Professional Documents
Culture Documents
OCTOBER 2013
Jonathan Moscone Artistic Director Susie Falk Managing Director Clive Worsley Director of Artistic Learning
IN THIS GUIDE:
1. 2. Cal Shakes Overview Cal Shakes Mission, Funders, and Partners.......................................3 Artistic Learning Programs at Cal Shakes...........................................4 A Winters Tale Overview A Note to Teachers.........................................................................6 Plot Summary................................................................................7 Fun Facts about A Winters Tale.......................................................8 Whos WhoThe Actors & Characters................................................9 Whos WhoThe Characters.............................................................10 Character Map...............................................................................11 Seeing the Play: Before and After.....................................................12 Shakespeares Language..................................................................13 A Winters Tale: Water Wears Away Stone Storytelling As Healing....................................................................15 Shakespeares Romances..............................................................17 Hermione and Leontes: Water vs. Stone............................................18 Festivals........................................................................................20 Behind the Scenes: Elizabethan Times William Shakespeare: A Mysterious Life............................................23 The Language of Flowers.................................................................25 Resources A Winters Tale on Film...................................................................27 The Internet...................................................................................28 Books............................................................................................29 Classroom Activity Guide Cal Shakes Mission, Funders, and Partners.......................................31 Social Networking Character Study: Shakesbook..............................32 BoMEMEia: Make Your Own Meme..................................................37 Dear Me in 16 Years.......................................................................38 Dear Diary.....................................................................................39 Shakespeares Runway....................................................................41 Brush Up Your Shakespeare Reference Sheet..................................48 Cal Shakes Critique: Elementary and Middle School...........................49 Cal Shakes Critique: Middle and High School.....................................51
3. 4. 5. 6.
GUIDE CREDITS Editor: Trish Tillman Contributors: Tommy Statler, Jacinta Sutphin, Megan Wicks, Miriam Salameh Copy Editors: Stefanie Kalem Layout & Graphics: Callie Cullum and Sarah Soward 2
OUR MISSION
We strive for everyone, regardless of age, circumstance, or background, to discover and express the relevance of Shakespeare and the classics in their lives by: Making boldly imagined and deeply entertaining interpretations of Shakespeare and the classics; Providing in-depth, far-reaching, creative educational opportunities for diverse youth; Developing new models that expand who participates in making theater, how they participate, and why.
The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare for a New Generation. California Shakespeare Theater is one of 42 professional theater companies selected to participate in Shakespeare for a New Generation, bringing the finest productions of Shakespeare to middle- and high-school students in communities across the United States. This is the 11th year of Shakespeare for a New Generation, the largest tour of Shakespeare in American history.
Artistic Learning programs are supported by generous contributions the numerous donors to our annual Gala Make-a-Difference Fund and the following foundation and corporate sponsors: Dale Family Fund, Dodge & Cox, Sidney E. Frank Foundation, Walter and Elise Haas Fund, The William and Flora Hewlett Foundation, Dean and Margaret Lesher Foundation, Thomas J. Long Foundation, MCJ Amelior Foundation, Morris Stulsaft Foundation, The National Endowment for the Arts/ Arts Midwest: Shakespeare for a New Generation, RHE Foundation, The Safeway Foundation, and the Wells Fargo Foundation.
PRESENTING PARTNERS SEASON PARTNERS
SEASON UNDERWRITERS
www.calshakes.org
AFTER-SCHOOL CLASSES
After-school programs are a popular offering in many aspects of theater including acting, physical comedy, and improvisation as well as Shakespeare. First grade and up.
For more information or to register for any of our programs, please call the Artistic Learning Coordinator at 510.548.3422 x133, or email learn@calshakes.org.
OVERVIEW
Pictured: Cal Shakes students as (left to right) Perdita, Paulina, Hermione, and Leontes in a Summer Shakespeare Conservatory production of A Winters Tale; photo by Jay Yamada.
A NOTE TO TEACHERS
a wild dedication of yourselves To unpathd waters, undreamd shores
Camillo, Act 4, scene 4 We are thrilled to have you and your students join us for this seasons Student Discovery Matinee production of A Winters Tale. Our goal is to enliven students engagement with this play in a deep and memorable way, through the live Cal Shakes performance and your use of the background information and activities provided in this Teachers Guide. The intent is to address the complexity of teaching Shakespeare (and in this case, a lesser-known play) and provide specific tools you can use to make it vivid and personal for yourself and your students. This wonderful play was written near the end of Shakespeares life, and it is easy to imagine his deciding that, this time, he could really mix it up. Modern scholars have wrestled with how this play should be categorized: Directors have struggled with how to believably represent a man-eating bear and a statue that comes to life; actors continually experiment with how stock character types such as the jealous husband and the virtuous wife can have meaningful depth; designers worry over how to create not only one distinct and detailed setting but two, Sicilia and Bohemia; directors wonder how to meaningfully stage the convention of Times long, explanatory monologue skipping 16 years from Act 3 to 4. But what is the core of the play? The theme of our guide is Water Wears Away Stone: Director Patricia McGregor finds that the primary story of the text is one that emphasizes grace, hope, faith, and forgiveness. She argues that this play illustrates how these positive, seemingly gentle emotions are ultimately more powerful than anger, fear, paranoia, and jealousy. They are the waters that wear away the stone. This is a play that can especially resonate in our time. Sometimes retaliation, reasonable or not, becomes how societies operate under extreme duress. Told through the exquisite metaphor of a family almost completely destroyed by jaded emotions, we can see how our actions can significantly influence the world around usbe it our family, our friends, our pets, or our country. Tragedy tends to claim our tearsall of us know it in our own lives, and we cry to see our pain recognizedbut the gentle power of patience and love is not so extroverted. It simply waits, through the passage of time, through panic and disorder, until it can be seen: until Hermione is stone no more, and she steps down with feet of flesh. Theater teaches us to engage the whole body, the brain, and our emotional intelligence and if you let Shakespeare play in your class as his actors played onstage, the students cannot help but connect. And yes, its fun; and yes, that can be the same as doing rigorous and demanding work. Theater is a great way to bridge the resistance gap. Enjoy! The Cal Shakes Artistic Learning Department
PLOT SUMMARY:
By Cal Shakes Resident Dramaturg Philippa Kelly
Where it all begins: Sicilia, kingdom of King Leontes Whos there: Various servants herald the entrance of Leontes; his heavily pregnant wife, Hermione; and his childhood friend, Polixenes, King of Bohemia Dont let your heart outshout your brain: Leontes begs Polixenes to stay a week longer; Polixenes says he cant. Leontes occupies himself somewhere else while Hermione presses his case. Polixenes relents, agreeing to stay; and, out of nowhere, Leontes decides that because he didnt succeed and his wife did, there has to be something going on between the two of them. Leontes gives birth to this suspicion; his imagination does the rest. Ask an oracle before, not after: Leontes orders Polixenes gone; he sends Hermione to jail, where she delivers a baby girl; Leontes sends the child away to be killed and asks an oracle to tell him the truth of what has gone on; the oracle confirms that Hermione was true to her husband. But its too late: Leontes pre-teen son dies of grief and trauma; Hermione falls in a swoon and her servant reports that she, too, has died. Not even a good act can save you from a bear: Antigonous, charged with murdering the infant, leaves her on the Bohemian coast instead. A bear chases and kills him. The baby is found by a shepherd. Sixteen years later: The infant, Perdita, has been raised by the shepherd in the forests of Bohemia. One day King Polixenes son, Florizel, sees her and falls in love with her. Wronged people are not immune from doing wrong themselves: Polixenes and his servant Camillo (who was once Leontes servant) attend, in disguise, the betrothal of Florizel and Perdita. Polixenes tears off his disguise and orders his son never to see this lowly shepherdess again. Sicilia is now a sanctuary: Florizel and Perdita escape to Sicilia. Florizel is embraced by the suffering Leontes, who has mourned his actions for the last 16 years. Florizel soothes Leontes grief and remorse by telling him hes on a mission from his father to bury the hatchet. The best-laid plans Florizels cover is blown when his furious father arrives, along with Camillo, who longs to see his homeland again. Nature may solve it all: The story unravels itself. We find that Perdita is in truth Leontes long-lost infant daughter; that Hermione is not dead, but safely maintained by her loyal servant Paulina all these years; and that Leontes can now have both wife and daughter back again. Sometimes, just sometimes, life is indeed a miracle.
A winter's Tale
It was originally printed in the First Folio of Shakespeares plays in 1623 as The Winters Tale. We are calling it A Winters Tale both because the title has also been published under that title, and in our storytelling-based production we felt that A Winters Tale emphasized the mythological aspects of this story. It is generally agreed that this play was written around 160911. The first recorded performance of the play was at The Globe on May 15, 1611; later that year it was presented at Whitehall before King James I. In 1613, the play was presented as part of the wedding celebrations of James daughter Elizabeth to Frederick V, later to become King of Bohemia. (The King of Bohemia would have a special interest in watching a character named after himself!) In the First Folio, it was printed at the end of the Comedies section.
Mackenzie Kwok Veronica Larkin Second Lady, Dorcas, Ensemble Second Lady, Dorcas, Ensemble
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CHARACTER MAP
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Consider the following questions before and after the show. BEFORE Viewing the Play
Why do you think Leontes is so jealous? Look for reasons. What do you wonder about Hermione, just from knowing the plot? Watch for the way the director has decided to show the play skipping over the 16 years after the baby Perdita is abandoned. Look for all the opposites in the play: actors that play opposite kind of characters; how the characters act in Sicilia vs. how they act in Bohemia; the difference in colors, shapes, and sizes between the two countries. As you watch the play, look for characters that act like people in your real life. Is there a character here that is a kind of person youve never met before? Would you want to meet them?
See the Write Your Own Critique page in the Activity Appendix for more ideas about what to watch for and how to write about your reactions after the show.
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SHAKESPEARES LANGUAGE
When asked the number-one challenge with Shakespeares works, modern-day audiences will almost always respond: the language. Its true that the language does sound different to our ears and that Shakespeare uses phrases we no longer use in our everyday speech. But think of this: There are phrases that we use today that would baffle Shakespeare, should he magically time-travel to this day and age. Thats because language (especially English) is constantly transforming.
Can you match these original quotes from A Winters Tale to their modern-day translations?
We were as twinned lambs that did frisk i the sun, And bleat the one at the other: what we changed Was innocence for innocence; we knew not The doctrine of ill-doing, nor dreamed That any did. Polixenes, Act 1, scene 2 Good my lord, be cured Of this diseased opinion, and betimes; For tis most dangerous. Camillo, Act 1, scene 2 Since what I am to say must be but that Which contradicts my accusation, and The testimony on my part no other But what comes from myself, it shall scarce boot me To say, Not guilty. Mine integrity, Being counted falsehood, shall, as I express it, Be so received. Hermione, Act 3, scene 2 When daffodils begin to peer, With heigh! the doxy over the dale, Why, then comes in the sweet o the year; For the red blood reigns in the winters pale. Autolycus, Act 4, scene 3 The self-same sun that shines upon his court Hides not his visage from our cottage, but Looks on all alike. Perdita, Act 4, scene 4 I lost a couple, that twixt heaven and earth Might thus have stood begetting wonder as You, gracious couple, do: and then I lost-All mine own folly--the society, Amity too, of your brave father, whom, Though bearing misery, I desire my life Once more to look on him. Leontes, Act 5, scene 1 Tis time; descend; be stone no more; approach. Paulina, Act 5, scene 3 See Brush Up Your Shakespeare on page 48.
A Winters Tale OVERVIEW
The same sun that shines on the royal court shines on cottages toothe sun does not care if we are Royal or not. Since anything I say wont be believed, and Im the only one who can say I am innocent, I shouldnt even bother to say not guilty. My honesty counts as a lie, so when I speak truthfully, it will be heard as lying.
I lost two people that might have stood here with me between heaven and the grave; they might be as astonished as you two are. Then I lost that craziness; and I lost the company and friendship of your father. Even though Im responsible, Id give my life to see him once more.
When daffodils start to bloom and the wenches call over the hill, it is the sweetest time of the year, because red life rules over winters pale authority.
Please, my lord, this jealousy is like you are sick. Cure yourself by stopping to think this way; and do it fast, its dangerous.
We were so innocent, like twin lambs playing together in the sun. We had no idea evil even existed, or that anyone could know of evil.
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WATER WEARS
AWAY STONE
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STORYTELLING AS HEALING
(page 1 of 2)
It is required You do awake your faith. Then all stand still.
Paulina, Act 5, scene 3 In A Winters Tale, Leontes is caught in a terrible storm of emotions, and cannot allow himself to trust his beloved wife, even to the point of denying an oracle from the gods. Weve all been in a dark place where our worst feelings are overwhelming us. Thats not fair. They are out to get me. Is that rumor true? How could someone say something like that about me? I wish I had what that person has. Why do I have to go through this? Im all alone. No one knows how I feel.
Our director puts it like this: Set as a fable told by Paulina and her traveling group of gypsies, using the simple magic of traveling storytellers and natural beauty of our outdoor setting in the Orinda hills, this play evokes the elements that draw us towards and away from our best natures. The reason our play is framed through the act of sharing stories is that storytelling lets us listen to others, instead of hearing only the constant chatter of our own minds. There is an unceasing human need to hear about others: to see our own difficulties mirrored; to be reminded that we are not alone; to experience triumph and joy through what others are going through, doing, and feeling. Storytelling is almost the only thing we do. And it is one of the best ways to learn and understand oneself through the experiences of others. Youll never guess what happened today! So, once, when we were at the park I think that we can work it out like this That reminds me of the time when
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STORYTELLING AS HEALING
(page 2 of 2)
STORY JOURNAL
For one day, write down every story you read or hear during the day. (Dont write down the whole story! Just a note like, Tasha told me about her cat.) This includes people talking to you, of course, but also most anything you read on the internet or in a book youre reading, the lyrics to a song you hear, what the teacher tells you in class. Name the story and a brief line to describe what the story was about. Now take stock: How many of these were meaningful to you? Which ones provoked an emotion in you? Extension exercise: Theres a lot of data that shows that people are, more and more, limiting their interactions with the world to what makes them comfortable, or what they already know and agree with. So tabulate your list of stories: Which of these stories did you seek out on purpose? Which ones came unexpectedly? Take stock: Do you tend to go online to read stories that suit you, or do you seek ones that you dont know much about? What is your conclusion about how you interact with the world on this basis?
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SHAKESPEAreS ROMANCES
Ill make the statue move indeed, descend, And take you by the hand
Paulina, Act 5, Scene 3
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The crown and comfort of my life, your favor, I do give lost, for I do feel it gone, But know not how it went.
Hermione, Act 2, scene 1
Plays offer us a chance to understand characters more deeply than people we may meet in real life. One reason for this is that for characters to be believable on stage, they show reasons for all of their actions. Even if their logic or actions do not match our personal standards, we can usually work to understand them. Their logic and actions are often explained to us through dialogue or an actors portrayal. With Leontes and Hermione, Shakespeare has given us two great characters with which to try this out. Lets take Leontes first. His actions may be particularly difficult to understand, since Shakespeare gives few clues as to his reasons. Again, our jobs as actors and directors of this play demand that we find reasons that make human sense. Our director spoke about Leontes unjust actions being caused, perhaps, by his paranoid jealousy; and, as we know, it results in the tragic deaths of his son Mamillius and his wife as well as the loss of his friendship with Polixenes. She paraphrased James Baldwin in saying I understand why people hold on to anger. Because when you let go of anger, you have to deal with the pain lying underneath. Is Leontes acting so angry because he is so pained by the idea that his wife might not love him? This starts to get the actor to a place where the reasons become clear and recognizable to an audience. Hermione is also a study in action, although hers seem much more consciously chosen than her husbands. She is accused of infidelity, but she doesnt retaliate. Though she could do so, as a person of some power and position, she chooses not to engage Leontes in the same angry, accusatory way. She effectively breaks the cycle of retaliation by refusing to meet him at his level. So why doesnt Hermione fight back with anger?
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ELIZABETHAN CULTURE
OVERVIEW
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Furthermore, only a few samples of handwriting are thought actually to be hisplays were
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For Students
Look up the clues that people have collected about who Shakespeare was. Do you think there really was one man from Stratford-on-Avon who wrote all of the plays, or was the name used to cover up the real author(s)? Why would someone want to cover it up? Does any of this matter in the end?
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RESOURCES
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A Winter's tale
on Film
The Winters Tale, being a complex and mixed-genre story, seems to have had limited appeal to commercial filmmakers over the years, in contrast with the multiplicity of Romeo and Juliet and Hamlet films. However, the fantastical elements have tempted a few filmmakers over the years to try and capture the story:
The Winters Tale (1910) Directed by Theodore Marston and Barry ONeil Starring Anna Rosemond, Martin Faust, and Frank Hall Crane Black-and-white, abridged, silent version The Winters Tale (1967) Directed by Frank Dunlop Starring Laurence Harvey, Jane Asher, and Jim Dale Film adaptation of Dunlops 1966 Edinburgh Festival production The Winters Tale (1981) Directed by Jane Howell Starring Jeremy Kemp, Anna Calder-Marshall, and Robert Stephens Minimalist BBC production, with an ensemble cast acting on a unit set
Note: There is a very funny film by Kenneth Branagh called A Winters Tale, that is about a group of amateur actors putting on a production of Hamlet in an old church in the dead of winter. This is a British precursor to Waiting for Guffman by the great Christopher Guest, but it is not an adaptation of the Shakespeare play The Winters Tale.
RESOURCES
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THE INTERNET
Folger Shakespeare Librarymassive collection of lesson plans and activites for teaching Shakespeare at all grade levels: www.folger.edu Life in Elizabethan England: Elizabethan.org/compendium Teachit.co.uk/armoore/Shakespeare Snaithprimary.eril.net/ttss.htm
Activities on Shakespeares various plot and character relationships: Collaborativelearning.org/muchadoplotrelationships.pdf (for Much Ado About Nothing, but can be adapted to any Shakespeare play) The Stratford Festivals Tools for Teachers: Stratfordfestival.ca/education/teachers. aspx?id=1096 Shakespeare Resource Centers Elizabethan England: Bardweb.net/England.html The Kennedy Centers The Poetics of Hip Hop: Artsedge.kennedy-center.org/educators/lessons/ grade9-12/Poetics_of_Hip_Hop.aspx Shakespearean Insult Worksheet: Gallery.carnegiefoundation.org/collections/quest/collections/sites/ divans-hutchinson_yvonne1/Yvonne%20scans/insultsheet.pdf
RESOURCES
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BOOKS
Davis, James E., ed. Teaching Shakespeare Today: Practical Approaches and Productive Strategies. Urbana, Ill: National Council of Teachers of English, 1993. Crystal, David, and Crystal, Ben. The Shakespeare Miscellany. The Overlook Press, Peter Mayer Publishers, Inc. Woodstock and New York, 2005. Crystal, David, and Crystal, Ben. Shakespeares Words: A Glossary and Language Companion. Penguin Books, The Penguin Group. London, 2002. Papp, Joseph and Elizabeth Kirkland. Shakespeare Alive! New York, New York: Bantam Books, 1988. Epstein, Norrie. The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard. New York, New York: Penguin Books, 1993 Asimov, Isaac. Asimovs Guide to Shakespeare. New York, New York: Random House, 1970. Foster, Cass and Lynn G. Johnson. Shakespeare: To Teach or Not To Teach. Grades three and Up. Scottsdale, AZ: Five Star Publications, 1992. Garfield, Leon. Shakespeare Stories. Boston: Houghton Mifflin Company, 1998. Morley, Jacqueline and John James. Shakespeares Theatre: The Inside Story. East Sussex, London: Simon and Schuster Young Books, 1994.
RESOURCES
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Jonathan Moscone Artistic Director Susie Falk Managing Director Clive Worsley Director of Artistic Learning
Pictured: Omoz Idehenre, who plays Hermione in Cal Shakes production of A Winters Tale; photo by Jeff Singer.
The first and most important lessonis that there are no rules about how to do Shakespeare, just clues. Everything is negotiable.
Antony Sher and Greg Doran, Woza Shakespeare! 1996, on training in the Royal Shakespeare Company
Note to Teachers: This guide was created as a supplement for teachers preparing students to see California Shakespeare Theaters production of A Winters Tale. Worksheets are designed to be used individually or in conjunction with others throughout the guide. While we realize that no aspect of this guide fully outlines a course for meeting a subject areas standards, discussion questions and topics are devised to address California state standards in English, Performing Arts, and History. The activities here can be minimally reproduced for educational, nonprofit use only. All lessons must be appropriately credited. There are many excellent lesson plans for A Winters Tale and other Shakespeare plays that can be adapted to fit A Winters Tale on the Internet. Please see the Resources section of this guide for links. This guide concentrates primarily on ideas that help students understand language, plot, and character through activities that get students on their feet and speaking. If you are interested in a California Shakespeare Theater Professional Development Workshop, which provides easy-tolearn tools for teachers to incorporate theater and arts education activities into California standards-based core curriculum, please contact the Artistic Learning Department at 510.548.3422 x136 or learn@calshakes.org.
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OUR MISSION
We strive for everyone, regardless of age, circumstance, or background, to discover and express the relevance of Shakespeare and the classics in their lives by: Making boldly imagined and deeply entertaining interpretations of Shakespeare and the classics; Providing in-depth, far-reaching, creative educational opportunities for diverse youth; Developing new models that expand who participates in making theater, how they participate, and why.
The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare for a New Generation. California Shakespeare Theater is one of 42 professional theater companies selected to participate in Shakespeare for a New Generation, bringing the finest productions of Shakespeare to middle- and high-school students in communities across the United States. This is the 11th year of Shakespeare for a New Generation, the largest tour of Shakespeare in American history.
Artistic Learning programs are supported by generous contributions the numerous donors to our annual Gala Make-a-Difference Fund and the following foundation and corporate sponsors: Dale Family Fund, Dodge & Cox, Sidney E. Frank Foundation, Walter and Elise Haas Fund, The William and Flora Hewlett Foundation, Dean and Margaret Lesher Foundation, Thomas J. Long Foundation, MCJ Amelior Foundation, Morris Stulsaft Foundation, The National Endowment for the Arts/ Arts Midwest: Shakespeare for a New Generation, RHE Foundation, The Safeway Foundation, and the Wells Fargo Foundation.
PRESENTING PARTNERS SEASON PARTNERS
SEASON UNDERWRITERS
www.calshakes.org
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Activity guide
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Note: Require the students to fill out the worksheet manually, rather than actually filling out a public profile online. If you can post their mock profile pages onto your school website or blog for students to fill out within the framework of this project, that would work as well, but false profiles in a public space should be actively discouraged. Student examples should show a deep understanding of the plot and qualities of the character. Some examples follow.
Activity guide
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shakesbook
Autolycus
A Winters Tale
I just figured out how to hack into the schools student database. Grades for sale!
Wall
Write something...
Married to
Myself RECENT ACTIVITY
Florizel wrote:
Dorcas
Hey, that gold ring you sold me for Perdita turned her finger green! I want my money back!
Activity guide
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shakesbook
Perdita
A Winters Tale
Ive pledged to give a flower a day to every new person I meet this spring.
Wall
Write something...
Friends (30)
Florizel RECENT ACTIVITY
Perdita So excited about the festival. Hope Florizel buys me something pretty!
Mopsa
Florizel wrote: Meet me at the big oak tree before the festival...
Dorcas
Clown
Old Shepherd
Perdita wrote on Florizels wall Old Shepherd wrote: Dont be so forward, Perdita!
Activity guide
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shakesbook
A Winters Tale
Wall
Friends ( )
RECENT ACTIVITY
Activity guide
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Bohmemeia
Overview: Students will use popular images or memes from Internet culture to relate to A Winters Tale. Grade: 712 Goal: To connect the situations and characters into modern pop culture. Outcome: Students will be able to relate action and language in the play with current portrayals of similar situations or emotions. Preparation: Students should be familiar with the story. Activity: Create a meme (picture with text) relating to the plot or a scene in A Winters Tale. These are meant to be comedic. The students will go to this link: http://www.mememaker.net/create/upload in order to create the meme. The background of the meme can be anything they like. A good example for the background of the meme could be William Shakespeares face, or a bear. Heres what we created. Now go have fun and create your own!
Activity guide
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Dear ME IN 16 YEARS
Overview: Students will imagine what their older selves might need to know from their younger selves. Grades: 612 Goal: To fully imagine the emotional and situational changes that might happen to them as they grow older, and to offer advice to the older self. Outcomes: Through the experience of relating to their own lives, students will be able to gain compassion and understanding of Leontes change over the course of 16 years; and of Perditas growing up never knowing her true identity.
Activity
A Winters Tale contains a 16-year leap into the future between the first part of the play and the second. The characters in this play, as people in real life, grow older and experience many life events, but the audience or reader does not witness all of these. The characters in the play are obviously changed by the circumstances that have arisen in 16 years; in real life, shifts can be so gradual that people may forget some of the perspectives, feelings, and thoughts of their 16-yearsyounger self. What would it be like if you could really remember that earlier part of your selfwould you benefit? Would it affect how you make decisions and interact with people around you today?
This portion of the lesson can begin with a discussion about how the 16-year time jump affects the character development and story arc in the play. How do people change and/or stay the same over the years? Then have the students write a letter to their 16-years-older selves. Prompt them with a few broad topics such as: What would you want yourself to remember about your likes and dislikes and aspirations? Is there any advice theyd want to give? What is your favorite food, smell, book? Once the students are finished, have them put the letter in an envelope addressed to themselves with the date on it and the date of when they can open it. If possible, they should give it to a guardian for safekeeping, or put it in a special place where theyll remember to open it years later.
Activity guide
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Dear Diary
(page 1 of 2)
Overview: Writing a diary, blog, or journal entry from the perspective of one of the plays characters creates empathy with fictional characters, sheds light on our own personal situations, and recasts the plot of the play in relevant terms. Grades: 612 Goal: To bring the characters of A Winters Tale into a real-world context. Outcomes: Students will be able to use facts from the text to imaginatively enter into the thoughts, feelings, and motivations of fictional characters by writing a diary entry about an offstage moment from the perspective of a character in the play.
Activity
1. Ask the students to write a diary, blog, or journal entry from the point of view of a character in A Winters Tale, describing a moment when that character is not seen onstage. Think about: What is happening when the character is in this offstage situation? What is the character thinking and feeling? 2. Ask the students to choose a character and a moment to write about. Examples: What is Leontes doing, thinking, and feeling during the 16-year gap? Remember that he repents at the end of the playwhat happens to him between the time he accuses his wife and abandons their daughter, to when he comes back to loving them? Imagine the Old Shepherds life before he finds Perdita and decides to raise her. Its fairly clear that Polixenes and Hermione are not having an affairthe oracle says so and they themselves deny it. Then what are they really doing spending so much time together in that first scene? How has Hermione survived all these years? Is she really a statue, magically brought to life? Did Paulina lie when she said Hermione died, and has been taking care of her in hiding all these years?
Activity guide
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Dear Diary
(page 2 of 2)
Reflection
Name one thing you had to imagine about your character that you think is really interesting. Was it easy to imagine beyond the playfor instance, what Leontes thoughts might be? Do you feel the play did not provide you with enough information? How so? How easy was it to decide which character to write an entry for? Are there characters you think might be more likely to keep a diary or blog?
Extension Exercise Do the same writing exercise, but have one student write about the same incident from multiple characters points of view. Alternatively, have many students describe the same incident from different characters viewpoints. Instead of a written piece, do a vlog (video blog) from the point of view of one character, or featuring two characters talking about the incidents and expressing their opinions and feelings about what happened.
Activity guide
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HOW TO PLAY: Ask your students to study one of the characters from the play in order to outfit this character in a way that reflects who they are, based on your study of the text. 1. You are provided text in the next few pages that will give character and costume clues for each person. Read the selected scene, taking note of words or character clues in the text as you go. Share with your group the images that popped out at you, seeming to best describe the character. 2. As a group, select three key words that inspire you in your design process. 3. On your own, create a rendering of your character using various art supplies and the template provided for you. Join your group again and, as a team, select one rendering to be brought to life. Elements may be combined from multiple drawings, but be prepared to explain your choices in the design presentation. 4. You will have a box of clothing including hats, shoes, skirts, etc.; choose the items that represent your character. You may also use found objects, your own clothing, and other assorted art supplies on hand.
Activity guide
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(page 2 of 7)
5. One person from your team will serve as the model, one person will serve as the main presenter to tell the class what line from the text most fully embodies your look, and each member of the team must explain how the words are reflected in the clothing choices you made. The model must perform this line of text. If possible, take a photo of the model next to the design ideas to complete the activity. Reflection: Were there things about the character that you did not recognize before when you were looking at the text from a designers perspective? How did your group arrive at the design concept that you ended up modeling? Did you have to make some compromises? When looking at the other groups designs, what do you think they most successfully represented about their given character? When you see their word choices, what costume item most embodies one of those words to you? What element of the characters costume do you find the most intriguing or thoughtprovoking?
Note: Students do not need to be worried about a look that would go well in a magazine, i.e., one that could have commercial appeal. It might be easy for some students to fall into this way of thinking as this kind of advertising is seen everywhere, but this exercise is only about physically embodying the characters personality. Extension activities: Those who are interested in fashion or artistically oriented might want to base a clothing line on all of the main characters in the play, presented as a runway. Scrapbooking or creating a collage from different magazines or drawing a costume rendering first provides the opportunity for students to share their own ideas about their character with their classmates.
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Shakepeares Runway
(page 3 of 7) TEXT FOR CHARACTER OF LEONTES
LEONTES How blest am I In my just censure, in my true opinion! Alack, for lesser knowledge! How accursed In being so blest! There may be in the cup A spider steeped, and one may drink, depart, And yet partake no venom, for his knowledge Is not infected; but if one present Th abhorred ingredient to his eye, make known How he hath drunk, he cracks his gorge, his sides, With violent hefts. I have drunk, and seen the spider. Camillo was his help in this, his pander. There is a plot against my life, my crown. Alls true that is mistrusted. That false villain Whom I employed was preemployed by him. He has discovered by design, and I Remain a pinched thing yea, a very trick For them to play at will. A Winters Tale, Act 2, scene 1
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Shakepeares Runway
(page 4 of 7) TEXT FOR CHARACTER OF PERDITA
PERDITA I wish I had some flowers o the spring.daffodils, That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Junos eyes Or Cythereas breath; pale primroses, That die unmarried ere they can behold Bright Phoebus in his strength a malady Most incident to maids; bold oxlips and The crown imperial; lilies of all kinds, The flower-de-luce being one. O, these I lack To make you garlands of, and my sweet friend, To strew him oer and oer! FLORIZEL What, like a corse? PERDITA No, like a bank for love to lie and play on. Not like a corse; or if, not to be buried, But quick and in mine arms. Come, take your flowers. Methinks I play as I have seen them do In Whitsun pastorals. Sure this robe of mine Does change my disposition. FLORIZEL What you do Still betters what is done. When you speak, sweet, Id have you do it ever. When you sing, Id have you buy and sell so, so give alms, Pray so and for the ordering your affairs, To sing them too. When you do dance, I wish you
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(page 5 of 7)
A wave o the sea, that you might ever do Nothing but that, move still, still so, And own no other function. Each your doing, So singular in each particular, Crowns what you are doing in the present deeds, That all your acts are queens. A Winters Tale, Act 4, scene 4
Corse = corpse, dead body; flower-de-luce = fleur-de-lis, or iris; Whitsun pastorals = plays or morris dances presented around Whitsun, the seventh Sunday after Easter
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(page 6 of 7)
Pictured: Students from Northern Light school in Oakland, designing Ophelias death scene from Hamlet in the exercise Shakespeares Runway; photo by Trish Tillman.
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(page 7 of 7)
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perchance maybe perforce must politician schemer post messenger power army prithee please quest a jury recreant coward resolve to answer, reply to but soft be quiet soundly plainly stale harlot subscription loyalty, allegiance tax to criticize, to accuse troth belief teem to give birth thee you (informal) thou you (informal) thy your (informal) tucket trumpet flourish verge edge, circumference verily truly villain common person, not noble want lack of, dont have welladay alas wherefore why yea yes zounds by his (Christs) wounds
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1. Circle the number of stars that best matches how youd rate this performance. (One star is the lowest rating and five stars is the best rating.) Then write a paragraph on the back of the paper that specifically describes why you gave it that rating. Do not simply say I didnt like it, but say why. For example, I didnt like the fact that the director changed the setting to New York or I loved the way the actors made me believe that they were really going to kill each other.
Star rating: ___ stars 2. Outline the main actions that happened in the plot (what were the big events in the story?). a. b. c. d. e. f.
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4. Describe what the actors did to help you understand the Shakespearean language.
5. What did you particularly like or dislike about the staging (set design, lights, costumes, music, etc.)?
6. Shakespeare writes about feelings that we all experience. In A Winters Tale, we see people with feelings like love, jealousy, anger, frustration, and others. Pick one of these emotions that youve experienced strongly and write what happened in your life to make you feel that way and what happened because of it.
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Star rating: ___ stars 1. How would you describe the world of this play? 2. Does Shakespeare give good reasons as to why the characters act the way they do? What justifications can you find? 3. Why are we still staging this play 400 years since Shakespeare wrote it? Why do you think the director chose this play? 4. Which character did you sympathize with most? Why? 5. Think about and describe: i. The vocal and physical actions of the actors (characterization) ii. The set iii. The costumes
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