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You Wouldn’t Want to Be a Shakespearean Actor!
Teachers’ Information Sheet by Nicky Milsted
It is the late 16th century, and the book follows the fortunes of a young boy who aspires to be an actor. He lives just outside London, in Shoreditch, where a new playhouse has just been built by James Burbage for his company of actors. The company also includes an upcoming and talented playwright called William Shakespeare.
After hanging around the theatre and volunteering as an ‘extra’ to play small background roles – much to his parents’ disgust – the boy is offered an apprenticeship with the company. He soon learns, however, that life as part of Burbage’s company is not easy. There are errands to run, costumes to try on, hours of rehearsals and endless lines to learn. The boy is trained to take on the female parts in the plays. He learns to walk, talk and even dress like a lady because women don’t act in the theatre in the 16th century.
An outbreak of plague in 1597 sees the company’s theatre closed to try and halt the spread of the deadly disease; the company takes to the road to try and earn money by putting on plays in other towns. But it is a difficult time for the company. They are turned away from many places and have little to eat and nowhere, other than in barns or underneath their wagon, to sleep. When they return to London, they are thrown out of their theatre and have to club together to build a new theatre, which is called the Globe. This later burns down! So although on the face of it life on stage sounds glamorous, it is clear that You Wouldn’t Want to Be a Shakespearean Actor! William Shakespeare was born in 1564 in Stratford-upon-Avon in England. He remains the most famous writer that has ever produced works in English. He wrote around 38 plays – the exact number is still debated! – and more than 150 sonnets (which are a type of 14-line poem). Shakespeare’s plays have been performed more often than those by any other writer. They have been made into countless films and TV adaptations, as well as inspiring other works of literature and art. Shakespeare’s work has been translated into at least 80 different languages (including Star Trek’s Klingon!).
In the later 16th century, Shakespeare left Stratford-upon-Avon and moved to London, where he joined ‘The Lord Chamberlain’s Men’, the acting company of Richard Burbage. He wrote the majority of the plays performed by the company, as well as appearing in them as an actor too. When James ascended to the throne after the death of Elizabeth I in 1603, the company was given royal patronage and became ‘The King’s Men’.
You Wouldn’t Want to Be a S hakespearean Actor!
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Who was William Shakespeare?
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Shakespeare’s plays included history plays about England’s kings, such as Henry V, comedies like As You Like It, and tragedies including Romeo and Juliet and Hamlet.
Shakespeare is credited with introducing a large number of words and phrases into the English language that are still used today. Examples include: ● ● ● ● ●
A foregone conclusion (from Othello) A sorry sight (from Hamlet) All of a sudden (from The Taming of the Shrew) Dash to pieces (from The Tempest) Good riddance (from Troilus and Cressida)
Shakespeare retired from his life on the stage and as a playwright in around 1613, and returned to Stratford where he died in 1616. Famously his last will and testament included the gift to his wife, Anne Hathaway, of his ‘second best bed’! Activity 1: Life as an apprentice
Life as an apprentice in a Tudor theatre would have been hectic. The boy in You Wouldn’t Want to Be a Shakespearean Actor lives with the Burbage family, but has to do chores to earn his keep. Alongside his acting, he spends his time fetching and carrying, moving props around, and helping to clean up the theatre after the performances. He also has lengthy rehearsals to attend, and lots of lines to learn and remember – for between 50 and 100 different roles in as many as 40 different plays! It would be really tricky to remember which lines were from which plays. The boy usually plays women’s roles (because women aren’t allowed to act). This makes costume fittings a particularly long and unpleasant experience; he is forced into a metal corset and a metal-hooped underskirt called a farthingale before donning an elaborate dress and wig!
Your pupils could also prepare an itinerary or daily schedule for an apprentice using the activity sheet. It would have been a day packed with rehearsals, errands and learning lines.
Activity 2: A poster for a play
Publicity is really important when it comes to putting on a play – both in Shakespeare’s times and today. Can your pupils research a Shakespearean play of their choice, and design a poster to advertise a modern performance of it? You may like to provide a selection of recent play posters for your pupils to analyse first. What elements are important on a publicity poster?
Talking point: how do your pupils think that plays may have been advertised in Shakespearean times? (See also Activity 3: The company parade)
You Wouldn’t Want to Be a Shakespearean Actor!
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Challenge your pupils to imagine that they are an apprentice in a Tudor theatre. Ask them to write a letter home to their parents describing their daily life. What do they most enjoy about their life in the theatre? What is the most difficult, boring or unpleasant task that they have to undertake? What do they miss from home?
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Extension activity: 2016 is the 400th anniversary of William Shakespeare’s death. Challenge your pupils to design a poster or piece of artwork to mark this anniversary.
You could ask your pupils to think of ways that the anniversary could be celebrated – would they want to put on a Shakespeare festival, create a modern musical montage of some of his most famous lines, or nominate ‘National Speak-like-Shakespeare Day’ for charity for example?! Encourage your pupils to be imaginative and creative with their ideas! Can they ‘sell’ their anniversary idea to their classmates? Activity 3: The company parade
When Shakespeare’s company, the Lord Chamberlain’s Men, is forced to leave their theatre and London during an outbreak of Bubonic Plague (the Black Death) in 1597, they take their plays on tour. When they arrive in a new town, it is important for the company to make sure that everyone knows they have arrived and create enough excitement to ensure that people living in the town attend their performance. The members of the company would take part in a company parade through the streets showing off their acting and singing skills. Some of the company may have played musical instruments; others may have juggled or shown off acrobatic skills.
Challenge your class to put on their own company parade! They could work together or in small groups. They might like to compose and perform a song about why people should come and watch them perform. They may like to choreograph a dance routine, or perform lines from one of Shakespeare’s plays. Why not try… performing your parade for an invited audience of parents? Activity 4: Shakespeare’s language
Begin by challenging your pupils to match the modern English explanations of some (or all) with the Shakespearean phrases on the activity sheets. Can they write sentences of their own that include the Shakespearean phrases?
Why not try… a game of Shakespeare phrase bingo? Each pupil should choose nine phrases from the activity sheets to include in their blank grid on the ‘Hark you!’ activity sheet. Read out the Shakespeare phrases one at a time at random to complete a game of bingo. For Shakespearean authenticity, rather than using ‘bingo’ as the winning call, use ‘hark you!’ It was used by Shakespeare in his plays as a means for a character to attract the attention of others. For example, in Hamlet, Hamlet encourages Rosencrantz and Guildenstern to listen to him by saying: “Hark you, Guildenstern – and you too – at each ear a hearer”
You Wouldn’t Want to Be a Shakespearean Actor!
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Lots of common phrases in the English language today were first used by Shakespeare.
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Extension activity: with more able pupils, or once you have played a simple game of Shakespeare phrase bingo and your pupils are confident that they know the phrases, try using the modern English explanations, rather than the phrases themselves.
When your pupils are very familiar with the phrases, you could even try playing Shakespeare phrase bingo by just calling out the names of Shakespeare’s plays and matching phrases to the plays that they were used in!
Research challenge: Shakespeare wrote large sections of many of his plays using rhyming couplets and iambic pentameter. Can your pupils use the internet to help them to find out what iambic pentameter is? They could even try writing some of their own rhyming couplets in iambic pentameter! Extension activity: alongside his plays, Shakespeare wrote over 150 sonnets. These are a type of 14-line poem with a structured rhyming pattern, written in iambic pentameter. One of Shakespeare’s most well-known sonnets, known as Sonnet 116, is reproduced below (and on the activity sheet). This poem is still read regularly at weddings today. Can your pupils work out the rhyming pattern? When reading it aloud, can they hear the rhythm of the iambic pentameter?
Challenge your pupils to try and write their own sonnets. Remember that they must follow the ‘da dum, da dum, da dum, da dum, da dum’ rhythm of iambic pentameter, and must have a regular rhyming pattern too! Activity 5: Play scripts
Take a section from a Shakespearean play of your choice and encourage your pupils to look at how play scripts are set out. Can they spot elements such as scene setting and stage directions? How do you know which character says which words? Are there clues about how words should be spoken?
You Wouldn’t Want to Be a Shakespearean Actor!
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Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no! it is an ever-fixed mark, That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth’s unknown, although his height be taken. Love’s not Time’s fool, though rosy lips and cheeks Within his bending sickle’s compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.
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Either: challenge your pupils to create their own play script of a simple story (you could pick a well-known fairy story such as Goldilocks and the Three Bears)
Or: ask your pupils to annotate a section from a Shakespearean play, identifying the different elements of the play script. Can they write a play script in modern English retelling the action and dialogue from the section of the Shakespearean play? Activity 6: Memorising lines
Learning and remembering lines was one of the hardest elements of being a Shakespearean actor. Shakespeare’s plays included long monologues (speeches by one character, often reflecting on their own feelings or motivations) as well as lots of complicated interaction between characters.
All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse’s arms. Then, the whining school-boy with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then, a soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden, and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then, the justice, In fair round belly, with a good capon lined, With eyes severe, and beard of formal cut, Full of wise saws, and modern instances, And so he plays his part. The sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose and pouch on side, His youthful hose, well saved, a world too wide For his shrunk shank, and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything
You Wouldn’t Want to Be a Shakespearean Actor!
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Challenge your pupils to memorise a monologue from one of Shakespeare’s plays. A good choice is the ‘Seven ages of man’ speech from As You Like It (Act II Scene VII) which begins with the famous line “All the world’s a stage” (reproduced below, and on the activity sheet).
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Learning lines is a skill that requires a lot of practice. Our top ten tips below will help your pupils – which method do they find helps them most?!
You Wouldn’t Want to Be… Memorising Lines! – our Top Ten Tips! 1)
Read out loud – read the passage that you are trying to memorise out loud. Repeat, repeat, repeat, repeat! And then, repeat again!!
3)
Record your lines – try using an MP3 player, mobile phone or computer to record you saying the lines aloud. Replay this recording to yourself when you are doing other things.
4) 5) 6) 7) 8)
9)
10)
Add a little bit at a time – don't try to memorise the whole passage at once. Work in small chunks and you'll find it easier to learn. With the ‘Seven ages of man’ speech, you might like to work on each ‘age’ separately.
Write down your lines – writing and rewriting the lines out on paper by hand (or typing them on a computer repeatedly) can help you to remember them.
Move around as you memorise – it is much easier to remember lines if you add in movement at the same time. Use gestures or different movements when you say particular words or phrases. In the ‘Seven ages of man’ speech, you could associate a different gesture or movement with each ‘age’. Use visualisation – think about pictures or people when you are saying your words. Can you imagine the person as each of the seven ages from the speech? What would they look like? Linking a picture in your mind with the words will also help you to remember them.
Work from the beginning – start learning your lines from the beginning. When you are confident with the first line, add in the second line, then the third, and so on. See how far you can go without forgetting something!
Work from the end – sometimes it can actually help to start at the end of the speech and work backwards! Start with learning the last line of your speech, then add on the line before it, then the one before that, and so on. The advantage with this approach (over working forwards) is that you’ll be saying the newest information first each time as you add more on and working towards the parts that you are really confident with, rather than starting with what you know and working towards what you don’t know!
Practice with someone – having someone to listen to you and prompt you can really help, especially when you are confident that you nearly know it all!
Try singing your lines – singing, rather than saying, your lines help you to remember them as the tune will help to fix them in your head!
Why not try… performing the monologue(s) to an invited audience of parents?
You Wouldn’t Want to Be a Shakespearean Actor!
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2)
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Activity 7: Costume design
Challenge your pupils to design a costume for a character of their choice from a Shakespeare play. They might like to design a costume for a boy playing a woman’s role! They can use the pictures from You Wouldn’t Want to Be a Shakespearean Actor for inspiration. Extension activity: suggest that your pupils have been invited to design a costume for the same character in a version of the play in a modern setting. How would the costume vary from the one that they designed for the play set in Shakespeare’s time? Activity 8: Tussy mussys and pomanders
In You Wouldn’t Want to Be a Shakespearean Actor, the company leave London when there is an outbreak of plague. Many people in Shakespeare’s time believed that sweet-smelling herbs could help to fight or prevent the plague. People carried pomanders – small balls of scented gum or wax – to sniff regularly to try to ward off illnesses. An alternative to a pomander would have been a simple tussy mussy. There are instructions for making a tussy mussy on the activity sheet. The instructions and photos are reproduced with the kind permission of the Young Archaeologists’ Club (www.yac-uk.org).
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‘Life as an apprentice’ creative writing sheet ‘An apprentice’s day’ creative writing sheet ‘Shakespeare’s language’ activity sheets (4) Shakespeare bingo! grid Sonnet 116 by William Shakespeare ‘Seven ages of man’ from As You Like It by William Shakespeare (Act II Scene VII) Costume design How to make a tussy mussy Blank sheet with the border top and bottom for your pupils’ own artwork and writing
You Wouldn’t Want to Be a Shakespearean Actor!
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Pupils’ pack contents
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Shakespeare’s language
Below you will find the correct explanations for each of the Shakespearean phrases in modern English. There are four sheets of phrases and explanations to mirror the four activity sheets in the pupils’ pack. You can use this phrase list and/or the explanations for your game of Shakespeare bingo. You could even use the play in which Shakespeare used the phrase to make the game really tricky! (Note: there are some plays that feature more than once.)
A sorry sight Macbeth
Something unwelcome. Nowadays also used to describe someone or something that is untidy or messy
All that glisters is not gold* The Merchant of Venice
Not everything that looks good is valuable * In modern English this phrase is usually ‘All that glitters...’
All one to me Troilus and Cressida
When making a choice between options, any one is as good as another
As cold as stone Henry V
Very cold
The be all and end all Macbeth
Something that is the last word or complete solution to an issue
As merry as the day is long Much Ado About Nothing
Used to describe a person who is very happy
For ever and a day The Taming of the Shrew
Indefinitely; going on and on
Foul play Love’s Labours Lost
Bad or dishonest behaviour. Now often used to describe violence or rule-breaking in sports
Good riddance Troilus and Cressida
Being pleased to be rid of someone or something
You Wouldn’t Want to Be a Shakespearean Actor!
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Sheet 1
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Shakespeare’s language: Sheet 2 Green-eyed monster The Merchant of Venice
A feeling of jealousy
Heart's content Henry VI, Part II
Complete satisfaction; being very happy with something
High time Comedy of Errors
The correct time to do something
I will wear my heart upon my sleeve Othello
Not hiding your feelings
In a pickle The Tempest
To be in a very difficult position; stuck
In stitches Twelfth Night
To laugh and laugh and laugh...
Lie low Much Ado About Nothing
To hide or keep yourself away from others’ attention
More fool you The Taming of the Shrew
Said to someone who is doing something silly or foolish
You Wouldn’t Want to Be a Shakespearean Actor!
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Hot-blooded Having a bad temper The Merry Wives of Windsor
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Off with his head Henry VI Part III
Literally, chop off his head! The phrase was famously used by Lewis Carroll in Alice’s Adventures in Wonderland
Out of the jaws of death Twelfth Night
To be saved or rescued at the very last minute
Pomp and circumstance Othello
With great show or magnificent ceremony
A sea change The Tempest
A complete transformation
Send him packing Henry IV, Part I
To send someone away, often in disgrace
Short shrift Richard III
To make short work of something or give it little thought
The game is afoot King Henry IV Part I
The action is happening
This is the short and The plain truth; what something is the long of it The Merry Wives of Windsor To be, or not to be Hamlet
Is it better to live or to die?
You Wouldn’t Want to Be a Shakespearean Actor!
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Shakespeare’s language: Sheet 3
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Shakespeare’s language: Sheet 4 A foregone conclusion Othello
An inevitable or obvious result
All of a sudden The Taming of the Shrew
Suddenly
Dash to pieces The Tempest
Break into small pieces
Makes your hair stand on end Hamlet
Something that is frightening
Wild goose chase Romeo and Juliet
A hopeless or impossible quest
Too much of a good thing As You Like It
Having too much of something can be bad for you
Truth will out The Merchant of Venice
Whatever is true will eventually be discovered. You cannot hide the truth
Star-crossed lovers Romeo and Juliet
A name for two people who are unlucky in love
You Wouldn’t Want to Be a Shakespearean Actor!
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Fancy free Being without responsibility A Midsummer Night’s Dream
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Life as an apprentice Imagine that you are an apprentice in a Tudor theatre. Write a letter home to your parents describing your daily life. What do you most enjoy about your life in the theatre? What is the most difficult, boring or unpleasant task that you have to do? What do you miss from home? Name:
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______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ ______________________________________________________________________________ _________________________________ _________________________________ _________________________________ _________________________________ _________________________________
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______________________________________________________________________________
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An apprentice’s day
A day in the life of an apprentice in a Shakespearean theatre would have been packed full of tasks. Use this sheet to create an itinerary or daily schedule for an aspiring actor. Would they have lines to learn, rehearsals to attend or costume fittings, for example? TIME
___________
___________
___________
___________
___________
________________________________________________________________
TASK
________________________________________________________________
________________________________________________________________ ________________________________________________________________
________________________________________________________________
________________________________________________________________ ________________________________________________________________
________________________________________________________________
________________________________________________________________ ________________________________________________________________
________________________________________________________________
________________________________________________________________ ________________________________________________________________
________________________________________________________________
________________________________________________________________ ________________________________________________________________
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Shakespeare’s language (1) Lots of phrases in modern English were first used by Shakespeare.
Can you match the Shakespearean phrase with the correct explanation? Draw a line linking the phrase to its explanation. _____________________________________________________________________
A sorry sight Macbeth
Indefinitely; going on and on
All that glisters is not gold The Merchant of Venice
When making a choice between options, any one is as good as another
All one to me Troilus and Cressida
Bad or dishonest behaviour. Now often used to describe violence or rule-breaking in sports
As cold as stone Henry V
Used to describe a person who is very happy
The be all and end all Macbeth
Something unwelcome. Nowadays also used to describe someone or something that is untidy or messy
As merry as the day is long Much Ado About Nothing
Being pleased to be rid of someone or something
For ever and a day The Taming of the Shrew
Not everything that looks good is valuable
Foul play Love’s Labours Lost
Something that is the last word or complete solution to an issue
Good riddance Troilus and Cressida
Very cold
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Shakespeare’s language (2)
Lots of phrases in modern English were first used by Shakespeare.
Can you match the Shakespearean phrase with the correct explanation? Draw a line linking the phrase to its explanation. _____________________________________________________________________
Green-eyed monster The Merchant of Venice
To be in a very difficult position; stuck
Heart's content Henry VI, Part II
Said to someone who is doing something silly or foolish
High time Comedy of Errors
To laugh and laugh and laugh...
Hot-blooded The Merry Wives of Windsor
Complete satisfaction; being very happy with something
I will wear my heart upon my sleeve Othello
A feeling of jealousy
In a pickle The Tempest
The correct time to do something
In stitches Twelfth Night
To hide or keep yourself away from others’ attention
Lie low Much Ado About Nothing
Having a bad temper
More fool you The Taming of the Shrew
Not hiding your feelings
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Name:
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Shakespeare’s language (3) Lots of phrases in modern English were first used by Shakespeare.
Can you match the Shakespearean phrase with the correct explanation? Draw a line linking the phrase to its explanation. _____________________________________________________________________
Off with his head Henry VI Part III
Is it better to live or to die?
Out of the jaws of death Twelfth Night
To make short work of something or give it little thought
Pomp and circumstance Othello
A complete transformation
A sea change The Tempest
The action is happening
Send him packing Henry IV, Part I
The plain truth; what something is
Short shrift Richard III
With great show or magnificent ceremony
The game is afoot King Henry IV Part I
To send someone away, often in disgrace
This is the short and the long of it The Merry Wives of Windsor
Literally, chop off his head! The phrase was famously used by Lewis Carroll in Alice’s Adventures in Wonderland
To be, or not to be Hamlet
To be saved or rescued at the very last minute
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Shakespeare’s language (4) Lots of phrases in modern English were first used by Shakespeare.
Can you match the Shakespearean phrase with the correct explanation? Draw a line linking the phrase to its explanation. _____________________________________________________________________
A foregone conclusion Othello
Having too much of something can be bad for you
All of a sudden The Taming of the Shrew
Something that is frightening
Dash to pieces The Tempest
A hopeless or impossible quest
Fancy free A Midsummer Night’s Dream
Suddenly
Makes your hair stand on end Hamlet
Whatever is true will eventually be discovered. You cannot hide the truth
Wild goose chase Romeo and Juliet
Being without responsibility
Too much of a good thing As You Like It
Break into small pieces
Truth will out The Merchant of Venice
A name for two people who are unlucky in love
Star-crossed lovers Romeo and Juliet
An inevitable or obvious result
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Name:
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Shakespeare bingo!
______________________________________________________________
Choose nine of the Shakespearean phrases from the selection on the ‘Shakespeare’s language’ activity sheets and write them into the grid above, one in each space.
Your teacher or one of your classmates will now read out the phrases from the sheets at random for a game of Shakespeare bingo! If the phrase is in your grid, cross it out. If you are the first person to match all of the phrases in your grid with those called out, you are the winner!
To make it more difficult, why not try using the explanations, rather than the phrases themselves?
Remember when you have crossed out all of the phrases in your grid, call out Hark You! This is what Shakespeare would have said to get people to listen to him!
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Sonnet 116 By William S hakespeare
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Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no! it is an ever-fixed mark, That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth’s unknown, although his height be taken. Love’s not Time’s fool, though rosy lips and cheeks Within his bending sickle’s compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.
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All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse’s arms. Then, the whining school-boy with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then, a soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden, and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then, the justice, In fair round belly, with a good capon lined, With eyes severe, and beard of formal cut, Full of wise saws, and modern instances, And so he plays his part. The sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose and pouch on side, His youthful hose, well saved, a world too wide For his shrunk shank, and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything
As You Like It (Act II Scene VII)
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T he seven ages of man By Will iam S hakespeare
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Make a tussy mussy
This activity is reproduced with kind permission from the Young Archaeologists’ Club (www.yac-uk.org)
Many people in Shakespeare’s time believed that sweet-smelling herbs could help to fight or prevent the plague. People carried pomanders – small balls of scented gum or wax – to sniff regularly to try to ward off illnesses. An alternative to a pomander would have been a simple tussy mussy. Follow these instructions to make your own tussy mussy.
Method:
A4 cardboard A pair of compasses Pencil Ruler Material String or embroidery thread about 25cm long Scissors Teaspoon Dried or fresh herbs, such as lavender, thyme, sage, rosemary, bay and mint 1. 2. 3. 4. 5. 6.
Draw a circle about 14cm in diameter on your A4 cardboard using a pair of compasses. Cut it out with scissors. Draw around your circle template onto your piece of material, and cut this out so you have a circle of material.
Pick three or four different herbs to go into the tussy mussy and add a teaspoon of each into the centre of the material.
Fold your material in half and then gather the edges of the material together to make a small bag containing the herbs.
Tie the neck of your bag together with the string or embroidery thread leaving enough thread to attach the bag to a belt or the wrist.
Sniff at regular intervals to protect from diseases such as the plague!
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Photographs © Young Archaeologists’ Club
You will need:
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Shakespearean X Factor This play imagines a talent show set in London in 1601, judged by famous people of the day. The young contestants are all hoping to win a main part in Shakespeare’s newest play. Parts:
Kate a young actor who has to pretend to be a boy Oliver a young actor who has to act being a woman Dudley an older actor who thinks he is very good Mrs Burbage the theatre manager’s wife Queen Elizabeth 1st her royal highness William Shakespeare the playwright (1564-1616)
Kate:
I am so nervous. What if the judges realise I’m really a girl?
Dudley:
(Very much the ‘grand actor’) Then you will be thrown out into the street. Quite right, in my opinion. We don’t have females in the Elizabethan Theatre. You might offend the old queen.
Oliver:
Really? Dudley, you’re wearing a lot of make-up on your face. Which part will you be playing in tonight’s Shakespearean X Factor Finals?
Dudley:
Well isn’t it obvious with me dressed like this? The most important character in William Shakespeare’s latest play, of course.
Kate:
Would that be the Fool?
Dudley:
I would never degrade my art by playing a clown. My audition for the play ‘Twelfth Night’ is Duke Orsino. Don’t I look and sound like a grand duke? “If music be the food of love...”
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Backstage (in the tiring house) of The Globe Theatre
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Oliver:
Then you’d better go on a diet! I would love to play the part of Sir Toby Belch but because I’m only a boy, I’ve got to play the part of a woman. I’m putting on lots of make-up to make my face pale.
Dudley:
It’s hard to get that stuff off. It’s made of powdered hogs bones mixed with poppy oil, you know.
Kate:
Yuck!
Dudley:
Normally I wear deadly poisonous white lead and vinegar. This job is high risk.
Oliver:
To play the part of Countess Olivia I’ve got to wear an uncomfortable corset and an itchy wig all night.
Dudley:
It suits you. But what about our girl imposter? Whoever are you hoping to play in Twelfth Night?
Kate:
Well, it’s very complicated. I’ve only just read the script and Mr Shakespeare’s ink was still wet. But I want to play the part of Viola.
Dudley:
Viola has to be played by a boy. How can a girl play a girl?
Kate:
In the play Viola dresses up as a boy. So I shall be a girl pretending to be a boy playing a girl pretending to be a boy.
Dudley:
I’m lost already!
Oliver:
How long have we got till the show starts? Is the theatre still closed?
Dudley:
Aah – never say a theatre is closed or the plague will strike. We say the theatre is ‘dark’. Quick, make a wish and turn round
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Shakespearean X Factor
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Shakespearean X Factor
Kate:
Aaah! I just saw a rat in the costume box.
Dudley:
Only one is good luck! There are usually hundreds of them. Being an actor is full of hardships and dangers. I have performed all over the country but just lately I’ve fallen on hard times as an actor.
Kate:
It’s just a STAGE you’re going through! Get it?
Dudley:
No, now pass me my make-up and practise your lines.
Oliver:
A flag is now flying above this theatre to show it is open.
Dudley:
Is it white for comedy, red for history or black for tragedy?
Kate:
All three! My knees are shaking so much. I get terrible stage fright.
Dudley:
Just remember, the audience can soon turn nasty and throw things on stage. I know an actor who was knocked out by a flying leg of pork.
Kate:
Maybe that’s where the term ‘ham actor’ comes from!
Dudley:
Oh no, did I just hear thunder or was it the roar of applause for tonight’s judges?
Oliver:
Let’s hope it doesn’t rain like last week. Some of the audience got soaked – especially the commoners who paid a penny to watch. They’re called groundlings because they have to stand on the ground.
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three times – and take that peacock feather out of your hat! A peacock feather onstage will cause bad luck. We actors are very superstitious, you know.
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Dudley:
Last summer in the heat we called them stinkards – for obvious reasons.Sometimes the straw on the ground stinks and attracts rats.
Oliver:
I’m not sure I want to be a Shakespearean actor after all.
Kate:
I really want to impress the judges out there tonight. I wonder who they will be.
Dudley:
Haven’t you heard? One is the Bard himself – William Shakespeare. The other is Mrs Burbage, the grumpy old wife of the famous theatre manager and you will never guess who tonight’s special guest is....
Oliver:
It can’t be...
Kate:
Surely not...
Dudley:
Her royal highness herself – Queen Elizabeth. She adores the theatre. If she doesn’t like you, you’ll never act on a stage again.
Kate:
I’ve changed my mind. I don’t want to be a Shakespearean actor. It’s hard work, very scary, high risk and you can get booed off the stage.
Oliver:
It’s too late now – we’re on. The stage manager is calling me to go on stage. This is it! (Sound of cheers and applause as he walks on stage) The three judges sit at a table facing the stage, with a rowdy audience behind them
Mrs Burbage: Oliver:
Ladies and gentlemen, please be quiet for the first contestant... (As Olivia) ‘Well, come again to-morrow: fare thee well:
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Shakespearean X Factor
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Shakespearean X Factor Queen Elizabeth:
Speak up, dear. Your voice is too squeaky.
Mrs Burbage:
You must give Mr Shakespeare’s words much more drama.
William:
‘Tis such a strain to write in rhyme And be dramatic all the time. Now go off stage and learn more of my text... And meanwhile we shall listen to the next.
Kate:
(As Viola) ‘O Time, thou must untangle this, not I; It is too hard a knot for me t’ untie.’
Queen Elizabeth:
Speak up, dear. Your voice is too squeaky.
Mrs Burbage:
You must give Mr Shakespeare’s words much more drama.
William:
‘Tis such a strain to write in rhyme And be dramatic all the time. Now go off stage and learn more of my text... And meanwhile we shall listen to the next.
Dudley:
(As Orsino and very over-the-top) ‘I’ll sacrifice the lamb that I do love, To spite a raven’s heart within a dove.’
Queen Elizabeth:
Methinks this actor looks too comical to play such a serious part.
Mrs Burbage:
Methinks he hath too much a funny face.
William:
In that case, good sir, go change thy gown
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A fiend like thee might bear my soul to hell.
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Shakespearean X Factor
Queen Elizabeth:
Methinks this could be so much fun...
Mrs Burbage:
Our Shakespearean X Factor Show is nearly done...
Dudley:
(Dudley returns in jester clothes, with Oliver & Kate dressed likewise) It isn’t very funny being a clown! Acting all day long, it gets me down. All the time I have to jest - and never get a moment’s rest.
All 3: Dudley:
No, it isn’t very funny being a clown. I just don’t find it funny, all this work for little money, Keeping up my strength to clown around. It’s so much more than acting – and stage-fright’s so distracting,
All 3:
No, it isn’t very funny being a clown.
Dudley:
It isn’t very funny being a clown! Acting on the stage all round the town, When people shout abuse or hurl tomato juice,
All 3:
No, it isn’t very funny being a clown. While audiences chuckle, my confidence can buckle But still I must perform and not break down It really is abysmal - people laugh when I feel dismal...
Dudley:
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And come back hither dressed more as The Clown We wish to see you play a comic part... Return back hence and give it all your heart. You will not know my words so now invent your own Improvise with friends and make your clowning shown. (Dudley exits, looking appalled)
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Shakespearean X Factor Dudley:
All 3: Dudley:
No, it isn’t very funny being a clown. It isn’t very funny being a clown! Acting in green tights and sparkly gown, How can I be inspiring when my acting is so tiring? No, it isn’t very funny being a clown. In Shakespeare’s plays I tremble, when such rowdy crowds assemble And all I want to do is just lie down. But I have to learn the script – no sentence can be skipped
All 3:
No, it isn’t very funny being a clown.
Dudley:
It isn’t very funny being an actor In the very first Shakespearean X Factor The pressure’s so intense and I’d hate to cause offence
All 3:
But YOU WOULDN’T WANT TO BE A SHAKESPEAREAN ACTOR!
Shakespeare:
How dare you! I am most offended (stomps off)
Mrs Burbage:
Now look what you’ve done. You’ve upset the Bard. For that you’ll all lose a week’s pay. And be warned – in his next play you’ll need earplugs when a cannon goes off on stage. If you don’t like it, you’ll be fired! Ha ha.
Queen:
Which all goes to show YOU WOULDN’T WANT TO BE A SHAKESPEAREAN ACTOR in Elizabethan England... EVER!
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All 3:
