Students will demonstrate their understanding of Shakespearean script analysis by scoring, translating, and analyzing their Shakespeare performance pieces.<\/p>\n
<\/p>\n
Shakespeare monologue to be projected, projector, Shakespearean glossaries, dictionaries, other Shakespearean resource books (possibly copies of the Shakespeare Play Analysis sheet and Cliff Notes Outline sheet)<\/p>\n
Spark Notes Worksheet.Lesson 3<\/a>\u00a0 \u00a0 \u00a0 Shakespeare Script Analysis Handout.Lesson 3<\/a><\/p>\n <\/p>\n Write down on the blackboard several of Shakespeare’s ancient words or phrases. Some examples might include: <\/p>\n Divide the students up into small groups and give them a certain time limit to try to translate the words or phrases without any resources to help them figure them out. At the end of the allotted time see what different translations the groups have come up with. Recognize the group that has the most mostly correct answers.<\/p>\n <\/p>\n Transition \u2013 Although the students have had prior Shakespeare translation, emphasize to them the importance of knowing exactly what the Old English language is in order to portray the characters and objectives appropriately. Explain to the students that they will be analyzing their scripts in several ways for their advanced performances. The three keys to performing Shakespeare that will be focused on in this unit is: <\/p>\n Lecture \u2013 Have the students take notes on the following lecture. These notes are taken from an article in Teaching Theatre by Bruce Miller titled “Turn Words into Drama”. <\/p>\n Modeling \u2013 Put the monologue on the projector. Read the monologue straight through with little word coloring. With a transparency marker and input from the class go through the first three steps taught above (learning the plotline\/chronology of the play, looking up words, circling punctuation). Be sure to read through the monologue once the steps have been taken in order to demonstrate the different performance value after doing the these elements of text analysis.<\/p>\n <\/p>\n Guided Practice \u2013 Give the students the remainder of the class period to analyze their performance pieces according to the steps taught them today. Float around the classroom helping the students with any questions or concerns they may have. Prompt them to use any resources that you have available to them for ease of looking up definitions, etc.<\/p>\n <\/p>\n Instruction \u2013 Assign students to write a complete transition of their monologue or scene. This translation should be written with the understanding of the different beats\/phrases in order to follow the thought process through the piece. The translation must be typed, include the play title and character name, and be turned in at the beginning of the next class period.<\/p>\n <\/p>\n Assignment \u2013 Assign students to read the entire play that their monologue or scene is from. Encourage them to read the script alongside the Cliff Notes of the play to help them further understand the language, characters, and plot of the play. Give them a deadline at least a week away to read the play and it’s Cliff Notes. If you want, give them the Shakespeare Play Analysis sheet and the Cliff Notes Outline sheet to write after completing the readings.<\/p>\n <\/p>\n Students can be assessed through their participation in the text analysis work.<\/p>\n","protected":false},"excerpt":{"rendered":" EDUCATIONAL OBJECTIVE: Students will demonstrate their understanding of Shakespearean script analysis by scoring, translating, and analyzing their Shakespeare performance pieces. MATERIALS NEEDED: Shakespeare monologue to be projected, projector, Shakespearean glossaries, dictionaries, other Shakespearean resource books (possibly copies of the Shakespeare Play Analysis sheet and Cliff Notes Outline sheet) Spark Notes Worksheet.Lesson 3\u00a0 \u00a0 \u00a0 …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[],"tags":[],"_links":{"self":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages\/1315"}],"collection":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1315"}],"version-history":[{"count":2,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages\/1315\/revisions"}],"predecessor-version":[{"id":2782,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=\/wp\/v2\/pages\/1315\/revisions\/2782"}],"wp:attachment":[{"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tedb-old.byu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}HOOK:<\/h4>\n
Fatal \u2013 directed by fate
Unsex \u2013 frightening image implying losing all the things that gives gender qualities
Make thick my blood \u2013 result in ferocity of disposition
Compunctious \u2013 compassionate
Dunnest \u2013 darkest
Beguile \u2013 decieive
Fell purpose \u2013 fierce and savage
Thick night \u2013 morally corrupt
Pall \u2013 enshroud
Upon my life! \u2013 I swear!
I shall take my heels \u2013 I’ll leave
I crave your pardon \u2013 I am sorry
Woe me! \u2013 Oh dear!
Pray you, be gone \u2013 Please go
I commend you to your own conduct \u2013 Goodbye
Alter favor ever is to fear \u2013 to look other than normal will cause you to feel that people may be on to you<\/p>\nSTEP 1:<\/h4>\n
\u2022 Know WHAT you are saying
\u2022 Know WHY you are saying it
\u2022 If you do the above in detail then… The HOW will care of itself<\/p>\nSTEP 2:<\/h4>\n
The focus in text analysis is knowing:
\u2022 The meaning of the words individually and together (including definitions, historical allusions, poetic language, imagery, etc.)
\u2022 The overall dramatic context for what is spoken
\u2022 The specific dramatic circumstances that result in the words
\u2022 The inflection and use of the words and punctuation
In order to know these things without being overwhelmed, it is important to break down the analysis in smaller portions or steps:
\u2022 Start with learning the chronology of the play \u2013 especially leading up to the scene or monologue of the performance piece. Focus on the learning about the DOING of the plot events through the dialogue; discover what the characters are saying in order to fulfill their needs.
\u2022 Next look up the meanings of unfamiliar words or phrases. Think of it as detective work where exciting discoveries can be made. Remind the students again that to make the scene or monologue come alive they must know exactly what the characters are saying and meaning.
\u2022 Now analyze the text by using the punctuation and identifying the operative words \u2013 the words that carry the most meaning in a phrase, line, or sentence.
Punctuation \u2013 consider them to be like traffic signals: period = stop = end of an idea; comma = yield = shift of an idea. Keep the energy constant from one traffic signal to the next.
Operative Words \u2013 use scansion (the analysis of lines to determine where the naturally-occurring accented syllables are) and use verbs and nouns to figure out the most important words.
\u2022 Next divide the piece into idea beats or phrases. This step is important to separate thoughts and see the power of each phrase. It also allows actors to play one beat against another. Playing the phrases allows thought to continue to the next line and identifies breathing spots.
\u2022 After phrasing is complete actors can use the concept of transition to move from one beat to another. A transition causes a change of tone, a shift in color, a different use of energy, or a new purpose in what the speaker is saying.<\/p>\nSTEP 3:<\/h4>\n
STEP 4:<\/h4>\n
STEP 5:<\/h4>\n
STEP 6:<\/h4>\n
ASSESSMENT:<\/h4>\n