Shakespearean Soliloquy Shake-Up

Transcription

1 Meridian Stories Language Arts Challenge Digital Storytelling Unit Shakespearean Soliloquy Shake-Up Designed for Middle and High School Students Table of Contents Introduction The Challenge Evaluation Rubric Process Essential Questions Student Proficiencies Curricular Correlations (RL2, RL3, RL4, RL5, RL6, W3, W4, W5, SL1, SL4, L5, L6) The Soliloquies Range of Activities Shakespearean Analysis Dramatic Genre Analysis (The Soliloquy) Scriptwriting Performance Digital Literacy Skills - Video - Pre-production, Production and Postproduction 21 st Century Skills: Creativity, Collaboration, Critical Thinking, Presentational Skills Introduction This Digital Story Telling Project will take two to four weeks to complete. This Project targets key 21 st century skills creativity, collaboration, critical thinking, digital literacy and presentational skills in equal measure with the curricular content. Delivering on all those learning goals requires student immersion and 1

2 time. The results, as based on our research, are a high level of student engagement, deep learning, and 100% teacher endorsement. The following project: Should be completed by collaborative teams of two to four students. Is aligned to Common Core Curricular Standards. Contains an Evaluation Rubric that allows the teacher to clearly score and appraise the students work. Is designed to be integrated into the classroom in alignment with existing curricula. Can be assigned as an extra credit project to teams of students that you think would benefit from this kind of immersive, deep learning experience. Finally, we strongly recommend that all students follow the rules of Digital Citizenry in their proper usage and/or citation of images, music and text taken from other sources. See the Digital Rules section in the Resources section of the site for guidance. While it is helpful to have a Technology Integrator involved, they are not usually necessary: the students already know how to produce the media. The teacher s primary function in these Challenges is to guide the students as they engage with the content. At the end of the Challenge, it is often fun and useful to have a screening of all the media productions. Students can vote for their favorite videos that can then be screened in a larger assembly-like setting for the whole grade to see. Or this work can be presented as part of a student showcase for parents and friends. Presentational Skills is another 21 st century skill that this project enables. Let s get started. The Challenge Friends, Romans Countrymen, lend me your ears; Meridian comes to assign soliloquies, not monologues. For the soliloquies of Shakespeare live after him and the monologues are interred with his bones. 2

3 Welcome to the Soliloquy Shake-Up in which students will produce a video of a re-imagined soliloquy from Shakespeare. What is a soliloquy? A soliloquy, as defined by the Merriam-Webster Dictionary, is a long, usually serious speech that a character in a play makes to an audience and that reveals the character's thoughts. Soliloquies are different from monologues in that the speaker is speaking to themselves rather than to an audience. Soliloquies allow the audience a glimpse into the character s mind: their motives and how they think. William Shakespeare excels in the use of soliloquies. He allows us access to the minds of characters like Iago from Othello, Hamlet from Hamlet, and Juliet from Romeo and Juliet. While soliloquies are, in themselves, individual, Meridian Stories is turning it into a group activity. Your task is to: 1. Choose a soliloquy; 2. Re-write the soliloquy; and 3. Perform the soliloquy There are several conditions and considerations: 1. One team member must introduce the soliloquy by briefly stating the situation that this character is in. In short, they must set up the scene. 2. The remainder of the video is the performance of the soliloquy. How your team chooses to present the soliloquy is up to you. Options include: a. Solo performance, by a team member, playing the character, on a bare stage b. Solo performance, by a team member, playing the character, inside of a setting that is designed to assist in the narrative. c. Group recitation, or some variation whereby one person begins and another ends the speech if your team can work that so that it makes sense. d. Solo performance with other team members participating as other characters; as objects; in dance; in any fashion that you think will help to effectively communicate the meaning of the soliloquy. 3. The newly written soliloquy should be approximately the same length as the original. 3

4 Which Shakespearean soliloquy to do? Choose one of the soliloquies offered from below: 1. Hamlet Act 3 Scene 1: Lines ; 2. Romeo and Juliet Act 3 Scene 2: Lines 1-33; or 3. Othello Act 2 Scene 3: Lines All soliloquies deal with serious questions and situations. Hamlet struggles with the hardships of his life, Iago divulges his true intentions, and Juliet speaks of her impatience for night and with it, her sweet Romeo. While we recommend that you choose a soliloquy from the choices below, teams may, in coordination with their teachers, choose a different Shakespearean soliloquy. Deliverables include: The Shakespearean Soliloquy Shake-up Video Soliloquy Analysis (at teacher s discretion) Soliloquy Final Script (at teacher s discretion) Evaluation Rubric Shakespearean Soliloquy Shake-Up CONTENT COMMAND Criteria Introduction Engaging and Effectiveness The introduction is not engaging and does not effectively introduce the soliloquy The introduction is interesting and gives the audience a general idea of what happened leading up to the soliloquy The introduction is engaging and clearly articulates the narrative dynamic in which the soliloquy is set Soliloquy Consistency with Original Intentions of the Character The re-written soliloquy is not consistent with the original intentions of the character The re-written soliloquy is consistent with the original intentions of the character The re-written soliloquy adds new layers of meaning while staying consistent with the original intentions of the character 4

5 Character - Consistency with Original Characters The character s emotions and message are not consistent with the original The character s emotions and message are consistent with the original The character s emotions and message expand on the original in an authentic way STORYTELLING COMMAND Criteria Soliloquy Staging Character Language Authentic and Effective The staging of the soliloquy, including the introduction, does not support the narrative Acting does not capture the essence of the character The selection of words and flow of the speech does not effectively communicate the content or engage the audience The staging of the soliloquy, including the introduction, does support the narrative Acting captures the essence of the character The selection of words and flow of the speech communicates the content effectively The staging of the soliloquy, including the introduction, maximizes the meaning of the narrative Acting excels at capturing the essence of the character and drives the video The selection of words and flow of speech communicates the content in a meaningful way MEDIA COMMAND Criteria Visual The choice of The visual elements Elements visual elements support the scene s does not effectively intent Setting, Shot support the scene s Selection and intent Wardrobe Directing and Editing Sound Design The final edited piece does not service the narrative effectively Voice, sound effects/music does not add to the video The final edited piece services the narrative effectively Voice, Sound effects/music supports the content of the video The visual elements are carefully crafted to enhance the scene s intent The final edited piece services the narrative effectively and compellingly Voice, Sound effects/music enhances the content of the video 21 st CENTURY SKILLS COMMAND Criteria Collaborative The group did not The group worked The group 5

6 Thinking Creativity and Innovation Initiative and Self-Direction work together effectively and/or did not share the work equally The group did not make a solid effort to create anything new or innovative The group was unable to set attainable goals, work independently and manage their time effectively together effectively and had no major issues The group was able to brainstorm new and inventive ideas, but was inconsistent in their evaluation and implementation of those ideas The group required some additional help, but was able to complete the project on time with few problems demonstrated flexibility in making compromises and valued the contributions of each group member The group brainstormed many inventive ideas and was able to evaluate, refine and implement them effectively The group set attainable goals, worked independently and managed their time effectively, demonstrating a disciplined commitment to the project Process Below is a suggested breakdown of the students work. During Phase I, student teams will: Choose a soliloquy. Critically read the text and develop an in-depth understanding of the material. o Shakespeare is difficult to understand so a line-by-line reading to hash out exactly what the character is saying is important. o One strategy may be to have each team member write their own interpretations separately and then come together to compare approaches. o Having each member of your team perform the soliloquy can often reveal new layers of meaning. Pick out the essentials of the soliloquy. o What thematic material is most central? o Which characters/what plot detail is necessary to include in order for the audience to understand your group s Soliloquy Shake-Up? 6

7 o What is the character revealing about himself/herself and how will you reveal this in the video? Teacher s Option: Soliloquy Analysis Teachers may require that groups hand in a critical analysis of their select soliloquy. Working as a team, write your first draft of the new soliloquy, using your own words. Keep in mind that in rewriting the soliloquy it is not necessary to translate each line from Shakespearean language to your own. While this may be an effective approach, it may also result in a very jerky speech. By completing the analysis above, your team may want to re-write the entire speech, knowing the intentions, directions and emotions that are feeding the content. This may result in a re-ordering of ideas; in the addition of new ideas and images that lead the listener to the same place as Shakespeare did in his original. o Once team members have shared and compared interpretations, you are ready to write your first team draft, using ideas from everyone s interpretation. During Phase II, student teams will: Continue to draft the soliloquy, reading it out loud as you revise. Keep asking yourself: Have you successfully introduced a well-crafted soliloquy that is consistent with the original material? Are the character s most important inner thoughts being effectively communicated? Brainstorm the visual presentation: what will your performance of the soliloquy look like? Questions to consider: How will you introduce the soliloquy? Who is going to perform the soliloquy? Will that person have it memorized? (Recommended!) Will there be other characters in the scene? If so, what will they be doing? What will they be wearing? Will there be action going on while the soliloquy is performed? Where will this be shot? Teacher s Option: Soliloquy Script Teachers may require that groups hand in a final script of their short video. Soliloquies are designed as a solo performance for the stage. But your presentation has two distinct differences: 1) It s a group performance; and 2) Your medium is video. As regards the second distinction, video allows you to control your imagery through editing. Will this be 7

8 one long shot, or many shorter shots? If your team thinks that heavy editing many shots, many cuts will be an effective tool for communicating the content, then we would recommend storyboarding your soliloquy in advance of the shoot. During Phase III, student teams will: Rehearse and pre-produce the video, paying attention to costuming, location, lighting and blocking. Shoot the video o Pay extra close attention to diversity of camera angles, audio quality, and acting. Edit the video. Sound design Sound design can help drive the drama and conjure an emotional response from the audience. Think about including sounds and/or music that will elicit a positive response from the audience. Essential Questions 1. What is the dramatic purpose and effect of the soliloquy form? a. Why does Shakespeare choose the soliloquy form to disclose this information? 2. How does one find meaning in the language of Shakespeare? 3. What effect does interpreting and re-scripting an original Shakespeare soliloquy have on one s understanding of the original material? 4. How does performing a soliloquy deepen your understanding of the content; of the genre? 5. How has immersion in the creation of original content and the production of digital media exercising one s creativity, critical thinking and digital literacy skills - deepened the overall educational experience? 6. How has working on a team practicing one s collaborative skills - changed the learning experience? Student Proficiencies 1. Students will come away with a deep understanding of the soliloquy form and its purpose in Shakespeare s writing. a. Students will parse out what the character is communicating to the audience, their motives and desires. Students will also develop an understanding and appreciation for the soliloquy. 2. Students will come away with the tools to analyze and interpret Shakespeare s language in a meaningful way. 8

9 3. Students will re-write a Shakespearean soliloquy, finding their own words and phrasing to communicate the meaning. 4. Students will develop new oratory skills through performance of a written piece of work. In addition, performance will expose new layers of meaning to the original content. 5. The student will utilize key 21 st century skills, with a focus on creativity, critical thinking and digital literacy, in their process of translating literary content into a new narrative approach. 6. The student will have an increased awareness of the challenges and rewards of team collaboration. Collaboration the ability to work with others - is considered one of the most important 21 st century skills to develop in students as they prepare for life after secondary school. Curricular Correlations The Shakespearean Soliloquy Shake-Up Challenge addresses a range of curricular objectives that have been articulated by the Common Core Curricular Standards English Language Arts. Below please find the standards that are addressed, either wholly or in part. Common Core Curricular Standards English Language Arts Standards Standard 8 th 9 10 th th Determine a Determine a theme or central theme or central idea of a text and idea of a text and analyze its analyze in detail development over its development the course of the over the course of text, including its the text, including relationship to the how it emerges characters, setting, and is shaped and and plot; provide refined by specific an objective details; provide an summary of the objective text. summary of the text. RL2 READING AND LITERATURE Key Ideas and Details Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the 9

10 RL3 READING AND LITERATURE Key Ideas and Details Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision. Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. text. Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). RL4 READING AND LITERATURE Craft and Structure RL5 READING AND Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts. N/A Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone). Analyze how an author's choices Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include Shakespeare as well as other authors.) Analyze how an author's choices 10

11 LITERATURE Craft and Structure RL6 READING AND LITERATURE Craft and Structure Analyze how differences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic irony) create such effects as suspense or humor. concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise. Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature. concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact. Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). W3 WRITING Text Types and Purposes Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and wellstructured event sequences. Write narratives to develop real or imagined experiences or events using effective technique, wellchosen details, and wellstructured event sequences. Write narratives to develop real or imagined experiences or events using effective technique, wellchosen details, and wellstructured event sequences. 11

12 W4 WRITING Production and Distribution of Writing W5 WRITING Production and Distribution of Writing SL1 SPEAKING AND LISTENING Comprehension and Collaboration Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed. Engage effectively in a range of collaborative discussions (oneon-one, in groups, and teacher-led) with diverse partners on grade 8 topics, texts, and issues, building on others' ideas and expressing their own clearly. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. Initiate and participate effectively in a range of collaborative discussions (oneon-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. Initiate and participate effectively in a range of collaborative discussions (oneon-one, in groups, and teacher-led) with diverse partners on grades topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively. 12

13 SL4 SPEAKING AND LISTENING Presentation of Knowledge and Ideas L5 LANGUAGE Vocabulary Acquisition and Use L6 LANGUAGE Vocabulary Acquisition and Use Present claims and findings, emphasizing salient points in a focused, coherent manner with relevant evidence, sound valid reasoning, and well-chosen details; use appropriate eye contact, adequate volume, and clear pronunciation. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Acquire and use accurately gradeappropriate general academic and domainspecific words and phrases; gather vocabulary knowledge when Present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at Present information, findings, and supporting evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range of formal and informal tasks. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at 13

14 The Soliloquies considering a word or phrase important to comprehension or expression. the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. JULIET (Romeo and Juliet Act III, scene ii) Gallop apace, you fiery-footed steeds, Toward Phoebus' lodging. Such a wagoner As Phaeton would whip you to the west And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaways' eyes may wink, and Romeo Leap to these arms, untalked of and unseen. Lovers can see to do their amorous rites By their own beauties, or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match Played for a pair of stainless maidenhoods. Hood my unmanned blood bating in my cheeks, With thy black mantle, till strange love, grow bold, Think true love acted simple modesty. Come, night. Come, Romeo. Come, thou day in night, For thou wilt lie upon the wings of night Whiter than new snow upon a raven s back. Come, gentle night, come, loving, black-browed night, Give me my Romeo. And when I shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night 14

15 And pay no worship to the garish sun. Oh, I have bought the mansion of a love, But not possessed it, and though I am sold, Not yet enjoyed. So tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. Oh, here comes my Nurse, And she brings news, and every tongue that speaks But Romeo s name speaks heavenly eloquence. HAMLET (Hamlet - Act III, sc. i) To be, or not to be? That is the question Whether tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And, by opposing, end them? To die, to sleep No more and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to tis a consummation Devoutly to be wished! To die, to sleep. To sleep, perchance to dream ay, there s the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. There s the respect That makes calamity of so long life. For who would bear the whips and scorns of time, Th' oppressor s wrong, the proud man s contumely, The pangs of despised love, the law s delay, The insolence of office, and the spurns That patient merit of th' unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country from whose bourn No traveler returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution 15

16 Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action. Soft you now, The fair Ophelia! Nymph, in thy orisons Be all my sins remembered. IAGO (Othello Act II, sc. iii) And what s he then that says I play the villain? When this advice is free I give and honest, Probal to thinking and indeed the course To win the Moor again? For tis most easy Th' inclining Desdemona to subdue In any honest suit. She s framed as fruitful As the free elements. And then for her To win the Moor, were to renounce his baptism, All seals and symbols of redeemèd sin, His soul is so enfettered to her love, That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. How am I then a villain To counsel Cassio to this parallel course, Directly to his good? Divinity of hell! When devils will the blackest sins put on They do suggest at first with heavenly shows As I do now. For whiles this honest fool Plies Desdemona to repair his fortune And she for him pleads strongly to the Moor, I ll pour this pestilence into his ear: That she repeals him for her body s lust. And by how much she strives to do him good She shall undo her credit with the Moor. So will I turn her virtue into pitch And out of her own goodness make the net That shall enmesh them all. 16