of Errors, with one individual taking on the
role of the interviewer - asking characters about their
hobbies and interests...
.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
The Comedy of Errors Review
18 March 2011
Propeller, the all-male British theater troupe that routinely turns Shakespeare into a
donnybrook, has never hesitated to hit below the belt. Or above it, or behind it, or
right in the buckle. But it has surely never landed as many blows as it does in its
relentlessly punch-drunk production of ―The Comedy of Errors,‖ which runs through
March 27 at the Harvey Theater of the Brooklyn Academy of Music..
Edward Hall‘s eye-popping staging of this early Shakespeare comedy works its way
through a wide vocabulary of martial arts moves — boxing jabs, swift kicks to the
rear, karate chops, wrestling locks — and weapons that include nightsticks,
nunchaku sticks, whips, dinner plates and cans of mace. Yet despite such variety, an
air of sameness soon pervades the ancient town of Ephesus, as if one were watching
an endless loop of a particularly frenzied episode of ―The Itchy and Scratchy Show‖
from ―The Simpsons.‖ With a lively mariachi band setting the rhythms for this
production, it‘s not only the beat that goes on and on; the beatings do too.
In the past Propeller has used its no-holds-barred approach to surprisingly unsettling
and illuminating effect. Their twinned interpretations of ―The Taming of the Shrew‖
and ―Twelfth Night‖ (seen at the Brooklyn Academy in 2007) brought out a cruelty in
those works that most directors choose to finesse and that made us think twice about
what we reflexively laugh at.
But if ever a play didn‘t cry out for this company‘s brand of man-handling, it‘s ―The
Comedy of Errors.‖ Scaling up the brutality in what is Shakespeare‘s most purely
farcical work is like putting Charlie Sheen on a heavy diet of steroids. There‘s more
than enough testosterone to begin with. And since a Keystone Kops style of mayhem
has been the default setting for ―Errors‖ for many decades, the more startling
approach would have been to turn down the violence and look for the poetry. The
slapstick can almost automatically take care of itself.
As it is, this tale of the chaos and confusion inspired by the convergence of two longseparated sets of identical twins has been given inspired touches of theatrical
ingenuity, though they are often overwhelmed by the nonstop punching and shouting.
Mr. Hall and the designer Michael Pavelka have reconceived Ephesus as a sort of
Tijuana-type border town, a place where guys go to get drunk, get lucky and get lost.
When Antipholus of Syracuse (Dugald Bruce-Lockhart) arrives here in search of his
long-lost brother, accompanied by his servant, Dromio (Richard Frame), he finds that
festive, presumably potent drinks keep materializing out of nowhere. So does a tribe
of musicians wearing sombreros, who provide a stream of mood-reflecting melody.
These strolling troubadours create the senses-blurring element through which all the
characters swim, and they‘re the best thing in the show.
Traditionally the biggest problem in staging ―Errors‖ is its demand for two pairs of
actors who can pass for mirror images of each other. Mr. Hall‘s production solves this
quite nicely. He introduces the four twins in the play‘s opening scene by having them
materialize as a kind of illuminated Exhibit A, when the travel-weary Aegeon (John
Dougall), tells the story of how he lost his sons.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Mr. Bruce-Lockhart and Mr. Frame, as the visiting Antipholus and Dromio, and Sam
Swainsbury and Jon Trenchard as the home-town Ephesian characters of the same
names, have been attired and coiffed to such distinctively lurid effect that you don‘t
really look beyond the surface. Each set of twins is dressed identically (as this
improbable story demands), and that first superficial double image sticks with you.
Antipholus of Syracuse is a brooding bachelor, given to reflections on identity;
Antipholus of Ephesus is a hedonistic married man, given to buying bling and
consorting with prostitutes. But they share a tendency to beat up their manservants
when they feel they are being disrespected or misinformed. Both Dromios complain
often of being treated as whip-scarred beasts of burden.
In this version, though, it isn‘t only the Dromios who come in for hard treatment.
Physical abuse appears to be the lingua franca of Ephesus. Antipholus of Ephesus‘s
jealous wife, Adriana (Robert Hands), keeps S&M toys in the bedroom; Luciana
(David Newman) her virgin sister, has evidently studied jiujitsu, and the head of the
town priory, the abbess Aemelia (Chris Myles) dresses like a dominatrix and
brandishes a riding crop.
A policeman (Dominic Tighe) has his own nightstick pushed up his rectum, while
another (a conjurer, played by Tony Bell, and tediously embodied here as a Texasstyle evangelist) suffers having a lighted sparkler inserted in the same orifice. And of
course instances of old-fashioned fisticuffs are legion. The best parts of these acts of
violence are the ways in which they are aurally annotated by different musical
sounds. (The kazoo and the xylophone are particularly well deployed.)
The cast members sustain a high level of vigor, though they let their costumes do
most of their character definition. Mr. Bruce-Lockhart, a loutish Petruchio in
Propeller‘s ―Shrew,‖ makes an impression by showing his (relatively) sensitive side
as the addled Antipholus of Syracuse. And he and Mr. Frame, as his Dromio, are
very funny executing what is perhaps the ultimate ―How fat is she?‖ routine.
Since nearly all the characters exist in a state of high exasperation, they tend to
speak fast and frantically. This means that some of what they say will be
incomprehensible to theatergoers unfamiliar with the text. What with problems of
inaudibility afflicting the Broadway revival of Tom Stoppard‘s ―Arcadia,‖ imported
British-born productions would seem to be in surprising need of elocution lessons.
Ben Brantley
Source: http://theater.nytimes.com/2011/03/19/theater/reviews/propellers-comedy-of-errorsat-brooklyn-academy-review.html
What is your opinion of this review? Why?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Reviewing a production
A good theatre review does not merely summarize the plot of
The Comedy of Errors.
It provides the reader with any necessary—or interesting—background for
understanding the play and its production: information about the playwright,
the historical or cultural context of the play, previous important productions,
media hype surrounding the play, and so on. It describes important details of
the production—such as acting, direction and staging—and how these factors
contribute to the play's total impact.
Personal Response
Reviewers are audience members first and critics second. Your first reactions
will be personal responses to questions such as these:
Is the play interesting?
Does it capture your interest and hold
it?
What most interests you—-the plot?
characters? theme? dialogue?
production (sets, props, lighting,
sound, costumes, and makeup)?
Is the play convincing?
Do you accept what you see?
Even if the play is not realistic, are you
willing to make what the critic Samuel
Taylor Coleridge called a "willing
suspension of disbelief"?
That is, you know you are watching a
play, not reality, but you agree to be
convinced by what you see.
Is the play moving?
Do you feel something or respond to
something?
Do you laugh? cry? sympathize with
the characters or their situation? feel
the suspense or mystery?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Is the play stimulating?
Does it give you something to think
about?
Does it give you new ideas? make a
point you hadn't considered? give a
new insight into some part of life?
The Play’s Effect
Asking yourself the following questions is a way of extending your analysis of
the play:
What does this performance do for
me?
Does it tell me something about being
a human being, about people's
motivations, behavior, fears, desires,
relationships?
What does this performance do for the
community?
Does it enable me to recognize social
injustice or political corruption, or to
encourage me to think about how to
solve such problems?
What does this performance do for the
theatre?
Does the performance provide
playwrights and directors with new
ways to write or stage drama?
What does this performance do simply
as entertainment?
Does the experience satisfy those in
the audience basically looking for
diversion?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Re-create a scene from The Comedy of Errors using text
speak. Choose a piece of dialogue, or use the one
attached to create a whole conversation...
Write
I WS ONLY 2 GT U FRM TH
MRKT AND BRNG U 2 YR
HOUS FR LNCH
The Comedy of Errors
(Act 1, Scene 2)
See pages 15 and 16
Based on http://www.readwritethink.org/files/resources/
lesson_images/lesson857/interp-projects.pdf
Explore the comedic aspects of The Comedy of Errors,
comparing to different comedic plays. How are they
different and what is similar?...
Discuss
See pages 17 and 18
Obtained from
http://shakespeare.about.com/od/thecomedies/a/Shakespeare_Comedy.htm
Perform
Perform the text message ‘conversations’ to the class.
Focus on the isolating
aspects of ‘texting’,
while remaining on
stage with your
partner. The aim of
these scenes is the
creation of a
presentational
performance...
.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
The Comedy of Errors – Act 1 Scene 2
ANTIPHOLUS OF SYRACUSE
Come, Dromio, come, these jests are out of season;
Reserve them till a merrier hour than this.
Where is the gold I gave in charge to thee?
DROMIO OF EPHESUS
To me, sir? why, you gave no gold to me.
ANTIPHOLUS OF SYRACUSE
Come on, sir knave, have done your foolishness,
And tell me how thou hast disposed thy charge.
DROMIO OF EPHESUS
My charge was but to fetch you from the mart
Home to your house, the Phoenix, sir, to dinner:
My mistress and her sister stays for you.
ANTIPHOLUS OF SYRACUSE
In what safe place you have bestow'd my money,
Or I shall break that merry sconce of yours
That stands on tricks when I am undisposed:
Where is the thousand marks thou hadst of me?
DROMIO OF EPHESUS
I have some marks of yours upon my pate,
Some of my mistress' marks upon my shoulders,
But not a thousand marks between you both.
If I should pay your worship those again,
Perchance you will not bear them patiently.
ANTIPHOLUS OF SYRACUSE
Thy mistress' marks? what mistress, slave, hast thou?
DROMIO OF EPHESUS
Your worship's wife, my mistress at the Phoenix;
She that doth fast till you come home to dinner,
And prays that you will hie you home to dinner.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Instant Messages or Text Messages
Use modern-day speech (or text speech) to create a conversation between
two characters from the play The Comedy of Errors
Sender:
Message:
Sender:
Message:
Sender:
Message:
Sender:
Message:
Sender:
Message:
Sender:
Message:
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Common Features of a Shakespeare Comedy
What makes a Shakespeare comedy identifiable if the genre is not
distinct from the Shakespearean tragedies and histories? This is an
ongoing area of debate, but many believe that the comedies share
certain characteristics, as described below:

Comedy through language: Shakespeare communicated his
comedy through language and his comedy plays are peppered
with clever word play, metaphors and insults.

Love: The theme of love is prevalent in every Shakespeare
comedy. Often, we are presented with sets of lovers who, through
the course of the play, overcome the obstacles in their
relationship and unite.

Complex plots: The plotline of a Shakespeare comedy contains
more twists and turns than his tragedies and histories. Although
the plots are convoluted, they do follow similar patterns. For
example, the climax of the play always occurs in the third act and
the final scene has a celebratory feel when the lovers finally
declare their love for each other.

Mistaken identities: The plot is often driven by mistaken identity.
Sometimes this is an intentional part of a villain’s plot, as in Much
Ado About Nothing when Don John tricks Claudio into believing
that his fiancé has been unfaithful through mistaken identity.
Characters also play scenes in disguise and it is not uncommon for
female characters to disguise themselves as male characters.
Shakespeare’s 17 comedies are the most difficult
to classify because they overlap in style with
other genres. Critics often describe some plays as
tragi-comedies because they mix equal measures
of tragedy and comedy. For example, Much Ado
About Nothing starts as a Shakespeare comedy,
but takes on the characteristics of a tragedy
when Hero is disgraced and fakes her own death.
At this point, the play has more in common with
Romeo and Juliet, one of Shakespeare’s key
tragedies.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Description of Comedic convention
Examples from Shakespeare‘s plays
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Discuss some of the statements regarding
Shakespeare’s comedies, and their relevance for a
modern audience...
Discuss
- Shakespeare’s comedies are not funny
- The Comedy of Errors is a farce
- There is very little reality to Shakespeare’s world
See page 20
Obtained from http://artsalive.ca/pdf/eth/activities/comedy_of_errors_guide.pdf
Play
Improvise the whole of The Comedy of Errors in under
five minutes. In small groups, one student narrates the
story while the remaining students perform the
scenes...
Like the game ‘Typewriter’, students may
improvise with or without dialogue, while
predominately being guided by the narrator.
The group could perform one of the statements from
‘Fold 1’ as a means to communicate a moral message
Improvise a ‘new’ Shakespearean scene for a comedy,
based on the established conventions of his comedies...
Perform
You could improvise a scene between...
-Two jesters meeting in a war
- Disguised twins fooling each other
- Two families lost in a supermarket
.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Purpose of Shakespeare’s Comedies
“Laughter is nothing else than sudden glory." - Thomas Hobbes
“One excellent test of the civilization of a country ...I ta´e to be the
flourishing of the Comic idea and Comedy.” - George Meredith
Comedy is, of course, intended to amuse us. Often it makes us think,
too. There are many genres of comedy. Some are Satire, Parody, Farce,
Black Comedy, Comedy of Manners, Slapstick, Romantic Comedy, Sitcoms, Stand-up Comedy.
Comedy is one of the original four genres of literature as defined by
Aristotle in his Poetics. Aristotle defines Literature, in general, as a
mimesis, or imitation of life. Comedy is the third genre of literature, the
farthest away from a true mimesis.
For Aristotle, all comedies begin with a person of low status unable to
achieve what he wants. By the end of the story or play that person has
won the prize he was seeking. Comedies often use the supernatural, and
magic. All comedies end happily.
Elizabethan Comedy
"Comedy", in Elizabethan times, had a very different meaning from
modern comedy. A Shakespearean comedy is one that has a happy
ending, usually involving marriage between the unmarried characters,
and a light tone and style. Patterns in the comedies include movement
to a "green world" (an innocent world), internal and external conflicts,
and a tension between order and serenity on the one hand, and frenzy
or chaos on the other.
What aspects of comedy can you locate in The Comedy of Errors?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
In small groups, present a short ‘dictionary’ description
of Shakespeare’s comedic conventions. One student
narrates, while the remaining students act it out...
Play
- Act out a shipwreck and separated lovers
- Define mistaken identity with examples
- Explain the comedic nature of the twins
See page 22
Obtained from http://artsalive.ca/pdf/eth/activities/comedy_of_errors_guide.pdf
Perform
In small groups, create five tableaus depicting either
the comedy and/or the ‘love’ of each Act. It should be
clear in each tableau which characters are being
represented...
Try focusing on the conventions
from ‘Fold 1’, as this will help to
communicate more clearly to an audience.
Explore the structure of The Comedy of Errors by
storyboarding your tableaus. Try to illustrate the
position and intent of each character represented...
Write
See page 23
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Conventions of Shakespearean Romantic Comedy
1. The main action is about love, about separation and re-unification.
There is a struggle of traditional rivals to overcome a difficulty, which is
often presented by young people. The lovers must overcome obstacles
before being united. The ending frequently has several couples getting
married, and an actual celebration, in dance, song, or feast.
2. Frequently, the play contains the improbable, the supernatural, or the
miraculous, with unbelievable coincidences, scenes of mistaken identity,
disregard for the social order, instant conversions, enchanted or foreign
settings, and supernatural beings (witches, fairies, gods and goddesses).
The happy ending may be brought about through supernatural or divine
intervention, or may involve improbable plot twists.
3. Shakespeare uses stock characters extensively in his early plays, and
occasionally in his later work. A clever servant often helps to bring the
ending about.
4. The themes involve important issues, such as personal identity, the
importance of love, the power of language, poetry and art; the conflict
between appearance and reality.
5. There is frequent word play, with wit, jokes and punning.
What examples can you locate from the text?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Storyboarding The Comedy of Errors
Draw a significant image from each
Act in the play.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Create a PowerPoint presentation (or use a similar
presentation program) to outline the entire play in ten
to fifteen modern images with text...
Play
As the presentation
is for modern audiences,
the images could be
downloaded or created in class
Based on http://www.readwritethink.org/files/resources/lesson
_images/lesson857/interp-projects.pdf
Discuss the importance of the text in association with
the images used in the PowerPoint presentation...
Discuss
View the ‘Visualizing the Dramatic Structure’ @
http://www.flickr.com/photos/peterpaulrubens/
sets/72157624627941584/with/4848600769/
See page 25
Can you use images alone,
or do you also need to ‘talk’
directly to your audience?
Rehearse
Return to the script from ‘Scene 3, Fold 1’, and begin to
rehearse your final performance piece. Work beyond
the expectation of the ‘traditional’ performance, while
still focusing on the comedy within it. Try it as a
presentational performance... how does it change?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Rehearse and improve your presentational piece. The
piece is based on your group’s interpretation of Act 1,
Scene 2 from The Comedy of Errors...
Rehearse
Reflect on the process of creating your performance.
Discuss the performative elements employed, and what
work is still required...
Write
Share this information with your
partner as it provides an opportunity
for significant improvements as part
of the rehearsal process.
See page 27
Discuss the requirements of the performance and the
technologies needed. These include costumes, props,
music, etc...
Discuss
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Reflecting on the process
Describe aspects of your performance that still require focus.
Performance
Elements
acting
blocking
diction
facial expression
gestures
movement
projection
vocal expression
Describe aspects of the performance that are prepared.
Performance
Elements
acting
blocking
diction
facial expression
gestures
movement
projection
vocal expression
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Create your own warm-up for the class. Design and
perform a short warm-up that gets everyone focused
and prepared for the performances...
Play
Perform
This ‘Scene’ is focused on the presentation of each
group’s performance. The finished piece requires a
strong sense and use of space, as well as minimal
employment of technologies to aid the performance...
Provide feedback on the other performances, using the
review terminology employed at the beginning of the
unit...
Write
This is not the means to be negative,
rather a way to critically respond
to the work and concepts of others
See page 28
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Performance Feedback
Write feedback on the other group‘s performances.
Group:
Group:
Group:
Group:
Group:
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Images
Royal Shakespeare Company's The Comedy of Errors
http://www.guardian.co.uk/stage/2009/may/20/review-comedy-of-errors
Bag&Baggage Production of The Comedy of Errors
http://www.oregonlive.com/performance/index.ssf/2009/01/theater_review_co
medy_of_error.html
Royal Shakespeare Company's The Comedy of Errors
http://www.curtainup.com/comedyoferrorsrsc.html
Commonwealth Shakespeare Company‘s The Comedy of Errors
http://thephoenix.com/boston/arts/88066-twin-peaks/
Royal Shakespeare Company's The Comedy of Errors
http://www.guardian.co.uk/stage/2010/apr/09/comedy-of-errors-review
The Indiana Festival Theatre‘s The Comedy of Errors
http://indianapublicmedia.org/arts/comedy-review/
Open Air Theatre‘s The Comedy of Errors
http://www.musicomh.com/theatre/lon_comedy-errors_0610.htm
St. Andrew‘s Catholic School‘s The Comedy of Errors
http://www.sacs.nsw.edu.au/academic/drama__1/drama
UVU Educational Resources
https://open.uvu.edu/login/index.php
‗Visualizing the Dramatic Structure‘ of The Comedy of Errors
http://www.flickr.com/photos/peterpaulrubens/sets/72157624627941584/with/
4848600769/
Kingsmen Shakespeare Company‘s of The comedy of Errors
http://www.fillmoregazette.com/arts-entertainment/shakespeare-festival-startscomedy
Thredbo Blues Concert‘s Comedy of Errors
http://www.ciau.com.au/snow/rrhist3.asp?rrid=122&mth=
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