DBan Enucaron

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DBanEnucaron:
r\
Dhuk".p""re!
The very name of "The Bard of Avon" conjuresup imagesof per-
haps the greatest dramatic literature ever created, in English or in any other language. In the
Miramax Films Academy Award-Winning motion picture "shakespearein Love,"young
William Shakespeareand the colorful world of Elizabethan theater leap vividly to
life...ready to help your studentsdiscover"The Bard," his work, and his times.
\T
1\ ow Miramax Films, in cooperationwith the U. S. Department of Fducation, is
proud to presentShakespearein the Classroom, a free educationalvideo and study guide
designedfor English literature and languagearts classesin gradesB-12,madepossible
through the generoussupport of Polo Jeans and Max Factor.
A
At the heart of this program is a speciafu produced video which introducesstu,
dentsto Shakespeareand his world. This exciting presentationfeaturesarchival material on
Shakespeare's
life and art, film clips, behind-the-scenes
footagefrom "shakespearein Inve,"
and specialappearances'bysomeof the peoplewho madethe film - starsGv5metJrPaltrow,
Joseph Fiennes,Geoffrey Rush, Ben Affleck, Judi Dench, writers Marc Norman and Tom
Stoppard,and designersMartin Childs and Sand;zPowell.
rn
lhis study guide complementsthe video with four reproduciblesfudent activity
sheetsthat review important facts about Shakespeare,highlight the elementof stagecraftin
his dramatic poetry, help familiarize students with his language,and guide them toward a ,
performance-orientedappreciationof his art.
YY7
W"'r" huppy to provide you with this innovative program free of charge, and hope
you will enjoy using it with your students. Aithough cop;nighted, the program materials,
including the specialvideo, may be reproducedfor educationalpurposesand we encourage
you to sharethem with your colleagues.
Vf
*o hope thatyou will return the enclosedresponsecard in
order to remain eligible to receivefree LearningWorks educational
programsin the future. We valueyour support and dependonyour
commentsas we strive to createclassroommaterialsthat serveyour
needsand those ofyour students.
!*
Dr. DominicKinsley
&litor in Chief
I.earningWorks
LrnRNrNeWoR<s
35 Mdrvel Rood,New Hoven,CT 06s I s . (203) 389--7283
U This Teacher'sGuide, which coordinates
the progi'amcomponentsand provides:
O a slatementof ob;echves;
.
o backeround information;
o a surimary of the video;
for the
suggestions
O presentati"on
SHNrcSPEARE
,*IN THE
LI-ASSROOM
InmrooucTrcN
e s i g n e dt o g i v e v o u r s t u d e n t sa n
excitins new look at William
Shakes"peare and his world,
Shakespeare in the Classroom
v'rdeo and achvl{les;
o follow-uo activities and resources
for furrherexploration.
0 Four reproducible student activity masters
designedto complementthe video.
B A Teacher ResponseCard fbr your comments. Please ieturn this card-to remain
lor free l,earningWorksprograms
eligible^
ln the tuture.
England,locusing
on thecolgrfulworld of the
-w.here
*orked
Shakespeare
Loidon t heaters
in the 1590s.The video then explores some
aspectsof Shakespearesart thJt have kept
hii worL a livine^part of world culture fbr
more than four" 6enturies: the emotional
imoact of his ston.telline,the unforeeflable
peisonaIi ries olt hi.'. hu.a""ters, th e ric li beauty
and mostoi all, the dramatic
bf his laneuaee,
viraliwthir madehis playspopularentertain,n"n,ln histime
hu."siuett
-downthema univer".rd
to the present
appeal for audiences
1ai
(1ay.
"shakesDearein the Classroom"feabv the followine
rures soecialaopearances
."-b"'.. ol rhe castand creitiue stafi of rhi
in
Academv Award-Winning"Shakespeare
Loue",e*v'neth Paltrow,-whoplavi the ficrional Violi de l,essepsin the fLl-", a noblewoman with a passionfor the theater; Joseph
F i e n n e s ,w h o p l a v s t h e v o u n s W i t l i a m
Du,nJ Judi D""nch,-whopluvs
Shakesoeare;
Oueen'ElizabethI oi Eneland;Ben Afileck,
'lnatinee
idol" Ned
Jho ol".r. Elizabethan
Alcvn; Ceollrev Rush, who plavs london
th"Jt". owner" Philip Hensfo*:e; Martin
Childs, the film's production designer, and
Sandv Powell, the' film's costume-designer,
ulonpi*ith Marc Normanand Tom Stoppa.d'
rhe filmlsscreenwriters.
UsrrucrHEPRoGRAM
ConnpoxENrS
Th" .o*ponents of Shakespeare in the
Cla-ssroomhave been desisned to affbrd
m a x i m u mf l e x i b i l i 5 ,s, o t h a i e d u c a ( o r sc a n
view of Shake- easilvadapt the programtbr dillerentgrade
and stars present a unique
-through
archival l"uefsand'useit in a.-varierv
speare's lif'e and art
of .'urri.ula]
i m a g e s ,e x c e r p t sa n d h c h i n d - t h e - s c e n e s
revier.iine
the video to
bv
Beein
''shaLesperre
in [.ove," and lamiliarizey"our."ll'*iththe rJpicsit presents.
footige fr.,m
o f S h a k e s p e a rhei m s c l f .
t h " r i . " ' hl a n g u a g e
Frlucatorswho rnav be aware thar'the film
"shakesoearein Love" was rated R will
notice that this specialvideo has been producedfor all audiences.
lntroduce the video bv askine stuthev know about the" film
what
dents
T h i . o r o n . u . ni s d e s i e n e dl b r u s ew i L hs t u d " n t . i n g i u d " r B - 1 2i n "t h e E n g l i s hl i t e r a t u r e "shakespearein I-ove,"which tellsa semi-fictional itorv. about the young Williarn
and languagearts curricula.
Sh"k"srrear6and how h" c.ti" toinrite Rrnrco
oil Jtiliet. IJxplain that the creators of
"shakespeare
in Love" haveproduceda spes h a r c r h e i r e n t h u s i a s ml o r
c
i
a
l
v
i
d
e
o
t
o
Th" prog."rrr is designedto accomplishthe
those just beginning to
Shakespeare
following objectives:
,with
enlov nrsworKs.
S To introduce studentsto William ShakeThe video mav be presented in a
speare, his works, and his times bv sinele class period. Use Activitv One,
" S h " a k " . p e a . eF:a c t sa n d F i c t i o n , " i o r " i n b"ildi"e on the interest sparked bv thi
Academi,Award-Wnning {ilin, "shakespeare force kev points of the video and to spark
in lnve."
The program's other ictivclassdis-cr.rs.ion.
the video bv fbcusins on
ities
complement
? To counteractthe perceptionthat Shaketuraft, language,
stagec
kespeare's
Sha
p
l
a
v
s
speares
a r c ' i n a c c e s s i bal cn d d i l f i w i s h t o r e p"nd-d
Y
o
u
m
a
v
l
a
v
t
h
o
se
m
a
t
i
c
a
r
r
i
s
t
r
v
.
.ul,t by provid,ingnew study tools for
parts of the "tid"o thuf
theseihemes
g
e
n
e
r
a
t
r
o
n
ol students.
todavs
""piore
activities in class.
before oresentins these
S to off"..'t ,d"nt. a brief overview o{rculture The activities hrt7. b...t designed,however,
and sociegzin the ElizabethanEngland of to stand alone,so thatyou ca-nchoosethose
time.
Shakespeare's
m o s ta p p r o p r i a t et o y o u r s t u d e n t s , a npdr e s e n tt h e m r n t h e o r d e r b e s ts u r t e dt o . y o u r
S To instill appreciation for Shakespeare's
curriculum.
dramatic g"nirr. ^ a stor1,'teller,play,vngh;
anclpoet.
TnncEr
AunrrucE
Fnocnnnn
On;r,cnvls
Vmr,oSunnnnnnv
B To reinfbrce the value of"'Shakespearein
Love"asa co*plementto classroom
srudy Th" .rid"o "shakespearein the Classroom"
blends archival imagesand excerptsfrom the
of Shakesoeare's
dramaticarr.
film "shakesp"are i.t Love" wit} on-screen
narration by-members of the film's cast and
producdonsaff to createa compellingporrrait
of the litb and ar-tof William ShaLesoeiie.
After reviewine the few documented
Thi. p.og."^ includes:
life * and
facts we have about ShJkespeare's
-"Shai<espeare
in
produced
video,"shakespearereminding students that
H A speciallv
Love" builds on those facts with imasination
in tl'e Classioom,"
for in-class
viewine.
- the video Eivesan overview of Elizibethan
Pnocnann
ConnpoxENrs
AcnvrvONe
Fncrs
SHnr$,spEARE:
AND TICIION
his activitv desienedas a fbllow-up
to viewiis- the" video, reinforc"s
some kev lacts about Shakespeare's
life and"times.Have studenti complete , the activity independently,
using a game
then rcuicw their ansr,r'ers
show" fbrmal, in which you play thc game
show hostanJ studcntsoi*tud"ni teams"take
the role of contestants.To continue the game
after the activitv sheet has been revi&ed,
have srudentsrn"ke up thcir own multipleto .hdchoiccquestionsabout'shokespeare
t
t
r
lenge one anotner.
Answers
Stratford-upon-Avon, a small town on
the River Avon itt Warwickshire, England. For extra credit, ask students to
d e f i n e" b a r d " ( o r i e i n a l l va s i n s i n gp o e t
who celebrat.d tE. leg"ndutt pitt in
Celtic times).
wrote fbr a popular audicncc
2-a: Shakespeare
that oaid admission.".liaft".ttoon to see
somenew excitingpieceof enterlainment.
As plalu,right,
und partownerof the
".t-oi,his livelihooddependthearncalJornpunv
ed on pleasindthi. audiettce.He did not,
Iike someplari,r,riehtsbeforehim, write to
"*osl
educatedmembersof
impresst[.'"
Englishso^ciery,
nor did he,like someplaywnghts after lum, wrrte to pleasea noble
part:on.Yet evenin hiso*n-time, his plavs
were praisedby universigzscholarsand
upplur,d"dby.oy"lq,.
Acrvrv Two
3-b: ElizabethI ("theMrein Oueen"),daueh- 8-b: Christopher Marlowe,
author of
ter of Kins Henrv VIIIlruled'Enel;nd
I)tmlurfaine.and Dn Fauhu, was a pioI 558-I 6ffi:"There"was considerable"relineer of Elizabethandrama and much betg i o u s c o n t r o v e r s vd u r i n g h e r r e i e n ,
ter-known than Shakespearewhen, in
i"hi"h *". challe.Ledbv C"arhoiic
1593,he was murderedat age 29, some
lorles
his two-oart acivirv invitessrudents
who rallied behiid Marv, Oueen of
savfor his involvementin rhe-darker
side
to unulvr" o"rruJ", lrom ShakeScots, and later sought lupp-orr lrom
of Elizabethan oolitics. Students should
speare's"plavs
to s"eefor themselves
Spain,as well as,by Puritangroupswho
alsorecosnizetheotherauthorsmentioned
how "The Bard" useddescriprivelanw o u l d e v e n t u a l l vs e r z ep o w e r u n d e r
in this qieirion: GeoflreyChaucer,creator
for $e absence
guggg to comp_ensate
Oliver Cromwell."
ol Tlx CanterbunlTalu,and Tom Stoppard,
"shakesoeare
of
scenery
liehdne,
and
special
elfectson the
For
one ol the screenwriters
4-b: The groundlings.paid
one pe,nnyto stand
Elizabethan.-tur".-U."
helo stustuJtaee.-UsethiJ
rhii activitv
activiw to help
in l,ove" and author of such olavs as Elizabethan
"I)ea?, dents visualize ierformance
ln the openareatn lront ot the stage.
performance in an Elizabethan
Roterrrantz an) GttiDettttern a're
^plays
thpatea where
were p.erformed in the
I|aputia, and Jumperu.
5-c The "Earl of Wessex" is a fictional charaflernoon with spectatorson lll sides,as shown
"Shakespeare
acterwho appears
onlv
in
'the
9-c Shakespearewas a member of the acting on the Activitv-Sheet in the well-known De
"shaLespeare
in [,ove," so
real
cou]d
that eventuallv came to b6
(c. 1596).
never have met him. Henslowe and Allerm,
"o*paw "as the Kitrg. n{e.r, when they Witt drawing of the Swan Theater
ktro.i"r
Under such- circumstances,actors relied on
on the otherhand, were realJife memberi of
securedthe patronale of Elizabeth'ssuJ- elaboratecostumes,their own talents,and the
cessor,Kine James l. As a member o{rthe imaginativepowerof languageto crealea {heshared in the profits of afncalrllusron.
^["
"o-puny,
perlormance and was part owner
everv
Have students comolete Pat I of the
of t6e compa.wt theaters, includine the activiryin smallgroups,sharingideaslor how a
f'amousClobe."ShaLesoeareis n.-!d
'ood"rn theardcJor lilrndir".t"ormighrusespe".
an actor in severalof Ben Jonson'splavs
cial eflects to create the scenes Shakespeare
and there is an old tradition thit lre brinesto iile throuehlanzuageand drama.Ask
played the part of the Ghost in his eat'l'ierouoro ."oin its"oroiuctionoliursand
own greatesttragedy,Ilambt.
,L".. -td"rn "i*p.ou"*"nis" to the
\
"o*pi."
effe&s
Shakesoeare
achieves.
the Elizabethan
l0-b: Shakespearealmost
passages
quotedin Part
Discuss
the
stage.Edward
a l w a y s b o s . d h i s p l a y so n
l
l
.
.
o
f
t
h
e
a
c
t
i
v
i
r
y
,
s
l
m
s
,
h
e
f p i n es t u d e n t s
a
"Ned" Alle.yn
pr6li.h"d
st.,ri"s,"
epi.
was the leadsodes fiom historiCal erasp the diffLren..s berween t'heserwo
.o*pu.i.ons ol stage
er of the
chronicles,or older Ir,nor. Shakespearean
Admiral's
plays. I-lis source actinsto humanlif'e.Then havestudentscomplere-thisparr ol rhc acrivitvindividuallv,bv
Men and
fctr llomco ttni) .lulirt
wriring
a paragraphusing Sh,,kesp"or"(rhithe most
wa.sa popular nario d"r.iib" turn" aspectof'
esteemed
ratlve poem bv atrical-me'taphor
thelr own llves.
actor ot
Arthur Brooke, T'lie
his day, ^
nttqicall Hi.rtorye of Answers
tamous for
Iforneu,t onr) ,Iulfut, Part I (Answers will vary; possible answers
crealingthe
which was first pub- below)
rolesot
i/ lishedin 1566,bui this 1. Lear's challengeto the elementsconjures
Tamburlaine,
wasa retellinsof a storrr
up imagesof nature'swrath at its worst *
Dr. Faustus,
rhat first
firsL rpi".r"d
appeared i"r-t
in
// that
'
h.r.ri"a]l"., firestorms, and thunderbolts
and Barabas,the
Iraly in l426 and was
c a p a b l eo l l a v i n g w a s t e I o c i v i l i z a t i o n .
Jew of Malta,
embellishedby a series ot
I . i e h t i n eo n d s o t i d e f f e c t sc a n p r o d u c e
'
in Marlowe's pioneer- \
romance
writers
ltalian
down to
this
effict on the staee,but a filmmaker
ing tragedies,Alleyn became
L\U.
could
set the scenewith footace of actual
wealthv in the theater and founded the
storms or borrow snecial ef'fecisfrom sciFollow-Up Activities
presenl-dayDulwich Collegein his
ence fiction to creat-ea visual apocaf,pse.
retrement.
l. Help studentsresearch,
organize,and preWomen
were
6-b:
restricted bv lan' from
Exlrol' featuringindi- 2. Hamlet's first words to his father's Ghost
r"ni un "Elizabethan
manv occupationsin Elizabettan Eneland,
p"ill I picrureof this apparitionas both
vidualpresenrations
on suchaspecrs
oTdailv
inclidine tL".tug", whereall female"roles
terril\,rngand awesome,a shocklngerup.
Englandof Shakespeares
d-e is
F
4"
*ere pli ed bv i-t.n or bv bovsspeciallv
tion of tKesupernatural
into eueryJavlife.
dress, Iood, occupatrons,franspoflatron,
trained t"ou"tihese oarrr".S.hol"i. h""?
L i e h t i n ea n d - a k e - u p , a l o n g * i t h " " l . c governmeru, anr, music, literature, theater,
sugAested
that this mav be one reason
t rJn i" dlstorrio n o I'the'Chost's"voice,
couId
ind other forms of entertainment. Invite
*lii ShuL".oeareso oft?r,hur his female
achieve this eff'ect on the modern stage,
farnilv friends, and students lrom other
chiracters -iasq.r".ud" as men.
while a lLlmmaker
coulddra* on the triiks
classesto attend.
of horror films to make the Ghost of
7-b:,QueenElizabethenjoyedplaysand regl2. Arrangea ciassvisit to a nearby "Renaissance
Hamlet seema living nightmare.
larlv had actorsoerlorm lor her at court.
Faire]' Shakespearefestival,"livine historv
Thlre is a record?hat on one such occasion
site, or historwirr."rr- that fbaturei exhibiL 5. Describing the sunlight as "envious
the comic actor, Richard Tarlton, made her
streaks" and the stars as-"night'scandles,"
or attractionslrelatedto ElizabethanEneland.
laugh sohard that sheorderedhim removed
Romeo evokesa dawn that s-eems
to come
Encouragestudentsto repon on *p"it" ol
from the staee. Records also show that
purposelvto end the lovers' one night
the visit*that rhev particularlyeniovedor
perlormedfor the
Shakespeareicompanv
ioe.rh... On the modern staee,liehtine
found esoecialluuiluable.
and
u".ordilrg
io
n"aditron,
hewrore
Queen,
mieht paint this dawn on a ba"ckdrip.Ii
his play Thc,44eny
lili, footageof a real dawn togetherwith
Yi* tl Wnhor.when
she askedto seehrs greatestcomlc cre*ould
the narurafsoundsof nieht'sen"dine
ation,Sir John FalstJ[ in love.
echoShakespeare's
ach[vement.
SHATspEARE
Sns
THESTAGE
Follow-Up
- r ^Activities
---.'^-'-"
Falstaff.ln our dav the expressionsrill
carries the implicaiion of appetire run
all the dramatic possibilities in these lines,
and have them wor! individublly to create
l. Have studentswork in srouDsto analvze
t
'
amoK.
' their own peomptbooi<s
the stageciaftofone of Sh"ak"ip"u.".plivs.
As u folo*-up, havestudentsmake
Havet'llemmark passases
h *hi.h h" r"r. 2. "lt was Greekto me."Cascas ironicwav of copiesof their promptbooksand usethem to
the scene, *h.t},". ihroueh extended
savine
that he doesnot understand Gieek
'do"..tt
direct two claismatesthroush the balcony
(*d
descriprions
care to) has become a stanor with a sinsleline (e.e.,"This
.t"scene.Discussas a group hoit well
is lllyiia, lady." ). Depeidhg on iLe play
dard wav to indicate that somethine is
dents prompt-marLiconveyedhisor"uch
her the(and
prJbuthev examrne,studentsmtsht also nonce
bevond 6o"',
atrical intenrions,and how acting the scene
ho* he usesmusic r.rd sonito seta mood,
bly not worth "o*pr"hension
knowing anl,way).
reveals still further oossibilitiesf6r dramatic
how he createsmassiveba#les b., havins a
5. "Sweetsto the sweet."Gertrude'scomment interpretalion. Work together to stage the
few surwivors race on stage to "t.oo.t tfr"
on the flowers she casts into Oohelia's scenein a wav that all riembersol thi class
action, how he carefullv ui."ns..'to h..r"
grave lends a sad irony to the occasion, find effective."
corpsescarried ofI stage (since'therewere
Part II of the activifi, further ertends
iecallingho* Opheliahandedwildflowers
no curtains to conceal the "dead" actor
to memlers ol'the Danish court in her t h i s p e r f o r m a n c e - o r i e n t eadp p r o a c h t o
springing back to life), and how he usesthe
bv invirinesrudentsto imaginea
madness(Act 4, Scene 5). For us, the Shakespeare
variouslocarionson his slage - lhe space
,,.* .,-rdi.,g for Ronuiad Juliet. Youineht
phrase
has
lost
morbid
these
connotations,
aL,ove,
the inner space,the fiillars- ro creihoueh it does carrv a senseof shallow introduce tlis part bv informine studentstLat
ate the illusiono[cirv walli, hidineplaces,
pl"vi were reg"ularlyrevised
sentiirentalitv that niav echo somethineof Shakespeare'.'
lbresrs,and a hundied orher rp"iiff. ."rd u r i n g ' t h ec e n t ' u r if o l l o * i n e l i s d e a t h ,w i r h
Gertrude's
s6lf'-centerid
eriel
at
Oohelia's
tings.
traseJies turned ii.rtn
and comedies
death.
"o-"di"r
reclst as slapstick fbrce.
Discuss as a class
2. Arrangea classtrip to a producrionof a
s o m eo f r h e p o s s i b i l i t i el bs r " i m p r o v i n g "t h e
Shakeipeare,rn
play in .youraiea,and invite Follow-Up Activities
ccrnclusion
oi[Roruornt) .lttltlc!:.uppo.",lb.
srudentsto shareih"ii i.or".rions of rhe l. Have sfudents go on a "scavengerhunt" to
examole,that Julier is keot from'follo*ine
pl;y and the production with the class.
Iind as manyc6mmonl:nglishexpressions
Ro*Jo into death: or thit Romeo .",rirr"I
asthev.un ihuthaueco*eTromthelexrsol
befbre she can take her own life; or that Friar
plays
sonnets.
Thev
Sh:tkespearel.
or
. an
Laurence
hasaootion to restorethem both to
peruse'.'c,llecdont
lik" Barllclti Qtnithltut,,,
liire a{ter their familieshave pledged peace.
l o o k t h r o u g h t h e p l a . y s{ h e m s c l v c so,r
H a v e s t u d e n l sw o r k i n g r o u p s t o i m a g i n e
browse rhe lnierner fbr romoilationsol'
their own innovative
which n',ight
famous quotes from Shakesfeare,then
his activitv is desienedto helo overr a n g el r o m t h eh o r n l i c"n,fine.,
r o t h ; h i l a r i o u sT. h e n
brins in \^hat thevve collectedtb sharewith
come stuJents' a#rehensioni about
compare these alternatjves to Shakespearet
the Jass.
the inaccessibility^of Shakespeare's
endjng to gauge the dramatic impict he
language,first byfbcusing on sbmeof 2. Assisn studentsto conducta "mediawatch" achreves.
A
themanyShakespcarean-expressionsto b6 on the lookout fbr Shakespearean
quoth
haatt h aavveee nnlleerrccddi n ttoo e vveerrvvddaavvs ppeeeecchh,a,nndd
tationsand phrasesin newspapers,
maga- Follow-Up Activities
,L:n
invinng lhem to pioy^*iil' a ser ol
zines,on TV'and radio,in musicanda.lv-er- l. Have studentsview (in classor on their
,by,
Elizabethanterms of insult in a Shakesoearean
risine.Thevcanusctheir[indineslo prcparc
own) two o1 the several{ilm or television
soirit.
bi"t' refort enritled"sh"kcsieare'Livcs,"
'
versions of Ronrc.oanr) ,Iu/itt oroduced
"
Beginrhe activirvbv discussine
"The
thc
t iringexamples
ol
Bards" |6th-<enluwithin the past 50.years.After-the class
extrac(liom-BernardLcvin's"lamiliu.
."Llon
rv eioressions
thatarealiveandwcll on the
has watched both iersions, use them to
o{rShakespearean
expressions,
which is ouotl
btink ol u new millennium.
launch a discussion o{r various ways of
ed on the activitv sh&t. Have studentsdifine
p r c s c n t i n gt h e s a m ew r i t t e n w o r k . N o t e
the underlinedphrasesor use them in a sen,
ind discussthe man.ydiffercnccsin the
tence.Then have studentscompietePart I oi
t h e m a t i ca p p r o a c ht o - t h cm a t e r i a la, s w e l l
t h c a c t i v i t yi n d i v i d u a l l vb,v u n d e r l i n i n et h e
as differenccs
in physicalproduction.
lamiliare*bression
in cachLf the shorrsfenes
his final activitv focuses on []omco
from Shakespeare
and giving an exampleol
2. Encouragestudcntsto organizeand prean) Julizt and supplementsthe preits use todav.Discussas a classwhat maLes
* a programol
senta "Shakespcarience"
sentationof.""tr"i from the .rlt., in
these exprJssions so memorable. How did
scenes
and
readinss
lrom
the *orks oi
the "shakespearein the Clasirolm"
they become detached from their dramatic
Shakespeare
and p"resentations
on his life
L
video. The activity is desiened to
- lor the schoolcommunify,parents,and
context and take on a life of their own? Let
p"iforrnun.e'-orienthelp
srudenrs
develop
u
pairsof studenrsperformtheseshon scenes
fiiends.With your guidance,srudentscan
readingJhakespeare.,
eo approacn
approachto
to readrn8
Shakespeare,
recogrecogi . o * p l . r . "h n * r h os i h r ai ro n i t s e l f ' l e n dass p e - ed
chooseth" l"".r"i thev u ill present,
cial point, a tang ol irony, ro the words we n l z r n g t h e d r a m a a n d a c t r o n r m p l r c r tl n e v e r y
rehearse
theirprogram,,"ndp.rhnp. .o*t
t
t
nave cometo Know.
pile rhe resultsofoth"I" ,"pb,r, and prePar:tI of the activity asksstudentsto
Part II of the activity invites stuientationson Shakespeare'For
displayat
promptbookior the lamousbalcony
create
a
dents to imitate Shakespeare's"special
talent
the "Shakesoearience."
for hurline insults. Have students work in scenein Romroant)Juliet bv first describins
smallgrouf,sfor this parr of the activiw,then the sceneas thev envision it and then annol
let the-msavorthe power of languageby hrrl- tating the lines'to indicate how the actors
O 1999LearningWo*s LLC.
should speak,gesture,move, and react at
mg rnsultstrom one group to another.
Created lbr Miramu Filns.
everyword. It riav be usefulto introducethis
part"ofrhe activirvbv havinesrudentsparaAnswers
(,{nswerswill vary; possibleanswersbelow) phrasethe dialog"for"thi...""n., as is done in
ihe video. Onc-erhey understandwhar is
l . " E a t e n m e o u t o f h o u s ea n d h o m e . "
being said, have thJm focus on how two
MlisressQuick)ys.compla,int
is one of the actois could brine out and enrich the
meanmanvexpressrons
rn thrsplav that serveto ine of the linesoi'staee.Tell students
that it
-ug;rify th" magnificenrbJt oi Sir John
rJes real concentrati-on
to "see"and "hear"
AcnvryTHnEE
WoRos,
\f\{onos,
Wonos'
Acrvrv Foun
Crr ru THEAcl
Acrrvrv ONE,
Smgx{KsPEARE
Fncrs AND
FrcroN
'elcome
to a seriesof activitiesinvitingyou to mine the rich treasuresfound in the works of William Shakespeare
- courtesyof the Oscar-winningMiia-ar motion picture, "shakespearein Love."
As vou probablvknow,"Shakespearein Love" told a storyabouthow Shakespeare
miahthavecometo write his first
*uit"tf""., Ri*to andJulirt. fni rutn-rt ery 1n1xe{togeth"ermany factsabort3h"lo".fr.u." and his timeswith plenty
of imagination,_
much as Shakespeare
himselfdid when'hewrote Kstory plays.If you harr".""n the film, however,you
might want to know the real .t.iy. Wh.t are the facts about ShakespearJ
la^1
.
I
Here's your chanceto find out. Thkethis quiz to seeifyou can separateShakespearean
fact from fictionl
I
William Shakesneareis called "The Bard of Avon"
because
J a- he oncesold cosmetics.
O b. he was descendedfrom the noble family of Avon.
D c. he was born in the town of Stratford on the
River Avon.
2
Shakespeare'rpl"y. were originall;r
wntten
D u- ^ popular enterbainmenflike moviesand '
telwision todav.
E b. for seriousstudy by scholarsand students.
D c. to arnusethe uppei class.
5
The time in which Shakespearelived is known as the
"Elizabethanera" because
4
I a- England was shakenby religious controversy
and unrest.
E b. England was ruled by Queen Elzabeth I.
O
E"lluod was ruled by Q"""" Elzabeth II.
".
In the Elzabethan theater,
groundlings were
D a. stasehands.
D b. spe-ctatorsstandingin an open areain front of
the stase.
D c. small tiam-als used in popular enterbainments.
5
The real Shakespearenever
actuallymet
D a. the theater owner, Philip
- Henslowe.
fl b. the acto4 Ned All"vtt.
D c. the nobleman,The F-arlof Wessex.
6
Laws in Shakespeare's
time
prohibited
lla. dogsfrom appearingon stage.
] b. *o--"n fro,n upp""I'g on Jt^g".
D c. spectator. fro^ihro*ilg
obj.i . at the actors
on stage.
4
I
OueenElizabeth
f,i.."lf
ff a. abhorr"dpl"yr andoftenorderedthe
theatersclosed.
O b. enjoyedplaysandfrequentlyattended
Denormances.
D c. wrote plays and sometimesappearedon stage.
a
lJ
One of Shakespeare's
real-life riva]s was the
playwright
D a. Geoffrev Chaucer.
D b. Chri.toiher i\Iarlowe.
Jc. Tomstoppard.
O
J
Thoughwe think of him as aplayv,right, during
most of his life Shakesoeare
was also
Ju
ulau,}'er.
Db. ajournalist.
D c. an actor.
10 ;f$"*,r"rr"a
J *
Roruo
an7Julietrs
rscandal that really occurred in
ElizabethanI-ondon.
ob.an old Italian story of
star-crossed
love.
Dc.
ff"il::::"T
rvrrriSrvt5.
shakesoeare,s illRAl|nx
,\Iim
rr r r p
.
n
F
EFfftitrfiil
l
L
M
S
MA x Fa.- r o R*
O 1999 IminEV/orLs,
LI-C.
Created for Mirirnax Films.
Acnvrv Two
HAKESPEARE
ETSTHE
Qhakespearesplayswere first performedon staseslike the onein the drawinebelow.This is the onlv picturewe have
\*)fio- ElizabetJra"n
timesthat iho*. what theiriheaterslookedlike inside.Itl not a very eood dru*i;s, but vou can
seethat the audiencesurroundedthe actors.Thosewith money enoughcould sit in the babolniesthat lined the 6uildi"e.
Poorer spectatorsstoodin the spacearound the stage,which *as op6nto the .loy - and rain!
Elizabethanplavswere performedin the afternoonto usethe sunlieht.Therewere no liehts,little scenery,and only the
mostbasicsriecialeffecti.To setthe scene,Elizabethanactorsreliedon dramaticskill, elegantcostumes(often .rp"pli"d
by wealthvpatrons),and the words of the plavwright.In fact,words were ofrenthe mostJffectivetool to bring a pliy to
Ul". A"a fe- play"t'nghtswere better at creatlng.fi-i"g effectsthrough words than William Shakespeare,
PanrI
PnnrII
Here are three examplesof how Shakespeareused words to set the scene.Read each passageand, in the spaceprovided, describe how a modern filmmaker or sage Cirector rrryht
u.'" lighti"g and sp"ci"l effectsto show us what Shakespeareasl<sus to imagine.
Often in his plays,Shairespeare
used the .^tai" itself * a
metaphorfor h-umanlife. Here
are two famousexamples.Read
each one and think about the
similarities betwqgn acting on
stageandyour
duy ffi. O?
"u"iy
anct
ever
wear
a
costume
vou
make-up?Sometimesmissvour
cues?I-ove to standin the ipotOn
light? Hate to be upstaged?.
tKe back of this .h""t, *.u" t
paragraph usine Shakespeare's
th".fr.il metapllor,to describe
someaspectofyour life.
1
I
KnvcLr"r*
Bl.ow,winfu,an) crackyour
cheekd!
Raae,bl^ow/
YoucataracVtan? hurriranoe4
fD Harupn
L
,1p0Ut
Angebgil minbten ofgrace
?ifen?utt
Be"thouq dpirit of healthorgoblin
damned,
TiLlvou haue?renclte?
our
dteiplrd,?rowne?thecockd
!
You t uL/urout an? t/tought executtng
Jret,
Vaunt -courizru of oak-clravinq
than?erboLtt,
Singemy whitehea?l
How we would stagethis scenetoday:
Brinq with theeairu from heaven
or blrutdfrom hel["
Be tbn intuntt wi"cke?
or
,hniitnbb,
Thoucom)t in uc/e a
quedti"onab[z
dhape
That I will neak to thee.
How we would stagethis scenetoday:
T
All t/te worl7'da ltaoe,
An? all themrn orl ,o*rn
pkvert:
m^erelv
T/eevla'vetheirexitdan?
thiir entrancu,
An? oneman in bit timzpkyd
mantt partl.
* As You Lnc Ir
w
w
Roirrrn ANDJULtnT
Look,/ove,pbaf envinutftreakd
Do kce thercoerinocl^ouldin
uonler eatt.
I{ightd3adled areburnt out,an)
pcunddav
Star?dtipioeon themitty
mountatntopt,
Howwe would stagethis scenetoday:
Z
t
Lifel but a walkingtha?ow,a
p00r plaaen
t'hot )trit, ad lrett hidlaour
uponthedtaqe,
Ail thenb hiail no more.It
fuatab
ToDby an i)i"ot,full of doun7
andfury,
Stgnifyiis nothing.
- MRcgBtH
ilmAinx
L
M
S
EEH$EMfr#s*Ertr"'
DeMrt )rawing of tbc Swan Theatcr r. lreo.
@ 1999Learnineworks,LLC.
Createdfor Mirimax Films.
Acrvnv THREE
WORDS,
WORDS;
Qhakespeares plays can seemhard to understandat first becausemany of the words are unfamiliarto us. But itt not
t) lone beforethe beautvand richnessof thosewords - and the timelesstharacters
thev create- beein1otake on a life of
their orin. In fact, ..r".ty 6f Shakespeare's
lines are probabfr part ofyour life already.fu ihe writer Beriard Irvin explains:
If vou haveever refirsedto budeean inch, if vou havebeentonsue-tied,hoodwinkedor in a piclde,if
ittto stitches,hil.hort .h.ift,
uo".rhuu. sleotnot otr" *ittk o.l"----=--*hol
*sdlf
.okl comfort, or
oi6o
too much
r"r.h
ib cold
-*hy"o-Fo.l
of a sood thins, if vou have
you are quoting
Shak6speare!
_
J
All the underlinedexpressionshere come originally from Shakespeare,
and .you can find dozensmore in everyday
conversation.It s almoit as if we learn to love Sliakesfiear"'.languagebeforewe &e.t read oneof his plays.
PanrI
PanrII
Each ofthe short scenesquoted below containsone Shakespeareanexpressionthat has become
part of our everyday lanzuage.For each scene,underline the familiar-expression,then give an
ixample to sho* ho* *."".Jit today. Discuss in classwhether th" rn."nittg of theseexprissions
has cfianged or stayed the samein t6e 400 years since they were first uttere=don the stale.
Heret vour chanceto createsomememorable"Shakespearean
expressionsof
your own, using the Bards patented
techniquefor hurlinginsults.Just combineo,ieword from eachcolumn,1-2-5,
and launchvour insult with a thunderprovidedto
thespaces
ous"Thou...t'Use
addvour own termstdthis irsenal.But
watJh whereyou aim theseput-downs.
Thev could be imrnortalt
1 MistressQuickly,the ownerof the
I Boar'sHeadTavern,chargesSir John
Falstaffwith failingto puy hir debtsin
Henrylll Part2.
Mistress: And it please
your Grace,I am
u poor*'do*"of Eastcheap,
arid he is anestedat my suit.
i
Chief Justice:For what sum?
Mistress: It is morethan for some,mv
"
lord, it is for all I have.He
hath eatenme out of house
and home.He hath out all mv
substance
into that fat bellv,if
his,but I will havero-" olit
out again.
discuss
{D T*o o[ Caesarsenemies
Z reactions
to hislatestshowof powerin
Julitu Car^tat,
Cassius:Did Cicerosavanwhine?
Casca. Av he spokeG.."k.
C,assius:To whdieffect?
Casca: Nay...thosethat understood
him
.-il.d.t oneanotherandshook
their heads.But for mineown oart,
it wasGreekto me.
Howwe usethe expression
today:
1
:
,2
i,
clotpole
brazenbeetle-headed
fawning clav-brained
hedge-p]g
greasy dog-hearted lout
Howwe usethe expression
today:
Z Ophetiais buriedbv herbrothe4laertes,
O *t QueenGertrule, Harnlet'smothe[
flowerson herEravein
who scatters
Hamlzt.
Laertes: I-ay herin the eanh,
And from her fair and
unpollutedflesh
Mav violetssprins....
farewel]l
Gertmde: Sweetsto the'swe-et,
I hopedthoushouldsthave
beenmv Hamletswife.
I thougK tlry bride-bedto have
deckJ{ sweetmaid,
And not havestrewedthy grave.
Howwe usethe expression
today:
knavish fly-bitten malignancy
reeky rump-fed scantling
wanton shag-eared varlet
TITPAiIAX
W'
AX FAcroR'
O 1999hamineworks, LLC.
Createdfor Mirimax Fihns.
Acnvrv Foun
Grr rN
THE ACT
hakespeare's
Romroad Julietmav be the best-knownplav ever
*rin"'n. Even^ifyouve never,"id.it, attended p"rfoi-"un.",
or seen one of the many movies it has inspired,"vou're probafamilies
bly
Dryrarnuar
familiar^rqth
wrtn Ine
rwo voung people'wnose
slory. T*oyouttg
pebpl"yhop ra[u[es
thest5ry.
are bitteienemies fall in love, arid akhoush do^o-"d, their love transcendsthe hatredof thosearoundth"-.1'. a timelesstale of trasic
romancethat was a"Yrt" in ELzabethanLondon and has beco-E a
classicaround the world.
plavs,however,it's importantto remem- $
fu with all of Shakespeare's
"not
ber that Romtoail iulfut wis
written to be iead. Shakespeare\
expectedpeopleto seeand hear this love story, and with.a little practice,you.can Ieap t9 stagethe play inyour or,vnimagination * or ev€fl
re-stageit to makethe storyyour own.
PnnrI
When actorsprepare to perform a play, they sometimescreatea "promptbook." This
is a copv of the plav marked to desiri6e the"settinefor eachscene'andio show how
th" a"fdr. move'on"stage,how they gestureat cert"ainplaces,how they color certain
words with a particulai tone o[ rro'icE,
a.,d so on. Herdis the start of i promptbook
lor the famoui balconv scenein Romeo
an) Julbt. Read the dialoguecarefullv,tryins to
imaqine how it might be qerformed,and add your own commen-ts
to show ho* yoi
would brrnEthe sceneto lrte.
TheSettini:
Julietr
Romeo:
Juliet:
Oh Romeo,Romeo! Wherefore art thou Romeo?
Deny thy father, and refuse thy name;
empha^tize
Or, if th6" wilt not, be but .*6"n my love,
And I1l no longer be a Capulet.
Shall I hear more, or shall I speakat this?
whfuperu
to hiruef
'Tis
but thv name that is my enemv;
Thou art tLvself,thoush n6t Md.ttuer".
"
What's Moitaeue? It L nor hu"dJ----_foot,
Nor arm, nor I""", nor any other part
Belongineto a man.Ol b;.orn" oth"t name:
What! in-a name? That which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo called,
Retain that dear perfectionwhich he owes
Without that title. Romeo,doff th.yname;
And for thy name, which is no pait of thee,
Take all m'uself.
nil ,uitha tnarl
I take thee at thv word.
benewbaptized;
ffil
Henceforth I never will be Romeo.
fT!h"r" is a story that actors
I sometimestell"about a Derformance of Romn an7 Julfit at
which a memberof the audience,
caushtup
'atin the storv,shoutedto
Roileo
the pliv's climax,
"Doni do itl Shes"still alivel"
Desoite this warnins, the plav
end6dtrasicallv as Sl-r.k"rp!"r"
intended." bui the anecdote
reminds us that thines mieht
have turned out diflferenilv,
for better or worse. On tlie
back of this sheet, write a
paragraph
-for describing a new
Romeoai) Juliet.
bndiiE
Complre vour ideas with
then
thoseof yorlr classmates,
enddiscusswlry Shakespeare's
ine has
th.
"eE..d
right one
reacbet/or a rorc?
J
Romeo:
PanrII
leaptforraafi an7 iloutd !
tor more
than400
years.
}|mAr|nx
MAXFAcToR"
@ 1999LearninEWorks,LLC.
ureated
tor _LYlrramax rilms.