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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

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 staging Shakespeare’s The Tempest, then discuss the designs shown...

View

Dickinson College http://www.youtube.com/watch?v=WqxlIgTxc0w

Penny Hes Yassour http://www.youtube.com/watch?v=8y26JsEztVA

MB Productions http://www.youtube.com/watch?v=mv1vIOva2OY&feature=related

Create five drama spaces to improvise tableaus within. Each space represents the class’ interpretation of The Tempest...

Play

The five spaces can be based on costume, props, setting, colour and atmosphere. When the spaces are finalised, move to the allocated areas and freeze when a category is called.

Using the ‘terms of address’, return to ‘Fold 2’ (and while keeping the same themes for each space), begin to physically explore each of the allocated areas... Write

Hang cur, hang, you whoreson, insolent noisemaker! The Tempest

Add the verbal aspects of the ‘terms of address’ to encourage social status interaction See page 6

(Act 1, Scene 1) Obtained from http://www.curriculumsupport.education.nsw.gov.au/ secondary/english/stages4_5/teachlearn/eng_esl/eng_esl.htm

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Terms of address in Shakespeare’s time Match up the term of address in bold with the person you would use this term with in Shakespearean English. You can use your dictionary to help you. Sir

A term of address used with people you know well such as family and friends. It is also used by older people talking to children. It is similar to „tu‟ in French.

Madam or dame

A term of address used with serving women mostly. It is not an impolite term unless it is used with someone above your social situation, e.g. if you used this term with a queen or a person with high social status it would be insulting.

Sirrah

A respectful form of address that is used with kings and queens.

Lord

A term used for male relatives such as uncles, brothers-in-law, etc.

Lady

A male form of address. This is used to speak to men who are below your social situation and or age. You might use this as a master to your servant or as an older person to a younger person or as a teacher to a student.

Your Majesty or Your Highness

A term that is used with children in an affectionate way. If used with adults, it is a mild insult usually used for someone who has done something unkind.

Thou

A respectful form of address used with males.

Cousin, coz

A respectful form of address used with females who are members of royalty or closely connected with royalty.

Wench

A respectful from of address used with females.

Wretch

A respectful form of address used with males who are members of royalty or closely connected with royalty.

Terms sourced from: Shakespeare: A teacher’s handbook by Wendy Michaels, Jesse Hise, Ken Watson, Anthony Adams. St Clair Press, Sydney 2001.

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Discuss the different aspects of the production. Develop and start employing the desired theatre terminology (e.g. lighting design, atmosphere, soundscapes)...

Discuss

Research

Research information about Shakespeare WA. Explore online, or through newspaper reviews to investigate a specific area of interest in any backstage production roles, as well as creating a ‘key’ research question... See page 8

Present research on Shakespeare WA, particularly focusing on your ‘key’ research question. Present the finding as part of a ‘Theatre Arts’ television show... Play Two students are the hosts of a fictitious morning program on TV, while two other students take on the role of a production member for Shakespeare WA. The show’s discussion is based around the research finding, and should illustrate your interaction with the idea of the Shakespeare WA mission statement. Morning,

Good ...and welcome to Theatre Arts!

See page 9

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Shakespeare WA About the Director – Paige Newmark Paige Newmark - Artistic Director. Producer, Director, Academic. Internationally recognized for his work as a director and teacher of Shakespeare plays, Paige Newmark brings a unique combination of skills to the company. He is currently the Honorary Patron of the Shakespeare Company and also an Editorial Consultant for the journal “Shakespeare in Southern Africa”. Most significantly he founded Shakespeare SA, the touring Shakespeare Company of South Africa, whose success provides the template for Shakespeare WA. Acting credits include David Zucker‟s film For Goodness Sake, a brief appearance in Frank Marshall‟s Roller Coaster Rabbit, and the BBC‟s Kavanaugh QC. In addition to his theatrical work, Paige is also an academic. He has taught and guest lectured at numerous renowned academic institutions, including his alma mater the University of Oxford, Stanford University, Williams University, UCLA, USC, Rhodes University in South Africa and locally at the University of Western Australia. In 2008 his chapter on maps and Marlowe was published a new book entitled Renaissance Poetry and Drama in Context: Essays for Christopher Wortham. After the success of A Midsummer Night's Dream in 2009, The Taming of the Shrew in 2010, and last year‟s production of Romeo and Juliet in King‟s Park, Paige will once again take the helm for the 2012 productions of The Comedy of Errors and The Tempest

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Shakespeare WA Research What information about Shakespeare WA would you like to research? How long has Shakespeare WA been associated with „Shakespeare in the Park‟? What does an Artistic Director do? Your Question ____________________________________________________ ?

Desired Information

Approaches to locating Information (e.g. Web addresses, newspapers)

Interesting Information located (e.g. Website name, Magazine issue)

Research Findings

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Discuss the dramatic elements seen in The Tempest. Try to define structure and narrative, as well as the elements themselves...

Discuss

See page 11 Obtained from http://www.docstoc.com/docs/528893/narrative-elements---story-map-handout

Create a tableau, detailing a particular (yet significant) scene from The Tempest. Try to link the tableau to the narrative elements of the play...

Play

Draw this single tableau in this workbook. Focus on production technologies, specifically the set, costumes and properties... Write

See page 12

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Story Map Discuss the narrative in The Tempest.

Beginning Who are the main characters?

When and where does the story take place? Describe.

Middle What is the problem?

How are the characters trying to solve the problem?

End How is the problem finally solved?

How did the setting (place, time, period, and culture) influence this story?

Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12

Creating a ‘frame’ Draw a single scene from The Tempest, focusing on plot and style, as well as incorporating technological elements.

Act ____ Scene ____

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Create a series of blogs that link the narrative of a character’s speech with the series of events that follow throughout the play...

Discuss

Choose three scenes, preferably from the beginning, middle and the end of the play as a means to discuss the entire narrative See page 14 Based on http://www.readwritethink.org/files/ resources/lesson_images/lesson857/interp-projects.pdf

Create a series of tableaus, detailing 10 important scenes in order...

Write

Draw the whole play in 10 significant images. The storyboard needs to reflect the narrative and important points in the plot.

See page 15

Play

With the script provided, perform a modern day translation of The Tempest. Engage with this reinterpretation of the play, and the key tableaus that your group established as important to the narrative... See pages 16 and 17 Obtained from http://www.tes.co.uk/ResourceDetail.aspx?storyCode=3004069

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Blogging Re-write three scenes from The Tempest in the form of a blog

Scene description

„Blog‟ interpretation

Act ___ Scene ___

Act ___ Scene ___

Act ___ Scene ___

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Storyboarding the whole play Draw the play of The Tempest in 10 frames.

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The Tempest- the drastically edited version Narrator One: Far, far away, on the coast of a strange island that was forever wrapped in mists that the sun changed into moving curtains of gold, young Miranda and her loving father, the magician Prospero, watched a ship that was about to be smashed to pieces. His face was calm; hers was pale and frightened. Prospero had once been the Duke of Milan, but his power-hungry brother has cast the three year old Miranda and Prospero to sea in a small boat. Narrator Two: They drifted to a strange island where only Caliban the monster and tree-imprisoned sprites lived. Ariel, a sprite released from her tree by Prospero’s magic, and Caliban became Prospero’s slaves. Miranda thought her father might have caused the storm. He told Miranda that the storm-tossed seas carried his old enemies. Narrator One: Under Prospero’s orders, Ariel spirited the ship’s company ashore but brought Antonio, Gonzalo and King Alonso away from the rest of the group. The King feared his son, the Prince Ferdinand, must have drowned. Prospero questioned Ariel. Prospero: But are they, Ariel, safe? Ariel: Not a hair perish’d… The king’s son have I landed by himself.” Narrator Two: In the guise of a sea nymph, Ariel sang to draw Ferdinand to the cave where Miranda rested. Ferdinand stared in wonder and Miranda returned his gaze. Miranda: I might call him a thing divine. Ferdinand: O you wonder! Narrator One: As Prospero had planned, the youngsters fell in love. To seal the bond, Prospero deliberately accused Ferdinand of spying and forbade Miranda to talk to the Prince but set him to work close by the cave. Prospero (to Ferdinand): I’ll manacle thy neck and feet together. Miranda: Beseech you, father! Prospero watched Miranda and Ferdinand’s love blossom and finally he relented. Prospero: Take my daughter. He called forth a flock of nymphs to sing a blessing on their engagement. Narrator Two: Meanwhile, Caliban was gathering driftwood for the fire. Trinculo, the king’s jester, and Stefano, the drunken butler, stumbled into the same clearing. Caliban, unaware of the shipwreck, thought they had dropped from the moon. Caliban: Hast thou not dropped from heaven?

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Thinking them very powerful, Caliban urged Trinculo and Stefano to kill his master, Prospero. Trinculo: Monster, I will kill this man. Ariel overheard the three and flew off to tell her Master. As the murderous trio approached, Prospero unleashed a pack of snarling phantom hounds, which chased them to the far side of the island. Narrator One: King Alonzo and Antonio had been searching for Ferdinand. Alonzo: He is drowned who thus we stray to find. Tired and hungry, they were shocked when suddenly a table of food materialised before them. Just as they began to eat, Ariel appeared, disguised as a harpy. Ariel: You are three men of sin! She drew them into a magic circle where they were held like unwilling statues and reminded the pair of their sins against Prospero and Miranda. Narrator Two: Prospero suddenly appeared before them as though risen from the dead. Antonio and King Alonzo were awestruck and begged to be forgiven. Alonzo: Thy dukedom I resign, and do entreat Thou pardon me my wrongs. At last Prospero’s anger was calmed, and he released them from the circle, leading them to the cave where Ferdinand and Miranda were playing chess. Narrator One: King Alonzo was overjoyed at finding his son alive, and seeing Miranda’s beauty and his son’s happiness, gave permission for them to marry. Ferdinand: I chose her when I could not ask my father Alonzo: Let grief and sorrow still embrace his heart That doth not wish you joy! In the middle of the happy party, came Caliban, Trinculo and Stefano, urged on by Ariel. Prospero forgave them too, and then everyone settled to hear of Prospero’s adventures of the past twelve years. Narrator Two: They all planned to sail to Naples the next morning for the wedding of Miranda and Ferdinand. That night, Prospero released Ariel from his services, who promised him good winds for the journey. Then Prospero threw off his magic cloak, buried his staff deep in the ground and threw his book of magic out to sea. Prospero was leaving the enchanted island to Caliban and the sprites. Prospero’s tempest had worked and his dukedom was restored. Prospero: Now all my charms are all o’erthrown And what strength I have’s mine own.

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Develop a set for The Tempest using material at hand. Create an environment using class chairs and tables, a broom, bins etc...

Discuss

Discuss the different design terminology and how they function... See page 19 Obtained from http://nationalstrategies.standards. dcsf.gov.uk/node/197700?uc=force_uj

Play

Improvise your ‘Scene 4, Fold 3’ script in a completely different stage design. Work within the stylised or minimalist version of your set from ‘Fold 1’. Create a prompt book to remember blocking...

Research the Globe theatre in pairs, attempting to answer some of the significant design aspects...

Research

See pages 20 and 21 Obtained from http://www.curriculumsupport.education.nsw.gov.au/ secondary/english/stages4_5/teachlearn/eng_esl/eng_esl.htm

Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12

Design terms PERIOD This is when the design of the set and costumes suggests a particular period. This doesn‟t have to be Shakespeare‟s time, but could be Edwardian, Victorian, and so on. STYLISED Usually this means that the director, producer and so on decide on a particular „look‟ for a production, but it may be one that mixes styles, periods and ideas – so a knight might appear on a scooter, or a king wear a paper crown and carry a sub-machine gun. MINIMALIST This tends to mean very simple, sparse, basic costume and set, with ideas or themes suggested by simple items. So, a whole bedroom could be suggested by a bed on the stage, or a forest by a single tree. Characters might wear simple T-shirts and jeans, maybe with one item such as a crown to show who they are. MIX of the above Of course, some designs mix the elements together, so that a production could look mostly Elizabethan, but there may be a very simple, minimalist stage. In some ways, you could call this „stylised‟.

What style appeals to you and why?

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The Globe Theatre Instructions: Use the Internet to find answers to the following research questions. Web sites to get you started:    

www.acslink.aone.net.au/sandhurst/globe/globe.htm www.rdg.ac.uk/globe/ www.rdg.ac.uk/globe/oldglobe/oldglobe_index.htm http://absoluteshakespeare.com/trivia/globe/globe.htm Research questions

1. When and where was the original Globe theatre built? 2. Who owned the original Globe theatre? 3.

a. How much did it cost to enter and watch a play at the theatre? b. Who attended the theatre in the 1600s? c. What were the different audience areas in the Globe theatre called? Who used these different sections? d. How many people could fit in the Globe theatre to watch a performance?

4. What was different about the design of the Globe theatre compared to modern theatres? Why might it have been built in this way? 5. In what ways was the experience of the theatre goer different in Shakespeare‟s time from a visit to the theatre today? 6. Shakespeare and the other playwrights involved in the Globe theatre wrote and performed plays. They called themselves The Chamberlain’s Men. Why did they call themselves this? (Optional) 7. What was the name of the main rival of The Chamberlain’s Men (another group that they competed with for audiences) and what was the name of their playhouse? (Optional)

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8. What was the motto of the Globe theatre? Which of Shakespeare‟s plays contains a very similar line? What do you think that it means? (Optional) 9. When did the Globe theatre close? Who closed the theatre and why? (Optional) 10. The Globe was rebuilt and reopened in England in 1990‟s. In what ways would a performance in the Globe theatre in the 1600‟s differ from a performance in the Globe theatre today?

Based on researched images, draw the Globe theatre.

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Play

Return to the script from ‘Scene 5, Fold 2’, and improvise the same scene without the script in hand. Create new dialogue, but maintain the movement according to the mini-prompt book...

Discuss and start completing the production design summary, detailing the changes that will be made to recreate this script in a ‘box’ theatre...

Write

See page 23 Obtained from http://nationalstrategies.standards.dcsf.gov.uk/node/197700?uc=force_uj

Research and design stick figure characters for your theatre. Maintain a link to the play, as well as your chosen design style...

Write

See page 24 Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12

Production design summary My basic design would be as follows:

The effect I am trying to create is

This would fit the play because

Some particular ideas I have are

I have produced

to support my ideas.

These show

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Designing Characters Discuss and design you stick puppets

Name:

Draw your design

Appearance:

Clothing:

Properties used:

Thematic function:

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Discuss

Draw your final design for the ‘box’ theatre. The theatre should have access for ‘characters’ to enter and exit, as well as room for created set pieces and properties... then start your construction...

After completing the ‘box’ theatre and stick puppets, discuss the use and practical application (if any) for such a small theatre. See page 26

Work with technologies and rehearse the piece with stick puppets, sound, lighting, props and backdrops...

Rehearse

Research

Reflect on the design choices related to the ‘box’ theatre and set construction, as well as the drama technologies implemented in your performance piece. Reflection should include how the theatre space affects the production and the audience’s view of the performance... See page 27

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Designing a stage Front view

Bird‟s eye view

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Reflection on design Reflect on the design and function of your created theatre

Does your theatre reflect Shakespearean or Modern design? Why did you choose this design?

The motivation to design the theatre was…

What is the relationship between the audience and the performance?

The updated script works well with this set because…

…and...

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Create (or find) your own vocal warm-up to prepare for the performance...

Play

Perform

Research

Locate a Shakespearean tongue twister at www.e-shakespeare.org/twist.html

Perform your piece using the stick puppets, drama technologies and the ‘box’ theatre that you have designed and created. At the introduction to your performance, you can discuss your design choices and motivations...

Reflect on the performances of yourself and other students by identifying the way the theatre space affected the audiences’ engagement with the piece and the effective use of drama technologies on the performance... See page 29

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Reflection on group and individual performance Reflect and discuss

Your group

Other groups

Did all elements of the „theatre‟ work? (Example)

Was the script appropriately re-adapted? (Example)

What technologies were used?

How was the piece engaging?

Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12

Images Parkside Theatre‟s The Tempest http://www.uwp.edu/departments/theatre.arts/photogallery.cfm?showID=96#ht tp://www.uwp.edu/departments/theatre.arts/showphotos/20032004/tempest/tempest156.jpg David Samuel Production Design for The Tempest http://davidsamueldesign.com/folio/the-tempest 2010 film, The Tempest http://tempest.movie-trailer.com/ Comic Art Fans image of The Tempest http://www.comicartfans.com/gallerypiece.asp?piece=676246&gsub=101407 2010 film, The Tempest http://feedthelink.info/the-tempest-2011 Image of chairs from http://www.flickr.com/photos/myyra_ug/3090256304/ Image of Globe theatre http://www.squidoo.com/globe-theater Shadow Puppet Theatre http://www.jamboree.freedom-ineducation.co.uk/w%27s%20craft%20corner/shadow%20puppets.htm Lucie Collins – Margate Theatre Royal http://lucie1collins.blogspot.com/2010/12/sketch-model_02.html Czechoslovak-American Marionette Theatre‟s Twelfth Night http://newsblaze.com/story/20091031054325jnyc.nb/topstory.html David Fichter„s The Tempest http://davidfichter.net/theatreDesign/?subCat=puppet%20and%20set%20desi gn&setID=374#The%20Tempest Macbeth: The Puppet Shakespeare http://news.harvard.edu/gazette/2002/12.12/18-macbeth.html The Heart of American Shakespeare Festival‟s King Richard III http://www.nbcactionnews.com/dpp/lifestyle/proud_to_call_it_home/thisseason-the-heart-of-american-shakespeare-festival-presents-king-richard-ii Image of King Lear puppets http://www.flickr.com/photos/jimmiehomeschoolmom/sets/7215761270806903 4/detail/?page=2

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