Shakespeare Passage Recital Project (100 points)

Transcription

1 ENG 10 XL Mr. Wheeler Shakespeare 1 Shakespeare Passage Recital Project (100 points) DIRECTIONS: Select a one-minute passage (10 to 16 lines in length) from Macbeth and recite it from memory. Include a properly MLA-formatted, one-page preface paper (see example) from which you will read to introduce your selected passage that: uses a creative title and an explanatory subtitle identifies the act, scene, and line numbers of the passage briefly provides sufficient plot context for the passage states why the passage is significant explains how the passage exemplifies one of the play s themes is accompanied an annotated transcript of the entire passage (single-space OK) whose purposeful markings and notes on literary elements such as style, diction (including problematic vocabulary or phrases that you ve defined), poetic devices, imagery, and tone demonstrate sound close-reading skills and literary analysis. In the end, these annotations should serve as the map that led to your interpretation and reading of the passage. Though all students must satisfy the tasks listed above, there are some alternative methods that may be used in bringing a dramatic recital to life other than a single-student performance. OPTION 1: Group Performances Students are permitted to act out scenes with their fellow classmates, but the scene must contain sufficient dialogue for each student to speak a minimum of one minute (10 to 16 lines). In this case, each participant in the dramatic recital will receive a separate grade for his or her performance it is NOT a group grade. Each student must submit a typed preface that is written independent of the other group members (i.e., each student s preface must be original, not verbatim or closely based on a group member s writing). After all, each student is reciting lines for a different character, which calls for completely different readings and interpretations. OPTION 2: Using Extras If a scene calls for short dialogue spoken by another character, but is too insignificant in length to merit collaborating with another student for a group performance (see Option 1), a student may enlist the service of a fellow classmate who will function as an extra: a person engaged temporarily to fill out a scene. In this case, the extra will not receive any grade for his or her performance, and is free to read (as opposed to reciting) lines of dialogue. Should the performing student choose this option, he or she must make sure his or her individual lines are one minute (10 to 16 lines) in length of memorized dialogue, exclusive of the extra s lines. Project Miscellany Props and costumes are absolutely permitted for use, though they are not required. Like Option 2, classmates may be enlisted to assist in the performance in some capacity (e.g., operating technology, serving as a non-speaking character in the scene), just so long as they do not distract from or risk compromising the performing student s dramatic recital. It might sound counter-intuitive, but do not focus on memorizing words for this project: rather, memorize the rhythms of emotion, feeling, and tone. The words the script are

2 ENG 10 XL Mr. Wheeler Shakespeare 2 just the flesh of the performance; it is what the character or speaker is experiencing internally that gives the words any purpose or function in the performance. One should understand character, conflict, theme, and tone BEFORE committing lines to memory. OPTION 3: Recite a Shakespearean Sonnet Students may prefer to recite a poem rather than a passage from the play. If students choose Option 3, they must select one of the following Shakespearean sonnets to repeat aloud from memory: 29, 30, 33, 73, 106, 116, or 130. (Visit the Shakespeare and Macbeth page on the class website for links to these sonnets.) The performance requirements for Option 3 are the same as those for students reciting a passage from Macbeth, though the writing component is slightly different. Students preferring this option must compose a properly MLA-formatted, onepage preface paper from which you will read to introduce your sonnet that: uses a creative title and an explanatory subtitle gives the number of the sonnet (i.e. title) identifies the speaker and his/her tone briefly summarizes the poem s dramatic situation explicates the sonnet (i.e., analyze details to reveal a theme or central idea) contains an annotated copy of the poem (single-space OK) whose purposeful markings and notes on literary elements such as style, diction (including problematic vocabulary that you ve defined), poetic devices, imagery, and tone demonstrate sound closereading skills and literary analysis. In the end, these annotations should serve as the map that led to your preface paper. Due: Common Core State Standards (CCSS) RL.2. Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. W.2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. SL 4.b. Plan, memorize, and present a recitation (e.g., poem, selection from a speech or dramatic soliloquy) that: conveys the meaning of the selection and includes appropriate performance techniques (e.g., tone, rate, voice modulation) to achieve the desired aesthetic effect. SL 6. Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate.

3 ENG 10 XL Mr. Wheeler Shakespeare 3 Shakespeare Passage Recital Project HOLISTIC RUBRIC CATEGORY Exemplary (A) Good (A-/B) Developing (B-/C) Poor (D) RECITAL: Knows the Passage/Poem The performer knows the passage or poem well and has obviously practiced reciting it several times. There is no need for notes and the performer speaks with confidence. The performer knows the passage or poem pretty well and has evidently practiced reciting it once or twice. Might refer to notes once or twice OR pause to restart, but the performer is relatively confident. The performer knows some of the poem, but does not appear to have practiced. Refers to notes several times OR pauses to restart more than once, and the performer appears ill-at-ease. The performer could not say the poem without using a written copy. VOCAL DELIVERY: Elocution and Voice Speaks clearly and distinctly all (100-95%) the time, and does not mispronounce a word. Volume is loud enough to be heard by all audience members throughout the recital. Performer speaks clearly and paces performance. Is easily understood by all audience members all the time. Speaks clearly and distinctly all (100-95%) the time, but mispronounces a few words. Volume is usually loud enough to be heard by all audience members. Performer generally speaks clearly and paces performance. Is easily understood by audience members most of the time. Speaks clearly and distinctly most (94-85%) of the time. Mispronounces more than a few words. Volume is usually loud enough to be heard by all audience members. Performer speaks so fast that audience has trouble understanding. Often mumbles or cannot be understood OR mispronounces many words. Volume too soft or performer mumbles. Audience often has trouble understanding. INTERPRETATION OF CHARACTER / SPEAKER: Posture and Tone Uses posture and tone appropriate for the speech or poem, looks relaxed and confident. Interpretation of scene and character is both accurate and creative. Uses posture and tone appropriate for the speech or poem. Interpretation of scene and character is accurate. Posture and tone are at times wooden, inconsistent, derivative, and/or inappropriate. Interpretation of scene and character is at times inconsistent or inappropriate. No discernable posture or tone: uninspired, lackluster recital. Interpretation of scene and character is inaccurate or inappropriate. SOMATIC DELIVERY: Acting and Dialogue Performer consistently uses consistent voice inflection, facial expressions, and movement to make the speech or poem more believable, more entertaining, and more easily understood. Performer often uses voice expressions, and movement to make the poem more believable, more entertaining, and more easily understood. Performer tries to use voice expressions, and movement to make the poem more believable, more entertaining, and more easily understood. Performer recites the speech or poem, but does not use voice expressions, or movement to make the poem more believable, interesting, or clear. PAPER: Typed Materials Contains all elements. Accurate, original, and insightful analysis and commentary. Annotations clearly demonstrate a careful and sophisticated analysis of the form and content of the text. Very few or no grammatical, usage, or mechanical errors. Flawless formatting. Contains most elements. Accurate analysis and commentary. Annotations demonstrate sound analysis of the form and content of the text. Few grammatical, usage, or mechanical errors. Errors do not interfere with reader s understanding. Nearly flawless formatting. Contains some elements. Analysis and commentary are superficial and/or simplistic. Annotations demonstrate a limited or superficial engagement with the text. Some minor but noticeable grammatical, usage, or mechanical errors that hinder or slow a reader s understanding. Flaws in formatting. Missing too many elements, Analysis and commentary are inaccurate. Annotations demonstrate minimal engagement with text and may be inaccurate. Serious, frequent grammatical, usage, and mechanical errors that make reading an effort. Serious flaws in formatting. TOTAL / 20 = x 5 = / 100 Jane Smith

4 ENG 10 XL Mr. Wheeler Shakespeare 4 Mr. Wheeler English 10, Per February 2015 Overture to a Regicide: The s Vow of Vengeance The following passage is taken from Macbeth I.iii In the beginning of this scene, the Weird Sisters wait on the heath outside of Forres, Scotland, where they plan to intercept Macbeth, the current Thane of Glamis. Though it is unclear this early on in the plot what they want with Macbeth, the Sisters aims can only be to cause mischief. The reveals in the opening lines of this scene that she intends to avenge herself against a woman that refused to share chestnuts with her by using magic spells and her shape-shifting abilities to harrow and torment the wife s husband during his voyage home from Aleppo. Reveling in the trouble she will be inflicting, the, abetted by her sisters, is clearly shown in this passage to be a diabolical trickster, a character bent on disrupting the natural order of the world; and, so, the Weird Sisters can only have misfortune in store for Macbeth. They will become immediately responsible for awakening his ambition in the second half of Act 1, Scene 3, once they tell the otherwise noble Thane of Glamis that he is destined to become the Thane of Cawdor and then King of Scotland. Divulging these prophecies will set in motion Macbeth s sudden turn to brutality and treachery to expedite his bloody rise to power and secure his seat on the kingdom s throne. Though it can be debated whether Macbeth is entirely responsible for his cruel actions, it seems clear that he may have remained an upright and noble man had the Weird Sisters never shared their prophecies with him, suggesting that a central idea of Macbeth is illuminating the devastating impacts a society can suffer when subject to rulers with unrestrained ambition.

5 ENG 10 XL Mr. Wheeler Shakespeare Where hast thou been, sister? Killing swine. Third Witch Sister, where thou? A sailor s wife had chestnuts in her lap, And munch d, and munch d, and munch d: Give me, quoth I: Aroint thee, witch! the rump-fed ronyon cries. Her husband s to Aleppo gone, master o the Tiger: But in a sieve I ll thither sail, And, like a rat without a tail, I ll do, I ll do, and I ll do. I ll give thee a wind. Thou rt kind. Third Witch And I another. I myself have all the other, And the very ports they blow, All the quarters that they know I the shipman s card. I will drain him dry as hay: Sleep shall neither night nor day Hang upon his pent-house lid; He shall live a man forbid: Weary se nnights nine times nine Shall he dwindle, peak and pine: Though his bark cannot be lost, Yet it shall be tempest-tost. Look what I have. Show me, show me. Here I have a pilot s thumb, Wreck d as homeward he did come.