Teach It! Your "Final" (June 5-10)

PRESENTATION DATES

GROUP 1 – JUNE 5/6                       GROUP 2 – JUNE 9/10

Two groups, both alike in ability, In fair E 202, where we lay our challenge...

OVERVIEW
Smithtown's final semester offering of Shakespeare is coming to a close. Since February we have explored multiple aspects of all things "Shakespeare." Historical, Investigative, Uses of Language, Hollywood's treatment,  poetry, plays -- all in an attempt to gain a deeper appreciation for the work. Now it is time for you to take what you've gleaned, and use it for the powers of good (and not evil).

SCENARIO
Your class is about to attend a live performance of Shakespeare's ___Othello or Much Ado About Nothing ___. It is your job to give us an exciting, knowledgeable preview of the work.

TASK
There will be two (2) groups
Each group will be responsible for teaching the other about a work of Shakespeare
Over the course of Two (2) days you will provide to each other a dynamic presentation

Each amazing effort will contain, at the bare minimum, the following:
- At least one (1) scholarly work to help explain the play
- At least one (1) aspect of "live performance" from the group
- At least one (1) piece of multi-media
- At least one (1) class activity - which will engage the group and get them on their feet

PROCEDURE
Groups will:
- get the play (from the Library)
- meet and read the play together (and independently) in class and out of class
- brainstorm the most engaging way(s) to present the 'essential information' needed in order for a group of 'regular folks' to grasp and enjoy a new work of Shakespeare
- divide tasks
- set deadlines
- hold each other accountable
- resolve conflict
- have fun
- communicate clearly the needs, wishes and wants (within the group and with the instructor)
- have fun
- rehearse the presentation so it rocks

Film Study: Looking for Richard

The BIG QUESTION in our continued investigation into one of the Essential Question of this course of study - will be, in part, determined by this film.

In the docu-drama-thingy - Looking for Richard - actor Al Pacino confronts the following issue: Can one make Shakespeare's work more accessible and less intimidating to the average person?

Pacino contends that Shakespeare is "about how we feel and how we think today." The star of The Godfather and Scarface, among others, seems to be saying that Shakespeare is our contemporary and his works hold truths and meanings that can influence, inspire and move us.

VIEWING ASSIGNMENT
Take notes during and after each viewing that comes back to the big question. This is not a yes or no proposition -- rather it is a HOW?
-How does Pacino make Shakespeare and his work more accessible and less intimidating to / for the average person. - Pay attention to all the elements of cinema (Camera, Editing, Casting, Music, Story, Pace, etc. ) and documentary (Interviews, Historical Evidence, etc.)

Film Study: Shakespeare in Love

Shakespeare in Love is a 1998 British romantic comedy-drama film directed by John Madden, written by Marc Norman and playwright Tom Stoppard. The film depicts a love affair involving playwright William Shakespeare (Joseph Fiennes) while he was writing the play Romeo and Juliet.

The story is fiction, though several of the characters are based on real people. In addition, many of the characters, lines, and plot devices are references to Shakespeare's plays.

Shakespeare in Love won seven Oscars, including Best Picture, Best Actress (Gwyneth Paltrow) and Best Supporting Actress (Judi Dench).

ESSENTIAL QUESTION - Is the film Shakespeare in Love worthy of "Shakespeare"?

5  May 2014 (Monday)

In Class: Draft – handwritten

Answer the following question –

Is the film Shakespeare in Love worthy of a ‘Shakespearean’ work/story?

-          Consider all of the story elements used within a typical Shakespeare play – plot, theme, character, a bit with a dog, etc.

-          Review the questions for each of the scenes if necessary

-          Although this is an opinion piece, please be specific in your responses – back up your thoughts with evidence from the film

HW

Type response – Standard MLA format / Due Tuesday May 6th

2 May 2014 (Friday)
Viewing / Discussion - 1:30 - END

HW
Questions in Study Guide for Scenes Viewed in Class

1 May 2014 (Thursday)
Viewing / Discussion - 1:10 - 1:30

HW
Questions in Study Guide for Scenes Viewed in Class

30 April 2014 (Wednesday)
Viewing / Discussion - 00:50 - 1:10

HW
Questions in Study Guide for Scenes Viewed in Class

29 April 2014 (Tuesday)
Viewing / Discussion - 00:25- 00:50

HW
Questions in Study Guide for Scenes Viewed in Class

28 April 2014 (Monday)

Viewing / Discussion - 00:00 - 00:25

HW

READ "Shakespeare's London"

 (Do Not Do Tasks/Assignments)

Shakespeare Background / Sonnets

The Sonnets come from Shakespeare's early years and were probably composed between 1592 and 1597.

It is reasonable then to suppose that the inspiration came from the time between when he left Stratford and popped up on the literary scene in London.

You will investigate the Sonnets - and be responsible for researching one sonnet and create / present an Illuminated Sonnet accompanied by a written reflection / response. [Project - Handout]


Tuesday April 22

VIEWING NOTES
(Ep 3. 00:00 - 29:00)

What did Shakespeare's cousin believe to be the role of poets?

What does the host maintain Shakespeare's belief of the role of poets to be?

What elements of Shakespeare's life has contributed to his development as a writer?



Continue Looking at the Role of Poets [Sonnets 20:00-29:00] - view Clip (00:00-29:00)


Monday April 21




VIEWING NOTES
(Ep 1. 00:00 - 22:00)
What was the political and religious climate of Elizabethan England?

What was the "split in English society" host Michael Wood refers to?

What elements in his early life may have contributed to his development as a writer later on for theatre?

HW
Read the 1st page of the Handout

HAMLET - "... the rest is silence..." / Final Discussion

10 April 2014

SUMMARY / GUEST LECTURE
Dr. Sparky Sweets -

ANALYSIS / GROUPS
Small Groups (1,2,3) -

• Read and Discuss assigned article
• Summarize Article
• Identify 2 Key Points / Ideas we need to know or should consider when Analyzing Hamlet

Triads (A - J) -

• Small Groups break into assigned Triads
• Each group member shares out findings of assigned article / discuss

Closing Thought
Dr. Sweets

Lesson 20 - "Good Night, Sweet Prince" - The Last Gasp

CONSIDER

The final scene of Hamlet brings so many threads together that it is often difficult to follow because each happens with such rapid action.

Viewing
Take notes on acting and movement

Discuss
1. Follow the poison. Who has it, where is it, who drinks it, and what are its effects?
2. How important is it for the actors to perfect the swordplay?
3. What is Claudius's reaction to Gertrude's death? On what lines does he show this reaction?
4. How important is Fortinbras? (Some directors leave him out completely.)
5. How important is Horatio? (How could a director show Horatio's importance?)

HW
Write down 3 questions about the play that haven't been answered for you. (They should go beyond the who, what, when, and where of the plot that can be answered by checking the text -- but should deal with the why of the play.)

Hamlet - ACT IV - "Presentation"

Hamlet ACT IV Presentation - 

Thursday April 3rd

TASK

As you read Act IV -- you are to focus on the character you are assigned (Gertrude, Claudius, Ophelia, or Laertes) and jot down your responses to the questions on the "Character Questions" handout.

You will meet with the other members of your group to prepare an 8-to-10 minute presentation on your character. This presentation is to be informative and insightful. You may use any format and materials (Lecture, Posters, Video, Interpretative Dance, Puppets, etc.) that appeals to your group as long as your presentation includes the information asked for in the questions. 

As we have already established, any conclusions you draw must be supported with textual references. 

Remember that the answers to the questions will provide you only with the 'raw data' for your presentation. Your job as a group is to assemble the data into an interesting and informative presentation.

GROUP 1 - GERTRUDE (Danielle A, Rawann, Jackie H, Em Kass, Timmy, Samantha Sckipp)

GROUP 2 - CLAUDIUS (Jallen, Jengg, Juliana, Bianca, Bryant, Rebecca)

GROUP 3 - OPHELIA (Kevin, Catherine, Kaitlyn, Rachel-Rachel, Steven R, Samantha S,) 

GROUP 4 - LAERTES (Cristiana, JenG, Brian, Steven K, Zach, John, Michelle)

Lesson 16 - "An Act That Blurs the Grace" – The Closet Scene

Consider:

What boy hasn't had a fight with Mom (or any other parental configuration)?

What do you know about Sigmund Freud – or the “Oedipus Complex”?

DISCUSS: Looking at 3.4 --

- What is going on?

- What state is Hamlet in?

- What state is Gertrude in?

- What state is Polonius in?

- How would you present the Ghost?

- How violent would you make Hamlet?

- What would you use for the arras Polonius hides behind?

(Sometimes it is rich, like velvet. A 1989 London production starring Oscar-winner Daniel Day “My Left Lincoln Foot” Lewis used a sheer white curtain that was rigged with special effects drenched with blood at the appropriate time!)

View the following and decide which one would Sigmund Freud like the best? (Sorry to make it uncomfortable, but I shouldn't have to suffer alone with a case of the ick)

Lesson 13 - "Miching Mallecho" - Acting the Mouse Trap

CONSIDER
The scene today is jarring. We see Hamlet harassing Ophelia with nasty cracks, taunting his mother about her hasty marriage and manipulating the play to catch the murderer.


VIEW PERFORMANCE

Questions
- What rude remarks does Hamlet say to Ophelia?
- How rude are they?
- Does Hamlet insult anyone else? How?
- At this point in the play - what is driving Hamlet?
- How much of a risk is he taking with the play experiment?
- What are the results and who verifies them?
- What important information does Hamlet have in his grasp at the end of the scene?
- To whom can he report this? Is there anyone who can straighten out this situation?
- What are his options?

HW
Re-read Hamlet 3.2. 419- end and Read 3.3-1-101

Lesson 12 - "Get Thee to a Nunnery" -- Film Viewing

In Class:
The history of the nunnery scene is notable for its diversity. Directors have set it in rooms both private and public. The pace fast or slow. Hamlet is violent or tender.

One of many questions all directors have to settle -- is Ophelia chaste? Is she a good girl, innocent? Could she be pregnant by Hamlet? Could she be sexually experienced?

Imagine this scene in Ophelia's bedroom with Claudius and Polonius, her father, hiding - listening, watching - while Hamlet seduces her. Awkward.

Whole Class:
View the following scenes and take notes on what you observe.


SMALL GROUP DISCUSSION (Be Ready to Share)
Using the Nunnery Scene (viewed and read) as evidence of Hamlet and Ophelia's romance – make some inferences:
- How did it start?
- How long has it gone on?
- What does Ophelia like about Hamlet?
- What does Hamlet like about Ophelia?
- How do they see each other?
- What do they do together?
- How much sexual attraction is there between them?
- What do they fight about?
- How does Ophelia see their future?
- How does Hamlet see their future?
-- What aspects of the acting, directing, and filming helped to form your opinion?


HW

- Re-Read Hamlet 3.2.96-317

Lesson 11 - "Ha, Ha, Are You Honest?" - The Nunnery Scene

In Class:
To deepen our understanding of subtext and motivation -- we will investigate the "nunnery" scene several times through objectives and other actor-ish type stuff.

By objective we mean goal -- like, what does a character want in a particular scene.

For example -- let's say there's a raging Uno Competition and you want to stay out until 2:00am on a school night. Your Objective is to convince your parents to stay out. How you go about accomplishing that Objective (or Goal) is called a "Tactic." Perhaps you first ask Mom, who says no -- then you change tactics -- and ask Dad -- then change tactics and plan to sneak out the window, etc. until you accomplish your objective


We may say that in the beginning of 3.1 -- Claudius's objective is to find out exactly what Hamlet is up to - is his "confusion" real or feigned? Acting on this objective - Claudius tries a few "Tactics" -- first he questions Rosencrantz and Guildenstern. Then he and Polonius prepare to spy on the meeting of Hamlet and Ophelia.

Task:
Three groups will prepare three different variations of the scene between Hamlet and Ophelia:
Group A -- Subtext: Hamlet knows from the beginning of the scene that Polinius and Claudius are watching him.
Group B -- Subtext: Hamlet does not know until later in the scene that he is being watched. The group decides when,  based on the script.
Group C -- Subtext: Hamlet never knows that he is being watched.

IMAGINE THAT YOUR GROUP IS THE DIRECTOR
As a group decide --
- What is Hamlet's objective (what is his goal / what does he want)?
- What specific gestures, inflections, movements or pauses could the DIRECTOR suggest to the actors in the scene use to (for Ophelia -- and for Hamlet to show this objective)?
- How does Hamlet's objective affect the subtext?

Be sure to mark up your script in order to point to evidence to support the choices you make. What textual clues are within the script to support your interpretations?

Presentation:
- Q. How does each version affect the interpretation of Hamlet's character?

HW
Read Hamlet 3.2

3/19/2014

Please Do Not Make Me ask this angry baby to come and get you...

So - Read Hamlet - ACT 3 SC 2

Lesson 10 -- "To Be or Not To Be" - Voicing the Argument

We look at another of Hamlet's major soliloquies to see that they are debates, arguments, discussions and/or discoveries "between self."

HOME WORK
Explore the soliloquy for Antithesis.
- Q. How does the use of Antithesis demonstrate Hamlet's state of mind.
- Q. Determine -- What is Hamlet's inner argument and does he resolve it?

View the Clips below and jot down notes to the questions posed in each version

Re-read - Hamlet 3.1

Lesson 9 - "The Motive and the Cue for Passion" -- The "O, What a Rogue" Sol.

IN CLASS
Read – Round Robin the “O, what a rogue and peasant slave” Soliloquy

-          Note unfamiliar words

(Questions)

It is obvious to the audience (or reader) that Hamlet is alone onstage. What else, then, could he mean when he begins, “Now I am alone”?

Why is the Prince calling himself a “rogue” and a “peasant slave”?

Hamlet compares himself to the player. What does this comparison reveal about Hamlet’s self-perception?

Throughout Hamlet, much violence is done to the ears. How does Hamlet’s “cleave the general ear” relate to the other “ear” references? (Shakespeare uses the word ear 27 times in this play.)

Hamlet uses a lot of theatrical terminology in his speech. Find some examples and decide why might Hamlet be thinking in theatrical terms?

What lines or phrases explain why Hamlet thinks himself a coward? Do you think he is a coward, or is he acting cautiously by looking for external evidence to prove Claudius’s guilt?

VIEWING

What does a visual element add to our understanding of the speech?

Does it help to see an actor deliver the soliloquy? Explain.

Does the setting affect your understanding?

How does being able to hear the words add to understanding?

HW

Read 3.1 – pay attention to the “To Be…” soliloquy

3/14/2014

READ
"Reading Shakespeare's Language" in the Folger edition of Hamlet (xiv - xxiii)

HMALET - Classical Allusions - 2 Versions

(1.13)

Lesson 8 - "Words, Words, Words" - A Closer Look at Language"

11 MARCH 2014

Hamlet 'Attacks' Polonius
2.2.187-237

-Q. If you were to make a movie version of this scene - what would the set look like? Where in Elsinore would you place it? What furniture, props, costumes, music and special effects might you use?

Hamlet 'Attacks' Rosencrantz and Guildenstern
2.2.240-338
- Q. (Same questions as above)

Explore Language in these Scenes

"Double Entendre"
- This is a trick whereby authors set up words and phrases so that they have two (2) meanings -- a clean one and a bawdy one.

Find possible Double Entendres in 2.2.187-237:


Next, look at 2.2.240-254. There is a series of double entendres in the exchange between Hamlet and R AND G, who claim to live about the waist of Lady Fortune:

- Q. Why might Hamlet be using these words? Does he mean to be bawdy?

More Language

Look at 2.2.298-338 ("Were you not sent for? to "man delights me not." Notice all the language tricks Shakespeare is using. (Metaphors, Similes, Alliteration, parallel construction, etc.)

Is there any place in these scenes when Hamlet stops playing with the other characters and talks straight from the heart? If so, what happens to the language tricks?

"What's Hecuba"

Focus on 2.2.445-574

Shakespeare, like other authors, often refers to people and situations in classical Greek and Roman literature (Classical ALLUSIONS).

- Q. What classical allusions may be found in this passage?

- Q. What may the reasons be for Hamlet's interest in the relationships between Pyrrhus, Priam, and Heccuba?

HW
Read 2.2.576-634

Lesson 7 - "Gaming, My Lord"

10 MARCH 2014

In Class

TASK 1

WHOLE CLASS   

 Read Aloud 2.1.1-83

Major Punctuation to Major Punctuation.

 INDENTIFY words and phrases that reveal Polonius’s values

       -- What can we conclude about Polonius’ character?

      --  What are some character traits that you can infer from Polonius’s words and behavior in the scene? (Evidence)

TASK 2

Investigate 2.1.84-134 / Small Groups

Based upon your reading of Ophelia reporting to her father that Hamlet, in a disturbed state, visited her.

-  Write a letter one of the other small groups in the room  that address the questions below.

Discussion:

What is Hamlet up to in this scene?  Why is he treating Ophelia this way? Why Ophelia of all people? Does Hamlet love Ophelia? (If not, how does he show this? If yes, what possible reasons could he have for putting on this show for her?

What about Ophelia—does she love Hamlet? What is her reaction to his behavior?

HW

Read 2.2.187-338

Lesson 6 - "I Could a Tale Unfold"

7 March 2014

In Class:
Imagine you had to perform the GHOST SCENE
-- Discussion with actors and audience about the acting choices made for the interpretation. Text used for verification. (Props, Costumes, etc.)

Small Groups:
What information does the Ghost reveal?
What is the significance of this information?

Investigate:
1.5.99-212
- Examine Hamlet's language after he sees the Ghost AND during his conversation with Horatio and Marcellus.
--- What assumptions can we make about Hamlet's state of mind from the words he uses and the way he speaks to his companions at this point?
--- Speculate on why Hamlet decides to put on an "antic disposition."

HW
Read 2.1 AND 2.2.1-186

Hamlet - HW - 3/5/2013

In the scene between P-L-O - you are to look for Polonius's Language Clues
"Give thy thoughts no tongue"
- Look at the "but" constructions -- what is their effect?
- What can we infer about Polonius from his choice of words? What do his words reveal about his beliefs, philosophy, and values?

HAMLET - HW

28 February 2014 (Friday)

Please finish reading ACT I (Scenes 4 & 5)