Directing Romeo and Juliet

Transcription

1 For: English teachers English subject leaders Active Shakespeare: Capturing evidence of learning Directing Romeo and Juliet Pupil reflection log

2 We want our website and publications to be widely accessible, so please contact us if we're not meeting your needs. Qualifications and Curriculum Telephone Development Agency Enquiry line Butts Road Textphone Earlsdon Park Fax Coventry CV1 3BH Text extracts from the play have been taken from Cambridge School Shakespeare, Romeo and Juliet, 3rd edition by Rex Gibson, text Cambridge University Press 1984, 2005 reproduced with permission. QCDA/10/4797 First published in March 2010 Qualifications and Curriculum Authority 2010 The Qualifications and Curriculum Authority (QCA) is currently operating certain of its non-regulatory functions under the name of the Qualifications and Curriculum Development Agency (QCDA). The legal entity remains QCA, established under the Education Act QCA is an exempted charity under the Charities Act Reproduction, storage or translation, in any form or by any means, of this publication is prohibited without prior written permission of the publisher, unless within the terms of the Copyright Licensing Agency. Excerpts may be reproduced for the purpose of research, private study, criticism or review, or by educational institutions solely for educational purposes, without permission, provided full acknowledgement is given.

3 Contents page STAGE 1 1 Resource 1: Meet the cast and director 1 Reflection opportunity 1: Potpan and servingmen Act 1 Scene 5 2 STAGE 2 3 Resource 1: Words as weapons Act 3 Scene 1 3 Reflection opportunity 1: Throwing words 5 Reflection opportunity 2: Mercutio and Tybalt 6 Reflection opportunity 3: Effective language 7 STAGE 3 8 Reflection opportunity 1: Status words and actions Act 3 Scene 5 8 STAGE 4 10 Resource 1: Act 3 Scene 5 10 Reflection opportunity 1: A 21 st Century perspective - Act 3 Scene 5 2 SYNOPTIC TASK: Directing the play 3 The Qualifications and Curriculum Development Agency is the non-regulatory part of the

4 STAGE 1 Resource 1: Meet the cast and director Phil Cumbus plays the second servant and Tybalt Colin Hurley plays Lord Capulet Tunji Kasim plays Benvolio Claire Lams plays Juliet Chiké Okonkwo plays Romeo Jonjo O Neill plays the first servant Rachel Lumberg plays the Nurse Louise Jameson plays Lady Capulet Nicholas Khan plays second Capulet Bill Buckhurst directs The Qualifications and Curriculum Development Agency is the non-regulatory part of the 1

5 STAGE 1 Reflection opportunity 1: Potpan and servingmen Act 1 Scene 5 Potpan and servingmen: extract 1 Write down as many words as you can that describe the mood of the extract you have just seen: Potpan and servingmen: extract 2 Write down as many words as you can that describe the mood of the extract you have just seen: How would you direct this scene? Which interpretation of the scene do you think would best set the scene for what happens at the ball? Explain your choice. The Qualifications and Curriculum Development Agency is the non-regulatory part of the 2

6 STAGE 2 Resource 1: Words as weapons Act 3 Scene 1 Lines from Act 3 Scene 1 The day is hot, the Capels are abroad thou art as hot a Jack in thy mood as any in Italy simple! Gentlemen, good e en: a word with one of you Zounds, consort! Your worship in that sense may call him man. Thou art a villain Farewell. I see thou knowest me not Boy, this shall not excuse the injuries that thou hast done me Calm, dishonourable, vile submission Tybalt, you rat-catcher, will you walk? Good King of Cats A dog, a rat, a mouse, a cat, to scratch a man to death A braggart, a rogue, a villain I have it, and soundly too Thou wretched boy, that did consort him here Tybalt, that murderer, which way ran he? The Qualifications and Curriculum Development Agency is the non-regulatory part of the 3

7 Where are the vile beginners of this fray? Tybalt, my cousin, o my brother s child Write down the words you chose as weapons. Which words best fitted with a throwing action and why? The Qualifications and Curriculum Development Agency is the non-regulatory part of the 4

8 STAGE 2 Reflection opportunity 1: Throwing words Are the actors choices of weapon words similar to yours or did the choices surprise you? Which words do you think were the most effective weapon words? Explain your choices. How did the actor deliver the word that made it effective? Consider how they played with: word length, tone, emphasis of particular vowels and/or consonants, gesture etc. The Qualifications and Curriculum Development Agency is the non-regulatory part of the 5

9 STAGE 2 Reflection opportunity 2: Mercutio and Tybalt How does the actor playing Mercutio use his words as weapons to taunt Tybalt? What effect do Mercutio s words have on Tybalt in this version and how do the actors reflect this? Can you think of any other ways of playing this exchange? The Qualifications and Curriculum Development Agency is the non-regulatory part of the 6

10 STAGE 2 Reflection opportunity 3: Effective language Words that provoke a fight: Words that encourage peace: Identify what you have discovered about the use of words in this scene to achieve their purpose. The Qualifications and Curriculum Development Agency is the non-regulatory part of the 7

11 STAGE 3 Reflection opportunity 1: Status words and actions Act 3 Scene 5 What words does Lady Capulet use that show her status compared to Juliet? What words does Juliet use that show her status compared to her mother? What actions can you identify that show the characters relative statuses? The Qualifications and Curriculum Development Agency is the non-regulatory part of the 8

12 What does Lord Capulet do that shows he is an Elizabethan father? How does Juliet s behaviour show that she is an Elizabethan daughter? What is the status relationship between the Nurse and Lady Capulet throughout this scene? The Qualifications and Curriculum Development Agency is the non-regulatory part of the 9

13 STAGE 4 Resource 1: Act 3 Scene 5 Read through your extract. Nominate a director in your group. Decide on how your actors will deliver their lines, when the actors should move and how they should react. Experiment with different ways of acting the scene. Practise the scene. Decide which version you prefer. Extract 1 Nurse Your lady mother is coming to your chamber. The day is broke, be wary, look about. Exit Nurse. Enter LADY CAPULET LADY CAPULET JULIET LADY CAPULET JULIET LADY CAPULET Why how now, Juliet? Madam, I am not well. But now I'll tell thee joyful tidings, girl. What are they, beseech 1 your ladyship? Well, well, thou hast a careful father, child, One who, to put thee from thy heaviness, Hath sorted out a sudden day of joy, That thou expects not, nor I looked not for. 1 may I ask The Qualifications and Curriculum Development Agency is the non-regulatory part of the 10

14 Extract 2 JULIET LADY CAPULET JULIET LADY CAPULET Madam, in happy time, what day is that? Marry, my child, early next Thursday morn, The gallant, young, and noble gentleman, The County Paris, at Saint Peter's Church, Shall happily make thee there a joyful bride. Now by Saint Peter's Church and Peter too, He shall not make me there a joyful bride. I wonder at this haste, that I must wed Ere 1 he, that should be husband comes to woo. I pray you tell my lord and father, madam, I will not marry yet. These are news indeed! Here comes your father, tell him so yourself; And see how he will take it at your hands. 1 before The Qualifications and Curriculum Development Agency is the non-regulatory part of the 11

15 Extract 3 Enter CAPULET and Nurse CAPULET How now, wife, Have you delivered to her our decree? LADY CAPULET Ay, sir, but she will none, she gives you thanks. I would the fool were married to her grave. CAPULET JULIET CAPULET LADY CAPULET Soft, take me with you, take me with you, wife. How, will she none? doth she not give us thanks? Is she not proud? doth she not count her blest, Unworthy as she is, that we have wrought So worthy a gentleman to be her bride? Not proud you have, but thankful that you have: Proud can I never be of what I hate, But thankful even for hate that is meant love. How how, how how, chopt-logic 1? What is this? 'Proud,' and 'I thank you,' and 'I thank you not, And yet 'not proud,' mistress minion 2 you, Thank me no thankings, nor proud me no prouds, But fettle your fine joints 3 'gainst Thursday next, To go with Paris to Saint Peter's Church, Or I will drag thee on a hurdle thither. Fie, fie, what, are you mad? 1 riddles 2 spoiled brat 3 get ready (the expression comes from a grooming horse) The Qualifications and Curriculum Development Agency is the non-regulatory part of the 1

16 STAGE 4 Reflection opportunity 1: A 21 st Century perspective - Act 3 Scene 5 How is the 21 st Century interpretation of Act 3 Scene 5 different to the Elizabethan interpretation you watched earlier? The Qualifications and Curriculum Development Agency is the non-regulatory part of the 2

17 SYNOPTIC TASK: Directing the play Your class is going to stage a production of Romeo and Juliet and you have been asked to direct it. You have to decide whether you would like to stage an Elizabethan interpretation or a 21 st Century interpretation of the play. You need to produce an extended piece of writing that describes the choices and decisions you have made to create your interpretation of the play. You should focus on the three scenes you have been working with: Act 1 scene 5 Potpan and servingmen Act 3 scene 1 Mercutio and Tybalt Act 3 scene 5 Lord and Lady Capulet. Remember Focus on the language and identify what words and lines gave you your ideas for the production. Show that you have thought about the characters relationships with each other and how their behaviour changes in different situations. Think about how well this play can be understood by an audience today; How will you reflect Elizabethan or contemporary social conventions? You don t need to explain how to stage the play or how the actors should deliver a line or describe in detail the costume and set design. Use quotations from the play to support your opinions and explain how these quotations support your interpretation of Romeo and Juliet. Don t forget to look back at the notes you have made in your reflection log. The Qualifications and Curriculum Development Agency is the non-regulatory part of the 3

18 Page for writing The Qualifications and Curriculum Development Agency is the non-regulatory part of the 4

19 Page for writing. Please ask for more paper if you need it. The Qualifications and Curriculum Development Agency is the non-regulatory part of the 5

20 For: English teachers English subject leaders Active Shakespeare: Capturing evidence of learning Directing Romeo and Juliet Pupil reflection log

21 We want our website and publications to be widely accessible, so please contact us if we're not meeting your needs. Qualifications and Curriculum Telephone Development Agency Enquiry line Butts Road Textphone Earlsdon Park Fax Coventry CV1 3BH Text extracts from the play have been taken from Cambridge School Shakespeare, Romeo and Juliet, 3rd edition by Rex Gibson, text Cambridge University Press 1984, 2005 reproduced with permission. QCDA/10/4797 First published in March 2010 Qualifications and Curriculum Authority 2010 The Qualifications and Curriculum Authority (QCA) is currently operating certain of its non-regulatory functions under the name of the Qualifications and Curriculum Development Agency (QCDA). The legal entity remains QCA, established under the Education Act QCA is an exempted charity under the Charities Act Reproduction, storage or translation, in any form or by any means, of this publication is prohibited without prior written permission of the publisher, unless within the terms of the Copyright Licensing Agency. Excerpts may be reproduced for the purpose of research, private study, criticism or review, or by educational institutions solely for educational purposes, without permission, provided full acknowledgement is given.

22 About this publication Who is it for? Teachers and English subject leaders. What is it about Providing active and engaging ways to integrate Shakespeare in the ongoing periodic assessment of pupils reading. What is it for? To support the teaching and assessment of Shakespeare at Key Stage 3. Related publications Shakespeare for all ages and stages, DCSF For more copies Download from Reference QCDA/10/4797 Contact information: Qualifications and Curriculum Development Agency Butts Road, Earlsdon Park, Coventry CV1 3BH Telephone Textphone Fax Working in partnership with