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Active Shakespeare: Directing Romeo and JulietPupil reflection log

March 2010

QCDA/10/4797

Active Shakespeare: Directing Romeo and Juliet

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.

The Qualifications and Curriculum Development Agency is the non-regulatory part of the Qualifications and Curriculum Authority. © QCA 2010


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 21st Century perspective - Act 3 Scene 5 13

SYNOPTIC TASK: Directing the play 14

The Qualifications and Curriculum Development Agency is the non-regulatory part of the Qualifications and Curriculum Authority. © QCA 2010


STAGE 1

Resource 1: Meet the cast and director

STAGE 1

Reflection opportunity 1: Potpan and servingmen – Act 1 Scene 5The Qualifications and Curriculum Development Agency is the non-regulatory part of the 1Qualifications and Curriculum Authority. © QCA 2010

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


Potpan and servingmen: extract 1

Write down as many words as you can that describe the mood of the extract you have just

seen:

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Potpan and servingmen: extract 2

Write down as many words as you can that describe the mood of the extract you have just

seen:

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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?

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Explain your choice.

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STAGE 2

Resource 1: Words as weapons – Act 3 Scene 1

The Qualifications and Curriculum Development Agency is the non-regulatory part of the 2Qualifications and Curriculum Authority. © QCA 2010


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?

Where are the vile beginners of this fray?

Tybalt, my cousin, o my brother’s child

Write down the words you chose as weapons.



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Which words best fitted with a throwing action and why?

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STAGE 2

Reflection opportunity 1: Throwing words

Are the actors’ choices of ‘weapon words’ similar to yours or did the choices surprise you?

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Which words do you think were the most effective ‘weapon words’? Explain your choices.

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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.

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STAGE 2

Reflection opportunity 2: Mercutio and Tybalt

How does the actor playing Mercutio use his words as weapons to taunt Tybalt?

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What effect do Mercutio’s words have on Tybalt in this version and how do the actors

reflect this?

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Can you think of any other ways of playing this exchange?

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STAGE 2

Reflection opportunity 3: Effective language

Words that provoke a fight:

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Words that encourage peace:

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Identify what you have discovered about the use of words in this scene to achieve their

purpose.

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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?

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What words does Juliet use that show her status compared to her mother?

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What actions can you identify that show the characters’ relative statuses?

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What does Lord Capulet do that shows he is an Elizabethan father?

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How does Juliet’s behaviour show that she is an Elizabethan daughter?

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What is the status relationship between the Nurse and Lady Capulet throughout this

scene?

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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 Why how now, Juliet?

JULIET Madam, I am not well.

LADY CAPULET But now I'll tell thee joyful tidings, girl.

JULIET What are they, beseech1 your ladyship?

LADY CAPULET 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.

Extract 2

JULIET Madam, in happy time, what day is that?

1 may I askThe Qualifications and Curriculum Development Agency is the non-regulatory part of the 10Qualifications and Curriculum Authority. © QCA 2010


LADY CAPULET 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.

JULIET 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

Ere2 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!

LADY CAPULET Here comes your father, tell him so yourself;

And see how he will take it at your hands.

2 beforeThe Qualifications and Curriculum Development Agency is the non-regulatory part of the 11Qualifications and Curriculum Authority. © QCA 2010


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 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?

JULIET 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.

CAPULET How how, how how, chopt-logic3? What is this?

'Proud,' and 'I thank you,' and 'I thank you not,

And yet 'not proud,' mistress minion4 you,

Thank me no thankings, nor proud me no prouds,

But fettle your fine joints5 'gainst Thursday next,

To go with Paris to Saint Peter's Church,

Or I will drag thee on a hurdle thither.

LADY CAPULET Fie, fie, what, are you mad?

3 riddles4 spoiled brat5 get ready (the expression comes from a grooming horse)



STAGE 4

Reflection opportunity 1: A 21st Century perspective - Act 3 Scene 5

How is the 21st Century interpretation of Act 3 Scene 5 different to the Elizabethan

interpretation you watched earlier?

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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 21st

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.



Page for writing

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 4Qualifications and Curriculum Authority. © QCA 2010



Documents

QCA Report cover - Teachfindarchive.teachfind.com/qcda/...Romeo_and_Juliet_pupil… · Web viewPupil reflection log. ... Which interpretation of the scene do you think would best