Queensland Shakespeare Ensemble 2019 – Education Notes

QueenslandShakespeareEnsemble2019–EducationNotes 1


EducationNotes–HenryIVPartIContents PageAbouttheCompany 3TheProductionataGlance 4CastandCreativeslist 5AudiencinginElizabethanStyle 6SynopsisofthePlay 7HistoricalContext 9Director’sNote 10Pre-show:discussionquestions 12AdviceforlisteningtoShakespeareanlanguage 13PracticalActivity:NarrativeTableau/LivingSynopsis 14Charactermap 18RelationshipsintheEnglishCourt 20CharacterSynopsesandDiscussionQuestions 21ConventionsofElizabethanTheatre 27AdviceforInterpretingShakespeareforPerformance 30PracticalExercisesfromtheRehearsalRoom 31Presenting(Drama)Activity–KingHenryIVPartI,Act2Scene4 34PreparingforPerformance–AnActor’sWarmUp 37BackStagePass–InterviewwiththeActors 38PreparationforResponding(Drama) 40RespondingActivity–ScaffoldingNotesTable 42StructuringaRespondingEssay 43FurtherResources 44


TheQueenslandShakespeareEnsemble–Whoarewe?

TheQueenslandShakespeareEnsemble(QSE)wasfoundedin2001.Sinceitsinception,theEnsemblehasgainedareputationforenergetic,accessibleanduniqueproductionsofShakespeare’splays.WeuseShakespeareasaplatformforpositivechange,viaourongoingprograms.Theseinclude:! MainstageperformancesforthegeneralpublicatRomaStreetParklands! ANightattheTheatreticketdistributionprogram! TheApprenticeshipprogram,supportingemergingartists! Dare2Shareshowingofcompanytraining,atthecompany’shomebase–theGeoffrey

RushDramaStudio,UniversityofQueensland! Shakespeare’sShorts,touringtoschools,festivalsandevents! TheShakespearePrisonProject! YouthJusticeShakespeareworkshops! Inschoolsworkshopsinvoice,ForumTheatre,andperformingShakespeare! Actortraining,including:LinklaterVoiceWork,SpeakingShakespeareinYourOwnVoice,

TheatreoftheOppressed,andtheYoungActorsShakespeareIntensiveOurmissionasanensembleistobringthelanguageofShakespearetocommunities.QSEstrivestostrengthentheconnectionsbetweenandwithincommunitiesby:! sharingepicandeternalstorieswithaliveaudience! creatingevocative,engagingexperiencesincommunities! makingShakespeareaccessibletoall! givingavoicetothemarginalised! reflectingthecontemporaryhumancondition! developinganEnsembleofArtistmanagers! inspiringacollaborativeartisticandbusinessenvironment

Webelieve:! thatShakespeare’slanguagedemandsanintenseintellectual-emotional-physical-spiritual

connection,andistheultimateactortrainingandcommunitybuildingtool.Createdwhentheatrewasarhythmic,physical,andauralexperience,Shakespeare’splaysinsistonawhole-bodyrelationshiptowords,challengingthosewhoperformthemtoactboldlyandspeakwithpassion.

! thatperformanceismostpotentwhenitisembodiedbyactorswhotraintogether,exchangingskillsandexperiences,andsharingasenseofbelongingwithoneanother.Weconsiderthehumanvoicetobetheultimatevehicleforembodiedexpressionandcommunalexploration.

! intheprinciplesofEnsembleTheatre,andseektodevelopateamofartist-managerswhocreateaninspirationalartisticandbusinessenvironmenttowhichothersaspire.

AlthoughtheEnsembleperformstheworksofotherplaywrightsandauthors,particularlylocalones,Shakespearewillalwaysbethehomefromwhichwetravel.


HenryIVPartI

“I’LLSOOFFEND,TOMAKEOFFENCEASKILL

REDEEMINGTIMEWHENMENTHINKLEASTIWILL…”QSEreturnstoBrisbane’sbeautifulRomaStreetParklandwithShakespeare’sHENRYIVPARTI…KingHenryriskedeverythingtotakethecrown,butnow,underthreatfromformeralliesandforeignenemies,itsitsuneasily.Tomakemattersworse,hisrebelliousson,PrinceHal,isspendingallhistimeintheseediestpubsofLondonwithatroupeofpettycriminalsledbythatcorrupterofyouth,SirJohnFalstaff.AsHenry’senemiesuniteandthethreatofwarapproaches,we’redrawnintoanepictaleoffamilyandfriendship,rivalryandredemption.Asmuchadrunkencomedyandcoming-of-agedramaasitisahistory,HenryIVPartIissuretodelightandexciteShakespeareloversandnewcomersalike!Performanceseason: 22August–8September,2019 Wed–6.30pm;Thurs&Fri–7.30pm

Sat–2pm&7.30pm;Sun–6.00pmLocation: RomaStreetParklandAmphitheatreLength: 2hoursand40minutes(including20minuteinterval)

AND30minutesoflivemusicpriortotheshowSuitability: Years10–12Pleasebeadvised: Theperformancecontainsadultreferencesandtheatricalised

violence.Keythemes: Honour

Father-sonrelationshipLeadershipPoliticalconflict

KeyQuestions: Universal(whatdoesitmeantobehuman?):

Whatishonourandwheredoesitsitinthehierarchyofvaluestoaspiretoorliveby?

Political(howmustweacttowardseachother?): Whatareourobligationstofamilyandtoself,andhowdothese

supportorcompetewith‘honourableactions’? Individual(whatshouldIdo?) WhatactionsdoItaketoactwithhonourandintegritytomyself,

myfamilyandmycommunity,whentheseareplacedatodds?


Credits

Cast:KingHenryIV/Traveller LilianaMacarone PrinceHenry(Hal) SilvanRusSirJohnFalstaff RobPensalfiniNedPoins RebeccaMurphySirHenryPercy(Hotspur) AngusThorburnLadyKatePercy/LordWestmoreland/Traveller EllenHardistyLadyMortimer/Peto/SirWalterBlunt FrancesMarringtonEdmundMortimer(EarlofMarch)/Bardolph/Messenger JohnSiggersEarlofDouglas(Archibald)/MistressQuickly/Chamberlain DudleyPowellEarlofWorcester(ThomasPercy)/Gadshill MatthewFilkinsEarlofNorthumberland/OwenGlendower/SirRichardVernonMattGaffneyLordJohnofLancaster/Francis LeahFitzgerald-QuinnSheriff/Messenger GaryCondeseresSkimbleSkambleStuff(Band):Guitar/Vocals SilvanRusGuitar/Keys LilianaMacaroneGuitar/Mandolin/Clarinet RobPensalfiniBass/Vocals JohnSiggersDrums MattGaffneyViolin EllenHardisty LeahFitzgerald-QuinnVocals/Percussion FrancesMarrington KeziahDosSantosKeys GaryCondeseresKeyCreatives:Director RebeccaMurphyAssistantDirector LilianaMacaroneCostumeDesigner GabbyCarbonSetdesigner BradleyChapmanLightingDesigner StevenTibbitsProductionManager KyliiDaviesStageManager SiobhanMartinDramaturg TahliaDownsMusicalDirector SilvanRusFightChoreographer RobPensalfiniAccentCoach ColinSmith


‘Audiencing’intheElizabethanStyle:

We’dliketowelcomeyoutotheexperienceofattendingaliveperformanceinanon-traditionalsetting.WhileallofourmainstageshowsareproducedintheAmphitheatreatthebeautifulRomaStreetParkland,wesetouraudienceonstagewithus,andusetheparklanditselfasthebackgroundtotheaction.Justlikeinanytheatre,therearemostoftheusualexpectations–andwhileweknowyougetalltheetiquettestuff,here’sareminderofsomesimpleinformationyoucanpassontoyourstudents.1. Elizabethanaudiencescouldbequitevocallyinvolvedinashow.Inasimilarway,we

wouldloveyoutogetinvolvedintheperformancesbyapplaudingandlaughingatappropriatemoments.Ifyouhaveaspecificquestion–askyourteacherattheinterval/endoftheshoworaskoneofthecast,ifyouhaveachanceforaQuestion&Answersession(whichcanbeheldwithpriorarrangementafteranyshowwithintheseason).

2. Youarewelcometoeatduringtheshow,butpleasebemindfulofotherpatrons.Snacksanddrinks(includingwater)canbepurchasedatfront-of-housepriortotheshowandduringinterval,andyouarewelcometotakethesebacktotheaudiencespacewithyou.Pleasebemindfulofplacementofdrinks,andkeepallbottlesclosedwhennotbeingused.

3. LivetheatreisdifferenttoTV–theactorsonstagecanhearandseeyouandthereareothermembersoftheaudiencetothinkabout.Ifyouneedtoleavetheperformanceforanyreason,pleaseensurethisisdonequicklyandquietlyandatanappropriatebreakintheaction

4. Switchingyourphonetosilentisn’ttheonlythingtodo.Pleaseensurethatyouswitchoffyourmobilephoneandleaveitinyourbagbeforetheperformancebegins;andifyouwearasmart-watchandarenotwearinglongsleevestocoverthis,considerremovingitalso.Theglowofthesmart-phonescreenandevenawatch(whichcanbesetoffwheneveryoushiftyourarm)isobvioustoothersandcanbeverydistracting!

5. Additionally,becauseofourbeautifulopen-airperformancespace,anddespitethewarmthofouractors’6marvellousperformances,eveningshowscanbealittlechilly.Wedoprovidesomeblanketsforouraudience,butpleaseremembertowearwarmclothes,bringajacket,andfeelfreetobringyourownblankettoo!

6. Lastly,areminderthattherewillbe30minutesoflivemusicperformedbythebandpriortotheshow.Audienceseatingwillbeopenduringthistime,soyoucanenjoyfromtheaudiencespaceonstage,oritisalsoapopularaudiencetraditiontobringdinnerand/orapicnicblankettoenjoythemusicfromthegroundsinandaroundtheamphitheatre.Wewouldjustaskthatifyoudochoosetositintheaudienceseating,thatyoukeepconversationtoanon-intrusivevolumelevel.Thankyouforyourconsiderationoftheband’sandotheraudiencemembers’enjoyment


Abouttheplay

HenryIVPartIhastwomainplotsthatintersectinadramaticbattleattheendoftheplay.ThefirstplotconcernsKingHenryIV,hisson,PrinceHenry(nicknamedHal),andtheirstrainedrelationship.ThesecondconcernsarebellionthatisbeingplottedagainstKingHenrybyadiscontentedfamilyofnoblemenintheNorth,thePercys,whoareangrybecauseofKingHenry’srefusaltoacknowledgehisdebttothem.Theplay’sscenesalternatebetweenthesetwoplotstrandsuntiltheycometogetherattheplay’send.Whentheplayopens,militarynewsinterruptstheagingKingHenry’splanstounitehisdisruptivesubjectsinacrusade.TheWelshrebelGlendowerhasdefeatedKingHenry’sarmyintheSouth,andtheyoungHenryPercy(nicknamedHotspur),whoissupposedlyloyaltoKingHenry,isrefusingtosendtothekingthesoldierswhomhehascapturedintheNorth.KingHenrysummonsHotspurbacktotheroyalcourtsothathecanexplainhisactions.Meanwhile,KingHenry’ssonHalspendsmostofhistimedrinkingandpartying.KingHenryisverydisappointedinhim;itiscommonknowledgethatHal,theheirtothethrone,conductshimselfinamannerunbefittingroyalty.HespendsmostofhistimeintavernsontheseedysideofLondon,hangingaroundwithvagrantsandothershadycharacters.Hal’sclosestfriendamongthecrewofrascalsisFalstaff,asortofsubstitutefatherfigure.SirJohnFalstaffmusthaveoncehadassociationwiththecourt,beingknighted,butheisnowaworldlyoldmanwhostealsandliesforaliving.Heisalsoanextraordinarilywittypersonwholiveswithgreatgusto.Halclaimsthathisspendingtimewiththesemenisactuallypartofaschemeonhisparttoimpressthepublicwhenheeventuallychangeshiswaysandadoptsamorenoblepersonality.Falstaff’sfriendPoinsarrivesattheinnandannouncesthathehasplottedtherobberyofagroupofwealthytravelers.AlthoughHalinitiallyrefusestoparticipate,PoinsexplainstohiminprivatethatheisactuallyplayingapracticaljokeonFalstaff.Poins’planistohidebeforetherobberyoccurs,pretendingtoditchFalstaff.Aftertherobbery,PoinsandHalwillrobFalstaffandthenmakefunofhimwhenhetellsthestoryofbeingrobbed,whichhewillalmostcertainlyfabricate.BackatKingHenry’scourt,Hotspurarrivesanddetailsthereasonsthathisfamilyisfrustratedwiththeking:thePercyswereinstrumentalinhelpingHenryoverthrowhispredecessor,butHenryhasfailedtorepaythefavor.AfterKingHenryleaves,Hotspur’sfamilymembersexplaintoHotspurtheirplantobuildanalliancetooverthrowtheking.Meanwhile,PrinceHalandPoinssuccessfullycarryouttheirplantodupeFalstaffandhaveagreatdealoffunathisexpense.Astheyarealldrinkingbackatthetavern,however,amessengerarrivesforHal.Hal’sfather(KingHenry)hasreceivednewsofthecivilwarthatisbrewingandhassentforhisson;Harryistoreturntotheroyalcourtthenextday.AlthoughthePercyshavegatheredaformidablegroupofalliesaroundthem—leadersoflargerebelarmiesfromScotlandandWalesaswellaspowerfulEnglishnoblesandclergymenwhohavegrievancesagainstKingHenry—thealliancehasbeguntofalter.Severalkeyfiguresannouncethattheywillnotjoinintheefforttooverthrowtheking,andthedangerthatthesedefectorsmightalertKingHenryoftherebellionnecessitatesgoingtowaratonce.


Heedinghisfather’srequest,Halreturnstothepalace.KingHenryexpresseshisdeepsorrowandangerathisson’sbehaviorandimpliesthatHotspur’svalormightactuallygivehimmorerighttothethronethanPrinceHenry’sroyalbirth.Haldecidesthatitistimetoreform,andhevowsthathewillabandonhiswildwaysandvanquishHotspurinbattleinordertoreclaimhisgoodname.DraftinghistavernfriendstofightinKingHenry’sarmy,Halaccompanieshisfathertothebattlefront.ThecivilwarisdecidedinagreatbattleatShrewsbury.Halboldlysaveshisfather’slifeinbattleandfinallywinsbackhisfather’sapprovalandaffection.HalalsochallengesanddefeatsHotspurinsinglecombat.KingHenry’sforceswin,andmostoftheleadersofthePercyfamilyareputtodeath.Falstaffmanagestosurvivethebattlebyavoidinganyactualfighting.PowerfulrebelforcesremaininBritain,however,soKingHenrymustsendhissonsandhisforcestothefarreachesofhiskingdomtodealwiththem.Whentheplayends,theultimateoutcomeofthewarhasnotyetbeendetermined;onebattlehasbeenwon,butanotherremainstobefought(Shakespeare’ssequeltothisplay,HenryIVPartII,beginswhereHenryIVPartIleavesoff).Basedon:https://www.sparknotes.com/shakespeare/henry4pt1


HistoricalContextforHenryIVPartI

Writtenaround1596–97,HenryIV,Part1isoneofShakespeare’shistoryplays.Thismeansthatratherthantakingitsdramaticshapeandmeaningfromitsstructureandtone,astragediesandcomediesdo,itfollowsknownhistoricalaction—althoughShakespearesometimesincludeslegendaswellasfactinhisplays.HenryIV,Part1isthesecondoffourplaysbyShakespearethatrecountthefoundinganddevelopmentofaspecificroyalfamily,thePlantagenets.ItstartswithRichardII,continuesinthisplayandinHenryIV,Part2,andconcludesinHenryV.However,HenryIV,Part1isuniquebecauseitisnotasequeltoRichardIIanddoesnotrequiretheaudiencetoknowthatwork.ThepoliticalcontextformanyofShakespeare’shistoryplayswastheWarsoftheRoses,aseriesofcivilwarsbetweentheroyalhousesofLancasterandYorkwagedinEnglandfrom1455to1485.ThewarendedwiththedefeatofKingRichardIIIattheBattleofBosworthField.Afterward,thefeudinghouseswereunitedwhentheLancastrianHenryTudormarriedElizabethofYorkandascendedthethroneasKingHenryVII.InthepersonofQueenElizabethI(whoruledfrom1558to1603),theTudordynastystillruledEnglandwhenShakespearewrotemostofhishistoryplays.AlthoughHenryIV,Part1issetin1402–1403,andthereforetakesplacemuchearlierthantheWarsoftheRoses,ittellsthestoryofthefounderoftheLancastrianlineandthereforehelpsestablishtheroyallineageoftheTudors.PleasingthereigningmonarchwasessentialforanytroupeofperformersinElizabethanLondon.TherearenoclearrecordsaboutthefirstperformanceofHenryIV,Part1.BecauseShakespeare’stheatrecompanywasexperiencingsomefinancialtroublesatthetime,itisnotevenclearinwhichtheatreitwasperformedfirst.Theplaywas,however,popularfromitsearlyperformances.Theplaymixeshistoryandcomedyinnovatively,movingfromloftyscenesinvolvingkingsandbattlestobasescenesinvolvingruffiansdrinkingandengaginginrobberies.Itsgreatstrengthsincludearemarkablerichnessandvarietyoftexture,afascinatinglyambiguoustakeonhistoryandonpoliticalmotivations,andanewkindofcharacterization,asfoundintheinimitableFalstaff.Itscontinuedpopularitymaybedueinparticulartotwointertwinedfactors:thetimelessthemesofhonour,father-sonrelationships,andpoliticalorder,andthegreatcharactersofPrinceHal,Hotspur,andFalstaff.PeoplefromallwalksofsocietyattendedShakespeare’splays.Theupperclassespaidtwoorthreepenniestositinthegalleries(coveredseatingthatsurroundedthestage).Ahigherpricesecuredseatsthatwereatahigherlevel.Peoplefromthelower-middleorworkingclassespaidapennytostandonthegroundinfrontofthestage,whichwasateyelevel.Thesespectatorswerecalledgroundlings.Arguablytheplay’smostfamouscharacter,SirJohnFalstaff,ignitedsomecontroversy.ShakespeareoriginallynamedhimSirJohnOldcastle,afteranactualhistoricalfigure,buttheman’sdescendantsprotested.ThisprotestcarriedseriousweightbecauseonefamilymemberwasSirWilliamBrooke,otherwiseknownasLordChamberlain,whowasresponsibleforlicensingplaysforperformance.Shakespearechangedthecharacter’snametoFalstaffbeforetheplaywasprintedin1598.Falstaffbecamesopopularthattheplaywasperformedin1625underthetitleTheFirstPartofSirJohnFalstaff.Basedon:https://www.coursehero.com/lit/Henry-IV-Part-1/context/


WhyengagewithHenryIVPartI?

(Keythemesandtheircontemporaryrelevance)

RebeccaMurphy–Director’sNotes:Foraplaythatcomesunderthesomewhatstuffycategoryof'History'IthinkHenryIVPartIisarollickinggoodtale!Onafirstread,itcanbethehistoricalelementsthatalienatethereader–somanyfamilynames,titles,placenames,andbattles.However,Shakespeare'scommitmenttohistoricalaccuracyisnotoriouslylooseandthisloosenessallowsforamultiplicityofstoriesandviewstobetold–this'history'isnotjustastalerecordofupperclassandmilitarymotivesandactions.Delvingintothehistoricalandpoliticalaspectsofthestoryalongwiththepoeticandphilosophicalprovideduswithastructure(or'playground')fromwhichtoexplore.Fromtherewefoundmanyfamiliarandpersonalthemesbubbledup;honour,leadership,andfamily(tonamejustafew).‘Whatishonour?’isperhapsoneofthemostdiscussedthemesofHenryIVPartI.InclassicShakespearestyleweareofferedthequestionandmultipleviewpointsbutnoblackandwhiteanswer.FromtheKing’sperspectiveweseeanhonourthatisconcernedwithpublicopinionandthesafetyofhispeople.FalstaffandHotspurgiveustwoextremes.Hotspurdescribesitas'brighthonour',somethingtobeclutched,foughtfor,andpursuedtothedeath.Falstaffcynicallydescribesitas'air'andisunwillingtoriskmuchforitatall.Thesethreecharactersseemcommittedtotheirversionofhonour;itisinHalthatweseegrowthandwiththisgrowththehopethathemaygoontobecomeagreatleader.Whatmakesagreatandlegitimateleader,andaretheynecessarilythesamething?ThisisaquestionthatweseemanyofthecharactersgrapplewithandonethathasalsobeenconsistentlypresentinpoliticaldiscourseinAustraliaoverthelastdecadeorso.KingHenrygottothethronethroughstrategy,hardworkandthehelpofallies(aidedbythefactthathispredecessor,Richard,washugelyunpopularandprettyterribleathisjob)butsomepeoplequestionwhetherhegottherethe'right'way.Hispresenceonthethroneupsetstheideathatkingsrulebydivinesanction.ThePercysmakehispositionmoretenuousbysuggestingthatthereareothermorelegitimateoptionssuchasMortimer.InterestinglythoughwhenfinallygiventheopportunitytoconfronttheKingfacetoface,Worcesterdoesn’tevenmentionMortimerandhisrighttothethrone.Insteadtheoffenceshespeaksofarethepersonalones–fearsforhissafety,theperceivedlackofgratitudeandlovetowardshimandhisfamily,andtheshametheycarryforhavingbeenpartofaplottodeposeaKingonlytobeforgottenintheaftermath.Attheheartofthisplayisfamily–howthefamilyweareborninto,andtheonewecreateforourselves,shapethepersonwebecome.InHalwefindafamiliarstory;ayoungpersonpulledinmanydirections,resentfuloftheexpectationsplacedonhim,rebellingagainstastrictparentwhileonsomelevelalsoseekingtheirapproval.Hal'srelationshipwithFalstaffgiveshimanalternatefatherfigure,a'cooldad'ifyouwill.PrinceHalandHotspurareconsistentlycomparedtoeachotherrightfromthebeginningoftheplay:

Yea,therethoumakestmesadandmakestmesinInenvythatmyLordNorthumberlandShouldbethefathertosoblestason,


Asonwhoisthethemeofhonour'stongue;…WhilstI,bylookingonthepraiseofhim,SeeriotanddishonourstainthebrowOfmyyoungHarry. -KingHenry,Act1Scene1

…andalthoughtheydon’tmeetfacetofaceuntilthefinalact,thissiblingrivalrytyperelationshipdrivesthem,andthestory,on.ThesekeyrelationshipsallinfluenceHalandweseehimreflectingelementsofeachofthem,almostbecomingasynthesisofthesethreegreat(intheirownway!)men.HisabilitytorelatetothepeopleonthestreetsandinthepubsofLondonwilleventuallygivehimanadvantageandsethimapartfrompreviouspamperedroyalssuchasKingRichardII.ToquotePaulCantor“thecourtisnoplacetogrowupifyou’regoingtobeagoodking."Yethealsoseemstohaveinheritedsomeofhisfather'sstrategicmind–notethesimilaritiesinHals'soliloquyattheendofAct1Scene2andKingHenry'smonologuesinAct2Scene2.InthefinalActoftheplaywesawastrippingawayofHotspur'sfamilyandsupportstructure;hisfathercallsinsicktothebattle,Glendowerdoesn'tshowup,hisUncleliestohimandchoosesnottopassontheKing'soffer,hiscousinVernongoesalongwiththislie.Meanwhile,Hal'sfamilyissolidifying;heisclosertohisbrotherthaneverbefore,heisgivenresponsibilitybyhisfather,hefightssidebysidewiththemandsaveshisfatherfromthemightyDouglas.IsitanywonderthatHaltriumphsintheend?


QuestionstoPonder

• Haveyoueverbeeninasituationwhereyouhavefeltimpelledtoactinawaythatdoes

notfeelwhollytruetoyourself(perhapsnoteven‘right’);butyou’veenjoyeditanyway?

o Discusswhatitwasthatyouenjoyedaboutplayingthat‘role’?

• Haveyoueverconsciouslychosentodeceiveothers(tolie)tobenefityourself?

o Discusswhatmotivatedyoutodoso?

• Canyouthinkofatimewhenyouhavechosentostandupforsomeoneclosetoyouat

somepersonalcost?

o Didthatpersonexpectyoutocomethroughforthem?Weretheyrelyingonyou?

• Whatarethequalitiesthatyouthinkmakeagoodleader(ofanygroup)?

o Whoaretheleadersthatyoulookupto(politically,culturallyandinyourcommunity)?Why?

o Whichleadersdoyounotlookupto?Why?

• Howimportantisloyaltytoyou?Whoareyoumostloyalto?• Who’s‘gotyourback’?Haveyougottheirs?

o Canyouthinkofanysituationinwhichyoumaychoose(orhavechosen)notto?

• Canyouthinkofatalent,skillorexperiencethatyouhavethatisundervalued(perhapsbyyourfamilyorcommunity,orgeneralsociety)?

o Discussthesituationsinwhichthisqualitymaybe(perhapsunexpectedly)useful.


QSE’sadviceforlisteningtoShakespeareanlanguage

RobPensalfini(ArtisticDirector,QSE),says:WhenwatchingaproductionofShakespeare’swork,thereareafewthingstokeepinmindtogetthemostoutoftheexperience:Ifyouwalkawayfeelinglikeyoudidn’tunderstandwhatwashappening,orwhowasgenerallydoingwhattowhoandmoreorlesswhy,restassuredthatthefaultliesnotinyou,but(mostprobably)intheproduction.Don’tseektounderstandeveryword-therewillbewordsthatyouprobablydon’tunderstand.Ifit’struethatShakespeareinventedalotofwords,thentherearewordsthathisaudiencewouldnothaveunderstoodinisolationeither.Butthewordsareneverinisolation:thecontext,thesoundoftheword,theaction,andtheactor’sintonationandintentionwill,inagoodproductionofaShakespeareanplay,allowyoutogleanwhatthewordisdoing.Seektounderstandthegist.Letthewordswashoveryouandintoyou.Don’tfocussohardonthemeaningthatyoumisstheimages,thethoughtsandmentalpicturesthatyourownmindmakesoutofthem,thethingstheyremindyouof.Lettherhythmsandsoundsofthelanguagein.TheplayiseverybitasmuchyoursasitisShakespeare’sortheactors’.


Pre-showactivity:Narrativetableau

Materials: Plotpointsandassociatedquotes(below)printedonindividualslipsofpaperor

cardsBlu-tack

Arrangestudentsingroupsof4–5.Dividebelowplotpointsamonggroups.Havethemdeviseafreeze-frametorepresenteachplotpoint.Encouragethemtohaveanengaginguseofproxemics/spatialrelationshipsandaheighteneduseofshapetoportraythecharactersandactionofeach‘scene’.Extension:Thefreeze-framemustanimatefor5–10seconds,duringwhichtimetherelevantlineswillbedelivered.Encouragestudentstoconsideruseoftheirvoiceandmovementtocreatetheatmosphereofthescene,andtoclearlydemonstraterelationshipsandcharacters’relativestatus.Havetheclassperformtheirtableauinorder(eitherprovidethemwiththeorder,orgetthemtoworkoutasawholegroupwhatthecorrectorderis,byarrangingtheslipsofpaperinthedesignatedorderonthegroundorawall).Youcouldhaveonestudentreadallthenarration(inbold),orastudentfromeachgroupcoulddothisfromwithinthetableau.KingHenryIVspeakstohiscouncilaboutrecentcivilstrifeinEnglandandvowstoputanendtoit–hehopestodosobyunitinghisnoblesinacrusadetotheHolyLand.HENRY: Nomorethethirstyentranceofthissoil Shalldaubherlipswithherownchildren’sblood. Normoreshalltrenchingwarchannelherfields, Norbruiseherflow’retswiththearmedhoofs Ofhostilepaces.MeanwhileKingHenry’sson,themisfitPrinceHal–farfromsupportinghisfather’scrusadeeffortsorevenfromactingaPrince–drinksandplansarobberywithhisfriends,FalstaffandPoins.HalandPoinsarealsoplanningaprankonFalstaff.POINS: But,mylads,mylads,to-morrowmorning,byfouro'clock,earlyatGad’s

HilltherearepilgrimsgoingtoCanterburywithrichofferings,andtradersridingtoLondonwithfatpurses.

PrinceHalrevealsthathe'snotreallythemisfitheappearstobe–he'smerelyactinglikeonesohecanamazeeveryonewhenheinheritsthethrone.HAL: YethereinwillIimitatethesun, Whodothpermitthebasecontagiousclouds Tosmotheruphisbeautyfromtheworld, That,whenhepleaseagaintobehimself, Beingwanted,hemaybemorewonder'dat,


Bybreakingthroughthefoulanduglymists Ofvapoursthatdidseemtostranglehim.KingHenrysummonshisnephewHotspur(HenryPercy)totheroyalcourtbecauseHotspurisrefusingtohandovertheexpectedroyalshareofhisWelshprisonersofwar,andtheirassociatedransom(incomeKingHenryexpectedtoshoreuphiscoffersforhisplannedbutnever-to-berealisedcrusade).HENRY: Sendmeyourprisonerswiththespeediestmeans, Oryoushallhearinsuchakindfromme Aswilldispleaseyou.HotspurandthePercysaredisgruntledandtheybegintoplantheirallianceandrebellionagainstHenry.HOTSPUR: Why,itcannotchoosebutbeanobleplot; AndthenthepowerofScotlandandofYork, TojoinwithMortimer,ha?WORCESTER Andsotheyshall.Meanwhile,Falstaff,PetoandBardolphrobapackofrichtravellersontheroad.THIEVES: Stand!TRAVELLERS: Jesusblessus!FALSTAFF: Strike;downwiththem;cutthevillains'throats!TRAVELLERS: O,weareundone,bothweandoursforever!Indisguise,HalandPoinsrobandprankFalstaff.HAL: Away,goodNed.Falstaffsweatstodeath, Andlardstheleanearthashewalksalong: Were'tnotforlaughing,Ishouldpityhim.POINS: Howthefatrogueroar'd!ThenextnightatataverninEastcheap,PrinceHalisdrinkingwithFalstaffandhisfriendswhenhelearnsoftherebellionagainsthisfather.FALSTAFF: There'svillainousnewsabroad:herewasSirJohnBracyfromyour

father;youmusttothecourtinthemorning.InWales,theWelsh,ScottishandEnglishrebelleadersmeetuptosolidifytheirplottooverthrowKingHenry.


MORTIMER: Thesepromisesarefair,thepartiessure, Andourinductionfullofprosperoushope.KingHenryexpresseshisdisappointmentinPrinceHalforbeingsuchawaywardson.Haldecidesthatitistimetoreform,andhevowsthathewillabandonhiswildwaysandvanquishHotspurinbattleinordertoreclaimhisgoodname.HENRY: Why,Harry,doItelltheeofmyfoes, Whichartmynear'standdearestenemy? Thouthatartlikeenough,throughvassalfear, Baseinclinationandthestartofspleen TofightagainstmeunderPercy'spay.HAL: Donotthinkso;youshallnotfinditso: IwillredeemallthisonPercy'shead Andintheclosingofsomegloriousday BeboldtotellyouthatIamyourson.AttherebelcampinShrewsbury,Hotspurreceivesnewsthathisfatherissickandwon’tsendhisarmy,ANDthatGlendowerwon’tmakeittothefightintime.Hedecidestogoaheadwiththewaranyway.MESSENGER: Theseletterscomefromyourfather.HOTSPUR: Lettersfromhim!Whycomeshenothimself?MESSENGER: Hecannotcome,mylord;heisgrievoussick.WORCESTER: Yourfather'ssicknessisamaimtous.HOTSPUR: Yetallgoeswell,yetallourjointsarewhole.DOUGLAS: Asheartcanthink:thereisnotsuchaword SpokeofinScotlandasthistermoffear.SirWalterBluntappearsattherebelcamptorelaytheking'sofferofatruce.BLUNT: Icomewithgraciousoffersfromtheking, Ifyouvouchsafemehearingandrespect. Iwouldyouwouldacceptofgraceandlove.HOTSPUR: Andmaybesoweshall.BLUNT: PrayGodyoudo.Overattheking'scamp,WorcesterconfrontsKingHenryabouthowhetreatedhisfamily.Halannouncesthathe’llfightHotspuroneonone,insteadofthearmiesfighting.HAL: ThePrinceofWalesdothjoinwithalltheworld InpraiseofHenryPercy. Andwill,tosavethebloodoneitherside, Tryfortunewithhiminasinglefight.


WorcesterandVernonreturntotherebelcampbutdecidenottotellHotspurthatthekingrepeatedhisofferofpardonandpeace.WORCESTER: ThePrinceofWalesstepp'dforthbeforetheking, And,nephew,challengedyoutosinglefight.HOTSPUR: O,wouldthequarrellayuponourheads, Andthatnomanmightdrawshortbreathtoday ButIandHarryMonmouthTherebelandroyalforcesfight.PrinceHalrescueshisfatherfromnear-defeatbytheScottishrebelDouglasduringthefiercebattleandwinsbackhisfather’sapproval.HENRY: Stay,andbreatheawhile: Thouhastredeem'dthylostopinion, Andshow'dthoumakestsometenderofmylife, Inthisfairrescuethouhastbroughttome.PrinceHalthenmeetsHotspur,andthetwofightfortheirhonour.HaldefeatsandkillsHotspur.HOTSPUR: O,Harry,thouhastrobb'dmeofmyyouth! Ibetterbrookthelossofbrittlelife Thanthoseproudtitlesthouhastwonofme.KingHenry’sforceswinthebattle.HAL: Thetrumpetsoundsretreat;thedayisours. Come,brother,letustothehighestofthefield, Toseewhatfriendsareliving,whoaredead.PowerfulrebelforcesremaininBritain,soKingHenrymustsendhissonsandhisforcestothefarreachesofhiskingdomtodealwiththem.HENRY: Rebellioninthislandshalllosehissway, Meetingthechequeofsuchanotherday: Andsincethisbusinesssofairisdone, Letusnotleavetillallourownbewon.HereendsShakespeare’shistory,KingHenryIVPartI.ThistaleistooepictotelleveninoneElizabethanplay.Tofindoutwhowinsthewar,you’llneedtofamiliariseyourselfwiththesequel,KingHenryIVpartII!


CharacterMap–keycharactersinShakespeare’splay

https://www.coursehero.com/lit/Henry-IV-Part-1/character-map/


Pre-performanceactivity:Makingcharacterconnections

Materials:Charactercards&glue(optional)Poster-sizedsheetsofpaper(orworkasawholeclassonthewhiteboard)MarkersOncestudentsarefamiliarwithHenryIV’snarrative,havethemworkingroupsof3–4.Ratherthan(orbefore)givingthemthecharactermap,havethemcreatetheirown(perhapsamoreextensiveone,timepermitting).Providethemwithalistofthekeycharactersandaskthemtodrawtherelationshipconnectionsbetweenthecharacters.


RelationshipsinTheEnglishCourt(onwhomShakespeare’splayislooselybased)

Asahistoryplay,HenryIVwasbased(somewhatlooselyattimes)onthehistoryoftheEnglishCourtduringthetimeoftheWaroftheRoses.Thebelowinfo-graphicmaybeofinteresttoyourstudents,inclarifyingsomeoftherelationshipsexploredwithintheplay.

http://www.stjohns-chs.org/english/shakespeare/hanks/hivpt.htmlTheaboveinfo-graphichighlightssomeoftheanachronisticissuesinShakespeare’shistory.Forexample,ShakespeareportraysPrinceHal(latertobecomeKingHenryV)asthesameageasHenryPercy(Hotspur),whileaccordingtohistoricalrecordshewasinfact23yearsyounger(thismayhavebeendeliberatedramaticlicence–neverlettruthgetinthewayofagoodstory!).Shakespearealsoconflatestwodifferenthistoricalcharacters,bothcalledEdmundMortimer-onewasinfactthegrand-uncleoftheother.EdmundMortimer,the5theachofMarch,wasthelegalheirtothethroneofEngland(declaredsobyRichardIIbeforeHenryBolingbroke–whobecameKingHenryIV-hadhimdeposed);whilehisgrand-uncleEdmund(youngerbrothertoRogerMortimer,the4thEarlofMarch)wastheEdmundhistoricallycapturedbyOwenGlendowerinabattleatShrewsbury,andsubsequentlymarriedtohisdaughter.Perhapsthisconflation(andpossibleconfusion)oftwohistoricalfiguresiswhatleadstheEdmundMortimerinShakespeare’splaytorefertoKate(Elizabeth)Percy(Hotspur’swife)asbothhissisterandhisauntatalternatingpointswithintheplay.


KeyCharacters–SynopsesandDiscussionQuestions

Charactersummariesbelowaresourcedfromthewebsites:https://www.sparknotes.com/shakespeare/henry4pt1/characters/https://www.shmoop.com/henry-iv-part-1/characters.htmlQuestionslistedbeloweachcharacteraresomeofthequestionstheactorsplayingthecharacterswereaskedtoconsiderthroughouttherehearsalprocess,andmayprovidestimulusfordiscussioneitherpreorpost-showviewing.Theymaybeusefulforstudentstoconsiderifcompletingaformingtaskinspiredbyorpresentingtaskbasedonextractsfromthescript. KEYCHARACTERSKingHenryIVHenryIVistherulingkingofEngland.Heisnotactuallyallthatold,butatthetimetheplayopens,hehasbeenworndownprematurelybyworries.Henursesguiltyfeelingsabouthavingwonhisthronethroughacivilwarthatdeposedtheformerking,RichardII.Perhapsinpartasymptomofhismoralillegitimacy(astatusthateveryeffectiverulerneeds),hisreignhasnotbroughtanendtotheinternalstrifeinEngland,whicheruptsintoanevenbiggercivilwarinthisplay.Finally,heisvexedbytheirresponsibleanticsofhiseldestson,PrinceHarry(Hal).Withtheseconcernslurkingatthebackofhisreign,HenryisunabletoruleasthemagnificentleaderhissonHalwillbecome.Throughouttheplayheretainshistight,tenuousholdonthethrone,andheneverloseshismajesty.Butwithanethicalsensecloudedbyhisownsenseofcompromisedhonour,itisclearthatHenrycanneverbeagreatkingoranythingmorethanacaretakertothethronethatawaitsHenryV.Theking'sproblemsraiseimportantquestionsaboutauthorityandrebellion:Howcanonebeaneffectiverulerwhenhisownrebelliouspastseemstohaveopenedthedoorforfutureuprisings?Canrebellionagainstthemonarcheverbejustified?Itisworthnotingthatwhiletheplayisnamedafterhim,KingHenryIVisnotitsmaincharacterbut,rather,itshistoricalfocus.Heremainsregal,proud,andsomewhataloofthroughout,andwhilehegivestheplayacentreofpowerandasenseofstability,hisactionsandemotionsarelargelysecondarytotheplot.Questionstoconsider:o Doyouthinkthereisanulteriormotivebehindtheking’sassignment(andsubsequent

abandonment)ofMortimertoWales?o WhydoesthekingwishHotspurwerehissoninsteadofHal?Whatdoesheseeofhimselfin

HenryPercy?o DoyouthinktheKing’sactionsagainstHotspurarejustified,ordoesheintendthemto

inflametherebellion?o DoesKingHenrytrulybelievethatHalcouldbetrayhimandfightunderPercy’sbanner?o Whatmotivatesthekingtorepeatedlyofferpardontotherebelsratherthangotobattle?Do

youthinkhisofferwillbehonoured?


PrinceHenry(Hal)ThecomplexPrinceHenryisatthecentreofeventsinHenryIVPartI.Henry’stitleisPrinceofWales,butallofhisfriendscallhimHal;heisalsosometimescalledHarryMonmouth.Astheonlycharactertomovebetweenthegrave,seriousworldofKingHenryandHotspurandtherollicking,comicalworldofFalstaffandtheBoar’sHeadTavern,Halservesasabridgeunitingtheplay’stwomajorplotlines.Aninitiallydisreputableprincewhoeventuallywinsbackhishonourandtheking’sesteem,Halundergoesthegreatestdramaticdevelopmentintheplay,deliberatelytransforminghimselffromthewastrelhepretendstobeintoanobleleader.Additionally,asthecharacterwhosesenseofhonourandleadershipShakespearemostdirectlyendorses,Halis,atleastbyimplication,themoralfocusoftheplay.Halisneverthelessacomplicatedcharacterandonewhoserealnatureisverydifficulttopindown.Astheplayopens,HalhasbeenidlingawayhistimewithFalstaffandearningthedispleasureofbothhisfatherandEnglandasawhole.Hethensurpriseseveryonebydeclaringthathisdissolutelifestyleisallanact:heissimplytryingtolowertheexpectationsthatsurroundhimsothat,whenhemust,hecanemergeashistrue,heroicself,shockthewholecountry,andwinthepeople’sloveandhisfather’sadmiration.Halisclearlyintelligentandalreadycapableofthepsychologicalmachinationsrequiredofkings.Buttheheavymeasureofdeceitinvolvedinhisplanseemstocallhishonourintoquestion,andhistreatmentofFalstafffurthersullieshisname:thoughthereseemstoberealaffectionbetweentheprinceandtheroguishknight,Halisquitecapableoftormentingandhumiliatinghisfriend.ShakespeareseemstoincludetheseaspectsofHal’scharacterinordertoillustratethatFalstaff’sselfishbraggingdoesnotfoolHalandtoshowthatHaliscapableofmakingthedifficultpersonalchoicesthatakingmustmakeinordertoruleanationwell.Inanycase,Hal’semergencehereasaheroicyoungprinceisprobablytheplay’sdefiningdynamic,anditopensthedoorforPrinceHenrytobecomethegreatKingHenryVinthenexttwoplaysinShakespeare’ssequence.Questionstoconsider:o WhydoesHalchoosetoassociatewithapparent‘low-lifes’?Doyouthinkthereisonesimple

answer?o WhydoyouthinkHalprofessesthathehasnofearofthecomingwarandtheparthemust

playinit?o HalappearsattimestobequiteclosetoFalstaff.Whydoyouthinkheeventuallyrejects

Falstaff,ashestepsintohisprincelyrole?o WhatareHal’smostadmirablequalities?o IsHalan‘unsullied’protagonist?Howdohisactionsthroughouttheplayreflectthetension

betweenfriendships,family,andauthority?HenryPercy(Hotspur)ThesonandheiroftheEarlofNorthumberlandandthenephewoftheEarlofWorcester.Hotspur’srealnameisHenryPercy(heisalsocalledHarryorPercy),buthehasearnedhisnicknamefromhisfiercenessinbattleandhastinessofaction.HotspurisamemberofthepowerfulPercyfamilyoftheNorth,whichhelpedbringKingHenryIVtopowerbutnowfeelsthatthekinghasforgottenhisdebttothem.InShakespeare’saccount,HotspuristhesameageasPrinceHarryandbecomeshisarchrival.Quick-temperedandimpatient,Hotspurisobsessedwiththeideaofhonourandglorytotheexclusionofallotherqualities.His


courageousactioninbattleisadmiredbyKingHenryhimself,andissetupasafoiltoPrinceHal’swildanddishonourablebehaviour,allowingtheplaytoexplorethattraitsandqualitiesthatmakeoneagoodleader.AsHenryIVPartIprogresses,weseemoreandmoreofHotspur'sshortcomings;theverythingsthatseemtomakehimhonourablearethethingsthatrenderhimunfittoleadacountryand,ultimately,bringabouthisdownfall.Hisownfatherfrequentlynotes"Why,whatawasp-stungandimpatientfool/Artthou"(1.3.244-245).Hotspurisrash,impetuous,incapableofstrategy,andtendstoalienatehiscolleagues.WhenHotspurlearnsthathisfatherandGlendowerwon'tbejoiningtherebelforcesatShrewsbury,heforgesaheadanywaybecausehethinkswinninganimpossiblevictorywilllend"lustreandmoregreatopinion"totherebels'enterprise(4.1.81).HotspurmaybemorehonestandstraightforwardthanPrinceHal,whoschemesandplotshiswaythroughtheplay,butHenryIVPartImakesclearthatgoodleadershipiscomplex;strategy,commandoflanguage,andpatienceareallnecessarycomponentsofkingship.Questionstoconsider:o WhatdoesHotspur’suseoflanguagetellyouabouthim(considerthatevenwhenspeaking

iniambicpentameter,hischoiceofwordsismarkedlydifferentfromothercharacterswhospeakinverse)?

o Whatdoeshevalueinlife?o WhatdoyouthinkhasmotivatedHotspurtojointherebellion?o IsHotspuraclever/effectivepolitician?o WhydotherebellionfollowHotspur?Whathasledthemtochoosehimastheirleader?o WhydoyouthinkheconsistentlyentersintoconflictwithhisallyGlendower?o WhatdefectsareapparentinHotspur’scharacter(thatmayleadultimatelytohisdownfall)?SirJohnFalstaffFalstaffisPrinceHenry’sclosestfriendandseemstoactasasortofmentortohim,instructinghiminthepracticesofcriminalsandvagabonds.Heis(arguably)old,fat,lazy,selfish,dishonest,corrupt,thieving,manipulative,boastful,andlecherous.Thoughheistechnicallyaknight,andperhapsonceupheldcourtlymanners,Falstaff’scurrentlifestyleclearlyrendershimincompatiblewiththeidealsofchivalrythatonetypicallyassociateswithknighthood.Forinstance,Falstaffiswillingtocommitrobberyforthemoneyandentertainmentofit.AsFalstaffhimselfnotesatsomelength,honorisuselesstohim:“Canhonourset-toaleg?No.Oranarm?No.Ortakeawaythegriefofawound?No....Whatishonour?Aword”(Act5Scene1).Heperceiveshonorasamere‘word’,anabstractconceptthathasnorelevancetopracticalmatters.Nevertheless,thoughFalstaffmockshonorbylinkingittoviolence,towhichitisintimatelyconnectedthroughouttheplay,heremainsendearingandlikabletotheaudience.ThreereasonsthatFalstaffretainsthisesteemarethatheplayshisscoundrel’srolewithsuchgusto,thatheneverenjoysenoughsuccesstobecomearealvillain(evenhishighwayrobberyendsinhumiliationforhim),andthatinhisownwayheremainstruetoPrinceHal–unlikeHotspur’sfriends,hedoesatleastshowup!Falstaffseemstoscornmoralitylargelybecausehehassuchaheartyappetiteforlifeandfindsthenicetiesofcourtesyandhonoruselesswhentherearejokestobetoldandfeaststobeeaten.Largelyacreatureofwords,FalstaffisconstantlycreatingamythofFalstaff,andthismythdefineshisidentityevenwhenitisvisiblyrevealedtobefalse.Amasterofpunningand


wordplay,FalstaffistheonlyoneofHal’stavernmateswhocanmatchhisquickwit.FalstaffredeemshimselflargelythroughhisrealaffectionforPrinceHarry,whom,despiteeverything,heseemstoregardasarealfriend.ThisaffectionmakesHarry’sdecision,foreshadowedinHenryIVPartI,toabandonFalstaffwhenhebecomesking(inHenryIVPartII)seemallthemoreharsh.Questionstoconsider:o WhatarethecharacteristicsthatmakeFalstaffsuchacomiccharacter?o Whatarehismostadmirablequalities?o WhatdoyouthinkmayhaveledtheknightedFalstafftoliveasathiefandanalcoholic?o WhatdoesFalstaffvalueinlife?o Whatdoeshethinkof‘honour’?SUPPORTINGCHARACTERSEarlOfWestmorelandAnoblemanandmilitaryleaderwhoisaclosecompanionandvaluableallyofKingHenryIV.LordJohnOfLancasterTheyoungersonofKingHenryandtheyoungerbrotherofPrinceHenry.John appearstobethecompleteoppositeofhisbrother,Hal,attheoutsetoftheplay-heisresponsibleandrespectedbythenoblesatcourt.Despitehisyouth,hefightscourageouslyatthebattleatShrewsbury,andhisactionsarelaudedbyPrinceHenry.ThispublicrecognitioncouldbeviewedasHal’sconfirmationofhisallegiancetohisfamily,ratherthanthe‘vile’companyhe'spreviouslykeptwithhisEastcheappals.SirWalterBluntAloyalandtrustedallyofKingHenryandavaluablewarrior,Bluntisamessengerforthekingandconveysimportantnewsthroughouttheplay.DuringthebattleatShrewsbury,Blunt–oneofmanysoldiersdressedintheking'scoats–iskilledbyDouglas,whomistakeshimforKingHenry.WhenDouglaslaterencounterstherealKingHenryonthebattlefield,hesayshefearsHenryisjustanother‘counterfeit’.Blunt'sveryconvincingcostume,then,suggeststhatjustaboutanyonecanplaytheroleofaking,aslongastheyhavetherightwardrobe.ThisrecallsanothersignificantsceneintheplaywherePrinceHalandFalstafftaketurnsplaying‘KingHenry’duringtheirimpromptuskitattheBoar'sHeadTavern.Whydoesanyofthismatter?Well,itsuggeststhatkingshipismerelya‘role’tobeplayed,whichisafairlycontentiousargumentconsideringthatatthetimetheplaywaswritten,kingshipwasthoughttobedivinelyordained.ThomasPercy,EarlOfWorcesterHotspur’suncle(andHenryPercy’sbrother),WorcesteristheshrewdandmanipulativemastermindbehindthePercyrebellion.Perhapsabetterplotterthanafighter,heletsHotspurleadtherebelliousforcesinbattle,andperhapsforthisreasonhesurvivesthebattleitself(tothenbecondemnedtodeathbyKingHenry).


HenryPercy,EarlOfNorthumberlandHotspur’sfather.NorthumberlandconspiresandraisestroopsonthePercyside,butheclaimsthatheissickbeforetheBattleofShrewsburyanddoesnotactuallybringhistroopsintothefray.EdmundMortimer,calledTheEarlOfMarchMortimerisanEnglishnobleman.Atthebeginningoftheplaywelearnhe'sbeencapturedbytheWelshGlendowerandhistroopshavebeenslaughtered.KingHenryrefusestoransomhimfromhiscaptorsandaccusesMortimerofbeingatraitor.WealsolearnthatMortimerwasnamedheirtothethronebyKingRichardII,whichisprobablywhyHenrydoesn'twanthimaround.ThePercyfamilyusestheMortimersituationtojustifytheirrebellionagainstKingHenry,makingMortimeranimportantfigureintheplay.Literarycriticsnotethat,becauseMortimerhasmarriedGlendower'sdaughterandjoinedtheWelshrebels,intheeyesoftheEnglish,he's‘gonenative’.HealsoneveractuallymakesittothebattleatShrewsbury,whichmaybeanindicationthathissensualrelationshipwithhiswifemayhavecausedhimtogosoft.Inmanyways,Mortimer'slovingrelationshipwithhiswifeisafoiltoHotspur'srelationshipwithKatebecauseHotspurrejectsaphysicalrelationshipwithhiswifeinfavourofwarfare.OwenGlendowerTheleaderoftheWelshrebelsandthefatherofLadyMortimer,whomarriesMortimerwhileheisbeingheldforransomasGlendower’sprisonerofwar.GlendowerjoinswithMortimerandthePercysintheirinsurrectionagainstKingHenry.Well-read,educatedinEngland,andverycapableinbattle,heisalsosteepedinthetraditionalloreofWalesandclaimstobeabletocommandgreatmagic.Heismysteriousandsuperstitiousandsometimesactsaccordingtopropheciesandomens.HedoesnotendupjoiningthePercysinthebattleatShrewsburybecausehe’sunabletoamasshistroopsintimeforaction.Archibald,EarlOfDouglasTheleaderofthelargearmyofScottishrebelsagainstKingHenry.Usuallycalled‘TheDouglas’(atraditionalwayofreferringtoaScottishclanchief),thedeadlyandfearlessDouglasiscapturedinbattlebyHotspuratthebeginningoftheplay,butisfreedwithoutransomtojointhePercyfamily'srebellionagainsttheking.Acourageouswarrior,hekillsWalterBluntandisclosetokillingKingHenrywhenPrinceHalintervenes.Douglasiscapturedbytheking'sforcesatShrewsbury,butisreleasedfordemonstratingbraveryandhonouronthebattlefield.SirRichardVernonVernonisarelativeandallyoftheEarlofWorcester.HeoftentriestobeavoiceofreasonwhenHotspurgetscarriedaway.HeisperhapsbestknownforjoiningWorcesterindeceivingHotspur.WhenKingHenryofferstocallatruce,VernonandWorcesterkeeptheinformationquietforfearthatKingHenrywouldeventuallygobackonhisword.AtthebattleatShrewsbury,Vernon'scapturedbytheking'sforcesandsentencedtodeath.


LadyKatePercyKatePercyisHotspur'sneglectedwifeandthesisterofMortimer.Kateiswitty,patient,andplayfulwithherhusband,Hotspur,whooftendismissesorbelittlesher.Katefamouslycomplainsofherhusband'sdisinterestinsex;Hotspur'saversiontosexualintimacywithhiswifeseemstoregistertheplay'sconcernwithgenderandsexuality.HotspurworriesthatphysicalintimacywithKatewillmakehim‘soft’andunabletofight.Kate,then,canbeassociatedthroughouttheplaywithfearsofemasculation.LadyMortimerLadyMortimeristhewifeofMortimer,theEnglishnoblemanwhobetrayshiscountrybymarryingherandjoiningherfather's(Glendower's)forcesinWales.LadyMortimerspeaksonlyWelsh(noEnglish)andthereforehasnoprintedspeakinglinesintheplay,butherfathertranslatesherspeechtoherhusband.Althoughshecannotcommunicatetoherhusbandwithwords,Mortimersaystheyunderstandeachother'slovinglooks.TheirrelationshipactsasafoiltothatofHotspurandKate’s.NedPoins,Bardolph,AndPetoCriminalsandhighwaymen.Poins,Bardolph,andPetoarefriendsofFalstaffandPrinceHarrywhodrinkwiththemintheBoar’sHeadTavern,accompanytheminhighwayrobbery,andgowiththemtowar.GadshillAnotherhighwaymanassociateofHarry,Falstaff,andtherest.GadshillseemstobenicknamedaftertheplaceontheLondonroad—calledGad’sHill—wherehehassetupmanyrobberies.Heappearstobean‘insideman’whogathersintelligencefromhisfriendswhoworkatroadsideinnswhocandeliverinformationaboutwealthytravellers.MistressQuicklyHostessoftheBoar’sHeadTavern,aseedydiveinEastcheap,London,whereFalstaffandhisfriendsgotodrink.


ConventionsofElizabethanTheatre

Abriefsummary,drawnfromthewebsite:http://www.thedramateacher.com/elizabethan-theatre-conventions/ withexamplesfromHenryIVPartIreferencedbelow.SoliloquyThispopularElizabethanconventionisaliteraryordramatictechniqueinwhichasinglecharactertalksaloudinnerthoughtstohimorherself,butnotwithinearshotofanothercharacter.Typically,asoliloquyislengthywithadramatictone.Perhapsthemostwell-knownsoliloquywithinHenryIVPartIisHal’s“Iknowyouall…”(Act1Scene2),inwhichHalrevealstotheaudiencethathehasbeen‘slummingit’notsimplyforagoodtime,butas(sohestates)aplantoall-the-moreimpresshisfatherandhissubjectswhenhechoosestostepfullyintohisprincelyrole.ItmakesaninterestingcontrastwithFalstaff’splain-speakingbutrationalsoliloquyonthenatureofhonourlaterintheplay(“Well,tisnomatter;honourpricksmeon…”–Act5Scene1).BoysPerformingFemaleRolesActinginElizabeth’sEnglandwasfrowneduponmymanyinsocietyasaprofessionunsuitableforwomen,asitwasroughandrowdyinsteadofgenteel.Asaresult,Shakespeareandhiscontemporariescastboysandyoungermenintherolesofwomen.QSEholdsgenderparityasoneofitscorevalues(bothonandoffstage),andcastscharactersacrossgender.GiventhemajorityofrolesinHenryIVPartI(likemostShakespeareanplays)aremale,thismorecommonlymeansthatfemaleactorsplaytraditionallymalerolesinthecompany’sproductions.Inthisproduction,femaleactorsplaythecharactersofKingHenryIV,SirWalterBlunt,theEarlofWestmoreland,LordJohnofLancaster,PoinsandPeto;whileMistressQuicklyisplayedbyamaleactor(whoalsodoublesastheEarlofDouglas).InacontemporaryreferencetoElizabethantraditions,ratherthanchangingthegenderofthecharacters(andthelanguageoftheoriginaltext),manyofthesecharactersarestillidentifiedastheiroriginalgender.

EavesdroppingEavesdroppingwasadramatictechniquethatsatneatlybetweenasoliloquyandanaside(aconventionnotusedwithinHenryIV,butusedinmanyofShakespeare’sotherplays,inwhichacharacterbrokefromdialoguewithanothertospeakdirectlytotheaudience–theselineswereplayedasifheardonlybytheaudience).Certaincharacterswouldstrategicallyoverhearothersonstage,informingboththemselvesandtheaudienceofthedetails,whilethecharactersbeingoverheardhadnoideawhatwashappening.Thisconventionopenedupopportunitiesfortheplaywrightintheevolvingplot.InHenryIVPartIAct5Scene4,itisusedasadevicetohighlightPrinceHenry’smovefromthepub-friendlyHaltotheprincelyhero.ItisFalstaffwhodoestheeavesdropping–asheplay-actsbeingdeadtosavehisownskin–whilePrinceHenryfarewellshisenemyHotspur,whomhehasjustkilledinbattle,withrespect,andFalstaffhimselfwithalittlenostalgiabutaseemingdisregard;Falstaffthenrises


oncetheprincehaslefttodefendhisowndesirenottobe‘embowelled’asHalpredictshewillbe.

PresentationalActingStyleItisgenerallyagreedbyscholarsthatElizabethanactingwaslargelypresentationalinstyle.Playsweremoreovertlya“performance”withcluestheactorswereawareofthepresenceofanaudienceinsteadofcompletelyignoringthemaspartoftheirart.Movementsandgesturesweremorestylisedanddramaticthanonemightordinarilyexpectinamodernnaturalisticorrealisticdrama,speechpatternswereheightenedfordramaticeffect,andtheuseofconventionssuchastheaside,prologue,epilogueandwordpunsdirectlyconnectedcharacterstotheaudiencewatching.Theaside,theprologue,thesoliloquyandtheepiloguewereallvariationsonacharacters’directaddresstotheaudiencewhenstaged.QSEendeavourstostaytruetothepresentationalstyleofShakespeare’splaysbyreferencing,addressingandincludingitsaudience–notonlyinasidesbutalsothroughouttheproduction–whilealsoincorporatingcontemporaryacting’sfocusonemotionaltruth.InHenryIVPartItheaudienceareattimesendowedasmembersofKingHenry’scourt,fellowpub-drinkers,andasmembersoftherebellionarmyfightingagainstKingHenry.AgoodexampleofthiscanbeseenduringSirWalterBlunt’sofferingoftheKing’spardontoHotspurandhisassociatesduringhisvisittotherebelcamp(Act1Scene3)–wheretheaudienceisreferredtoasKingHenry’s‘duteousland’,‘hereinmisled’.PoeticLanguageElizabethanplayscommonlyconsistedofdialoguethatwaspoetic,dramaticandheightenedbeyondthatofthevernacularoftheday.Shakespearetookgreatcareincomposingdialoguethatwassometimesproseandsometimesverse–eitherblank(unrhymed)orrhyming(couplets)andgenerallyusingfivestressedsyllablesinalineofdialogue(iambicpentameter).QSEapproachesShakespeare’stextusingtheguidelinesthatverseindicatesheightenedemotion,whiletheuseofprosemaysuggestmore‘every-day’dialogueorevenacertaincraftiness(asinFalstaff’sspeech,“honourpricksmeon”,Act5Scene1).Compare,forexample,Hal’sintroductioninAct1Scene2,whereheandFalstaffexchangeplain-speakingbutcleverinsultsinprose,toHotspur’sintroductioninAct1Scene3,inwhichhevehementlydefendshisrightto–andreasonsfor–retaininghisprisonersofwar(andtheincometobegainedfromtheirransom)toKingHenryIV,whoisdemandinghehandthemover–inimpassionedandbeautifulcraftediambicpentameter(poetrycomposedinlinesof5strongand5weakbeats)frombothparties.

PlayWithinAPlayThisElizabethanconventionwasaplaywritingtechniqueusedbyShakespeareandothersthatinvolvedthestagingofaplayinsidetheplayitself.Itwasnotaflimsyconvention,butratheronethatwasusedjudiciouslyandwithpurpose.InHenryIVPartI(Act2Scene4),HalandFalstaffstagea‘playextempore’(improvised,or‘offthecuff’)partlyfortheentertainmentoftheirpub-drinkingfellows(theset-upwould


suggestthatthisisacommon,wittypastimebetweenthetwo),butostensiblysothatHalcanpracticehisanswertohispresumablyiratefatherwhenheanswersKingHenry’ssummonsthenextmorning.Falstaff,ofcourse,managestoderailtheplaytodefendhisownrelationshipwithHal,whileHalforeshadowshiseventualabandoningofhisfriend(notfullyrealiseduntilHenryIVPart2)withhislastlines(promising,asheplay-actshisfather,thathewillbanishFalstaff)beforethe‘playwithinaplay’isinterruptedbyavisitfromtheSheriff.StagecraftIntermsofstagecraft,Elizabethandramasusedelaboratecostumes,yetquitetheoppositeforscenery.Actingspaceswerelargelyempty(barestage)withsymbolicandisolatedsetpiecesandminimaluseofprops(asingletreeequalledaforest,athroneforaKing’spalace).Thisexplainstheuseofrichdialoguefullofimagery,astherewasnosetonstagetodesignatethescene’slocation.However,Elizabethancostumeswereoftenrichandcolourful,withacharacter’sstatusinsocietybeingdenotedbytheircostumealone.Therewerenostagelightsofanykind,withplaysstrictlyperformedduringdaylighthours.Asimplebalconyattherearofthestagecouldbeusedforscenesinvolvingfantasticalbeings,GodsorHeaven,whileatrapdoorinthestagefloorcouldalsobeusedtodropcharactersintoHellorraisecharactersupfrombeneath.Entrancesandexitswereattwodoorsattherear(tiringhouse)andnotthesidewings,asisthecaseinmoderntheatre.AnElizabethanactorexitingsidestagemaywellhavelandedinthegroundingsafterfallingofftheedgeofthe(three-sided)thruststagethatjuttedoutintotheaudience!HenryIVPartIwillbeperformedontheAmphitheatrestageatRomaStreetParkland,withtheaudienceonstageformingathree-sidedthrust,andtheparklandsasanopenbackdrop.QSEreferencesElizabethantraditionswiththeirsetdesign,usingminimal,symbolicsetpiecesandoftenreferringtoandincludingthebackdropoftheparklandaspartofthescenery.Anexemplaryexampleofopeningupthespaceforcomiceffectcanbeseeninthe‘secondrobbery’scene(Act2Scene3),whereFalstaff,Bardolph,PetoandGadshillcanbeseenactingoutthescenethatHaldescribesupintothefarreachesoftheamphitheatre,ashecelebrateshisandPoins’easysuccess.


AdviceforinterpretingShakespeare

RobPensalfini,ArtisticDirectorofQSE,says:1.Readtheplayaloud!Theseplayswerewrittendownonlyinordertobespoken,nottobereadsilentlyfromapage.ThereisnoevidencethatShakespeareeversoughttohavehisplayspublished–andwereitnotfortwoactorsfromhiscompanyscroungingtogetherallthepaperstheycould,halfofhisplayswouldhavebeenlost.Speakthewords–itmakesitmucheasiertounderstand.Ideally,getabunchofpeopletogetherandshareouttheparts.Stopandhelpeachotherunderstandwhat’sgoingon,butdon’tgetboggeddownindetailtoomuchonafirstreadoutloud.2.EnjoythephysicalityofthelanguageOnceyoureadShakespearealoud,youwillfindthatthephysicalstuffofspeaking,thesoundsandrhythms,oftenconveyasmuchasthemeaningofthewordsthemselves.WhenyougetalinelikeFalstaff’sdelightfulboast,“Nay,that'spastprayingfor:Ihavepepperedtwoofthem;twoIamsureIhavepaid”(Act2Scene4),enjoythepopsofallthe‘p’and‘t’sounds.Enjoytheenergyoftherhythms,whichdemandacertaindegreeofquicknessandlightness,andcarrytheargumentforwardintermsofenergyandintention.3.LiteralisetheimagesWeallknowthatShakespeare’splaysareloadedwithmetaphors.Everysituation,everyrelationship,everyfeeling,islikenedtothisorthatnaturalphenomenon,commercialenterprise,plant,oranimal.Ratherthanrushingtotranslatetheimagesintowhattheystandfor,taketimetoimaginetheimagesasliterallytrue.Forexample,don’treplacethephrase“YethereinwillIimitatethesun”(Act1Scene2)withthethought‘I’llactproudandupstanding’.Instead,imaginebeingthesungodhimself(lookupimagesofApolloinhissky-chariotifithelps!),shiningfiercelyonfriendandfoealike.Onewayintothisistoactuallyphysicalisetheimages,makeyourbodyintotheshapesoftheimages,asyouspeakthewords–intheearlystagesofgettingtoknowthetext(notinperformance).4.Keepaneyeoutforin-textstagedirectionsShakespeareoftengavehisactorsstagedirectionswithinthewordstheircharactersspoke.AfairlyblatantexampleisFalstaff’sset-upofheandHal’splay-actingoftheking:“thischairshallbemystate,thisdaggermysceptre,andthiscushionmycrown“(Act2Scene4).TheactorsplayingFalstaffandHalcannotescapelookingridiculousastheyattempttobalanceacushionontheirheadsthroughoutthefollowing‘playwithinaplay’–aningeniousstagedirectionthatservestoheightenthecomedyofthescene!Whomeveryouareplaying,thekeyisnottoletyourcharacterjustdescribeanactionthattheyaredoing–incorporatethisintoyourblockingormovementscoreforthescene.


PracticalExercise–fromtheRehearsalRoom

FriendandFoe(BasedonAugustoBoal’sBomb&Shield)ElementsofDrama:ExploringSpace,Movement,andRelationshipFromthedirector(RebeccaMurphy):Thisactivitycanbeutilizedbothasaphysicalwarmupexploringstrategyandrelationships(usedinrehearsalonceactorswerefamiliarwiththeirowncharacterandrecognizedothers’)andasawayintoexploringrelationshipswithinaparticularscene.Suggestedclassroomactivity:Invitetheparticipantstowalkthroughthespaceasboththemselvesandtheircharacter(encouragerelaxedphysicality–thefocusisnotonfindingaparticularstyleofmovementsuitabletoacharacter).Encourageparticipantstorelaxarmsbytheirsides,walkatamediumpace,andfillthespaceevenly.Invitethemtobeawareoftheotherpeople/charactersinthespace;whataretheirnames,howwelldoyouknowthem,whoareyourfriends,whodoyoutrust,whatdoyouwantfromeachofthem?Inviteparticipantstoidentifywhoistheirclosestally/friendinthescene(orplay)andwhoistheirgreatestthreat/foe.Theyshouldkeepthesechoicestothemselvesandnotindicatewhomtheyhavechosen.Theirfoeisnowthebombandtheirfriendistheshield.Theaimoftheexerciseistokeepyourshieldbetweenyourselfandyourbombasyoucontinuetomovethroughthespace.Afterafewminutes,youcancall,“Freeze”,andcheckinwiththegrouptoseehowtheyaredoing.UsefulQuestionsforFeedback:Didyoupanic?Whattacticsdidyouuse?Whatwasthephysicalsensationofsafety?Whatwasthephysicalsensationofbeingindanger?ExtensionintosceneexplorationHaveparticipantslayerdialoguefromakeysceneontothisexercise.Remindparticipantsthatthisexerciseisnotaboutfindingusefulblockingforthescene,butratherfocusedonexploringtheiruseofspaceandoftactics(basedonrealordesiredrelationships)throughoutthescene.Considerlimitingeachparticipantto3movesinthespacethroughoutthescene(eachcanbeusedtoplacetheir‘friend’betweenthemandtheir‘foe’).Encourageparticipantstolettheirvoicereflecttheirexperienceoftheexerciseastheyspeaktheirdialogue.Reflectatthecompletionoftheexerciseonsuccessfulorlesssuccessfultactics,aswellasexperiencesoremotionsthataroseandhowthisaffectedindividualparticipants’voiceandphysicality.Discusswhatmaybeusefultocontinuetoexploreasparticipantsreworkthescenewiththefocusreturnedtomanipulatingtheuseofspaceforanaudience’sbenefit.


SuggestedscenefromQSE’seditofHenryIVPartIACTISCENEIII.London.Thepalace.

EntertheKING,NORTHUMBERLAND,WORCESTER,HOTSPUR,SIRWALTERBLUNT,LORDJOHNOFLANCASTERKINGHENRYIVMybloodhathbeentoocoldandtemperate,Unapttostirattheseindignities,Andyouhavefoundme;foraccordinglyYoutreaduponmypatience:butbesureIwillfromhenceforthratherbemyself,Mightyandtobefear'd,thanmycondition;Whichhathbeensmoothasoil,softasyoungdown,AndthereforelostthattitleofrespectWhichtheproudsoulne'erpaysbuttotheproud.EARLOFWORCESTEROurhouse,mysovereignliege,littledeservesThescourgeofgreatnesstobeusedonit;AndthatsamegreatnesstoowhichourownhandsHaveholptomakesoportly.NORTHUMBERLANDMylord.—KINGHENRYIVWorcester,gettheegone;forIdoseeDangeranddisobedienceinthineeye:Youhavegoodleavetoleaveus:whenweneedYouruseandcounsel,weshallsendforyou.ExitWorcesterYouwereabouttospeak.NORTHUMBERLAND

Yea,mygoodlord.Thoseprisonersinyourhighness'namedemanded,WhichHarryPercyhereatHolmedontook,Were,ashesays,notwithsuchstrengthdeniedAsisdeliver'dtoyourmajesty:Eitherenvy,therefore,ormisprisionIsguiltyofthisfaultandnotmyson.

HOTSPUR

Myliege,Ididdenynoprisoners.ButIremember,whenthefightwasdone,WhenIwasdrywithrageandextremetoil,Breathlessandfaint,leaninguponmysword,Camethereacertainlord,neat,andtrimlydress'd,Hewasperfumedlikeamilliner;And'twixthisfingerandhisthumbheheldApouncet-box,whicheverandanonHegavehisnoseandtook'tawayagain(Whotherewithangry,whenitnextcamethere,Tookitinsnuff)andstillhesmiledandtalk'd,Andasthesoldiersboredeadbodiesby,Hecall'dthemuntaughtknaves,unmannerly,TobringaslovenlyunhandsomecorseBetwixtthewindandhisnobility.WithmanyholidayandladytermsHequestion'dme;amongsttherest,demandedMyprisonersinyourmajesty'sbehalf.Ithen,allsmartingwithmywoundsbeingcold,Tobesopester'dwithapopinjay,Outofmygriefandmyimpatience,Answer'dneglectinglyIknownotwhat,Heshouldorheshouldnot;forhemadememadToseehimshinesobriskandsmellsosweetAndtalksolikeawaiting-gentlewomanOfgunsanddrumsandwounds,--Godsavethemark!Thisbaldunjointedchatofhis,mylord,Ianswer'dindirectly,asIsaid;AndIbeseechyou,letnothisreportComecurrentforanaccusationBetwixtmyloveandyourhighmajesty.SIRWALTERBLUNTThecircumstanceconsider'd,goodmylord,Whate'erLordHarryPercythenhadsaidTosuchapersonandinsuchaplace,Atsuchatime,withalltherestretold,Mayreasonablydieandneverrise


TodohimwrongoranywayimpeachWhatthenhesaid,soheunsayitnow.KINGHENRYIVWhy,yethedothdenyhisprisoners,Butwithprovisoandexception,ThatweatourownchargeshallransomstraightHisbrother-in-law,thefoolishMortimer;Who,onmysoul,hathwilfullybetray'dThelivesofthosethathedidleadtofightAgainstthatgreatmagician,damn'dGlendower,Whosedaughter,aswehear,theEarlofMarchHathlatelymarried.Shallourcoffers,then,Beemptiedtoredeematraitorhome?No,onthebarrenmountainslethimstarve;ForIshallneverholdthatmanmyfriendWhosetongueshallaskmeforonepennycostToransomhomerevoltedMortimer.HOTSPUR‘RevoltedMortimer’!Heneverdidfalloff,mysovereignliege,Butbythechanceofwar;toprovethattrueNeedsnomorebutonetongueforallthosewounds,Thosemouthedwounds,whichvaliantlyhetookWhenonthegentleSevern'ssedgybank,Insingleopposition,handtohand,HedidconfoundthebestpartofanhourInchanginghardimentwithgreatGlendower:Neverdidbaseandrottenpolicy

Colourherworkingwithsuchdeadlywounds;NorcouldthenobleMortimerReceivesomany,andallwillingly:Thenletnothimbeslander'dwithrevolt.KINGHENRYIVThoudostbeliehim,Percy,thoudostbeliehim;HeneverdidencounterwithGlendower:Itellthee,hedurstaswellhavemetthedevilaloneAsOwenGlendowerforanenemy.Artthounotashamed?But,sirrah,henceforthLetmenothearyouspeakofMortimer:Sendmeyourprisonerswiththespeediestmeans,OryoushallhearinsuchakindfrommeAswilldispleaseyou.MyLordNorthumberland,Welicenceyourdeparturewithyourson.Sendusyourprisoners,oryouwillhearofit.ExeuntKingHenry,Blunt,andtrainHOTSPURAnifthedevilcomeandroarforthem,Iwillnotsendthem:IwillafterstraightAndtellhimso;forIwilleasemyheart,AlbeitImakeahazardofmyhead.NORTHUMBERLANDWhat,drunkwithcholer?Stayandpauseawhile:Herecomesyouruncle.


PreparationforPresenting(Drama)

Inpairs,havestudentsrehearseandperformforeachotherthefollowingexcerptfromQSE’sHenryIVPartI.This‘playwithintheplay’segmentallowsforexplorationofthecharactersofHalandFalstaff,aswellastheir‘portrayal’ofeachotherandoftheKing–thereissignificantroomforexplorationofdifferentiatedcharactermovementandvoice(bothheightenedandmorerealistic)aswellasbothhighcomedyandthebuildingofdramatictensionwithinthisoneexcerpt.HenryIVPartI–Act2,Scene4TheBoar's-HeadTavern,Eastcheap

FALSTAFFWell,thouwertbehorriblychidtomorrowwhenthoucomesttothyfather:ifthouloveme,practiseananswer.PRINCEHENRYDothoustandformyfather,andexaminemeupontheparticularsofmylife.FALSTAFFShallI?Content:thischairshallbemystate,thisdaggermysceptre,andthiscushionmycrown.Givemeacupofsacktomakemyeyeslookred,thatitmaybethoughtIhavewept;forImustspeakinpassion,andIwilldoitinKingCambyses'vein.PRINCEHENRYWell,hereismyleg.FALSTAFFAndhereismyspeech.Standaside,nobility.Harry,Idonotonlymarvelwherethouspendestthytime,butalsohowthouartaccompanied.Thatthouartmyson,Ihavepartlythymother'sword,partlymyownopinion,butchieflyavillainoustrickofthineeyeandafoolish-hangingofthynetherlip,thatdothwarrantme.Ifthenthoubesontome,hereliesthepoint;why,beingsontome,artthousopointedat?Shalltheblessedsunofheavenproveamicherandeatblackberries?Aquestionnottobeasked.ShallthesunofEnglandproveathiefandtakepurses?Aquestiontobeasked.Thereisathing,Harry,whichthouhastoftenheardofanditisknowntomanyinourlandbythenameofpitch:thispitch,asancientwritersdoreport,dothdefile;sodoththecompanythoukeepest:for,Harry,nowIdonotspeaktotheeindrinkbutintears,notinpleasurebutinpassion,notinwordsonly,butinwoesalso.AndyetthereisavirtuousmanwhomIhaveoftennotedinthycompany,butIknownothisname.PRINCEHENRYWhatmannerofman,an’itlikeyourmajesty?FALSTAFFAgoodly,portlyman,i'faith,andacorpulent;ofacheerfullook,apleasingeyeandamostnoblecarriage;and,asIthink,hisagesomefifty,or,by'rlady,incliningtothreescore.And


nowIrememberme,hisnameisFalstaff:ifthatmanshouldbelewdlygiven,hedeceivethme;for,Harry,Iseevirtueinhislooks.Ifthenthetreemaybeknownbythefruit,asthefruitbythetree,then,peremptorilyIspeakit,thereisvirtueinthatFalstaff:himkeepwith,therestbanish.Andtellmenow,thounaughtyvarlet,tellme,wherehastthoubeenthismonth?PRINCEHENRYDostthouspeaklikeaking?Dothoustandforme,andI'llplaymyfather.FALSTAFFDeposeme?Ifthoudostithalfsogravely,somajestically,bothinwordandmatter,hangmeupbytheheelsforarabbit-suckerorapoulter'share.PRINCEHENRYWell,hereIamset.FALSTAFFAndhereIstand:judge,mymasters.PRINCEHENRYNow,Harry,whencecomeyou?FALSTAFFMynoblelord,fromEastcheap.PRINCEHENRYThecomplaintsIhearoftheearegrievous.FALSTAFF'Sblood,mylord,theyarefalse:nay,I'lltickleyeforayoungprince,i'faith.PRINCEHENRYSwearestthou,ungraciousboy?Henceforthne'erlookonme.Thouartviolentlycarriedawayfromgrace:thereisadevilhauntstheeinthelikenessofanoldfatman;atunofmanisthycompanion.Whydostthouconversewiththattrunkofhumours,thatbolting-hutchofbeastliness,thatswollenparcelofdropsies,thathugebombardofsack,thatstuffedcloak-bagofguts,thatgreyiniquity,thatfatherruffian,thatvanityinyears?Whereinishegood,buttotastesackanddrinkit?Whereinneatandcleanly,buttocarveacaponandeatit?Whereincunning,butincraft?Whereincrafty,butinvillainy?Whereinvillainous,butinallthings?Whereinworthy,butinnothing?FALSTAFFIwouldyourgracewouldtakemewithyou:whommeansyourgrace?PRINCEHENRYThatvillainousabominablemisleaderofyouth,Falstaff,thatoldwhite-beardedSatan.FALSTAFFMylord,themanIknow.PRINCEHENRYIknowthoudost.


FALSTAFFButtosayIknowmoreharminhimthaninmyself,weretosaymorethanIknow.Thatheisold,themorethepity,hiswhitehairsdowitnessit;butifsackandsugarbeafault,Godhelpthewicked!iftobeoldandmerrybeasin,thenmanyanoldhostthatIknowisdamned:iftobefatbetobehated,thenPharaoh'sleankinearetobeloved.No,mygoodlord;banishPeto,banishBardolph,banishPoins:butforsweetJackFalstaff,kindJackFalstaff,trueJackFalstaff,valiantJackFalstaff,andthereforemorevaliant,being,asheis,oldJackFalstaff,banishnothimthyHarry'scompany,banishnothimthyHarry'scompany:banishplumpJack,andbanishalltheworld.PRINCEHENRYIdo,Iwill.


PreparingforPerformance–AnActor’sWarmUp

RobPensalfini,ArtisticDirectorofQSE,says:Warmuptogetherasacast.Letthewarmupbeawaytoconnecttoyourfellowperformerssothatyouareallinhabitingthesameworldevenbeforetheperformancebegins.Awarmupshouldbringyougraduallyfromeverydayenergytoperformanceenergy.Beginwithobservationofhowyoufeel(physically,mentally,emotionally),andworktofreeyourselfofphysicaltensionandvocalinhibition.Includeplentyofyawningandhumming,increasinginrangeandpower.Nevermoveormakesoundmechanically.Youarenotwarmingupaninstrument;youarewarminguptheconnectionbetweenyourbody,yourthoughts,yourfeelings,yourintentions,andyourvoice.Everysoundyoumakeisareleaseofthought,somepartofyourpsychespeaking.Ashortgroupwarmupmayincludeactivitiesto:

• Facilitateself-observation(e.g.a‘bodyscan’visualisation;orneutralwalkingthroughthespace,observingweightplacement,tensionpoints,andmovementofbreath)

• Connectouttomembersofyourensemble(e.g.SalutetotheSun,orsimilarrepetitivemovementsequencesthatthegroupworkstoperformsimultaneously)

• Connecttothespaceandbuildenergy(e.g.the‘bombandshield’dramagame)• Activateyourvoice,suchas:

o Gentleyawning,sighingandhummingthroughyourrange(canbedoneincombinationwithspinalrolls)

o Massagingthejawandthesinuseso Stretchingthelips,tongue(rollitoutoveryourbottomteeth),andsoftpalate

(createanunvoiced‘k’soundonbothinandoutbreath)o Stretchingtheribs(canalsousegentlemassage/vibrationonthechest)o Avocalscale-workingthroughcombinationsofvowelsandconsonantsat

varyingpitcheso Tonguetwisters(toactivatearticulators)


BackStagePass–InterviewswiththeActors

SilvanRus(PrinceHenry,nicknamedbothHarryandHal)

1. WhathashelpedyouempathisewithandinhabitthecharacterofHal?IfirstidentifiedwithHal(whenIfirstencounteredtheplaybackin2014)particularlythroughthe“Iknowyouall...”speechasitprovidestheperfectwordsforsomeonewholivesinunderestimationandthepromisetodisprovethefrowningbrowsthathavelouredonme.NowthatIamalittleolderandmoreawareofwhoIamandhowtheworldis,Halspeakstomeontwonewfronts.

First,thattherolegivesmeagaugeformyplaceinaworldofchangingvalues.FalstaffandHotspurembodycompetingvaluesofhonour:newandold,honour-questioningandhonour-bound,respectively.Bydiscerningandunderstandingtheirdifferences,Icreateamiddlewaythroughthosecompetingideasofhonourthatdoesnotresultinself-destruction.Itisawayofenduringtheworld’schangingvalues(inHal’sclumsyway)bynotrejectingthepastorpresent,butbytransformingwhatwas,intosomethingthatis,capableofbearingwhat-is-yet-to-come.

Second,isthewayweembodymultiplerolesinasinglelifeandthechallengesthatarisefromthisphenomena.MyHalisboththecrownprinceofEnglandandason.Thetensionbetweenthoserolesisevidentinthedesiretobelovedbyafatherobstacledbytheprofoundandheavyresponsibilitythatbeingkingentails. Anyonewholivesinafamily,particularlybutnotlimitedtothoseofworking-class,willidentifywiththisexperience-whetherasparentswhofendfortheirfamiliesthroughworkandarethusabsentforit,orastheiroffspringwhowishtobewiththeirlovedonesmore.Thedistinctionbetweenthecaresoffamilyandworkarenotclear-cutandsowhenoneoverweighstheother,relationshiptensionswithinthefamilyarise.

ThetwoviewsdonotsomuchhelpmeinhabitHalasdoesHalhelpmemoresoinhabitthisworld.Inotherwords,thefirstshowsawayofbeinginaworldwheretheidealsofbeingamanischangingtoday,andthesecondinembracingagreaterroleinmyfamilyandtheworldsweplayinasIgrowolder.ItismoresoinfindingmoreofmyplaceinthisworldthroughthetextthatIammoreHal.

2. WhatdoyouconsiderHal’sbiggestweakness?

Fearfromtheburdensofthecrown,pressurefromHal’sfather,andthedesiretofindanewwaytobeasuccessfulkingagainstthebackdropofafailedone,RichardII.Halbecomes‘more[him]self’,thePrinceofWales,thesongofaking,becauseadesiretoredeemhimselfforhisidlewaysarises.ThishappenswhenmyHarrygetsscoldedbyhisfather,HenryIV,whonotonlyrevealstheimminentrebellion,butthinksthatHalwouldbelikelytokillhisfatherhimself.“Thouartlikeenoughthroughvassalfear.../TofightagainstmeunderPercy’spay.”(ActIII,Scene2).Thatlineisheartbreakingtohear–tohearthatthepoliticalclimateissotumultuousthatone’sownparentthinksthathisownsonwouldbetrayhim.ThePrinceofWalesthusinturnvowstorestoreinhimselfinhisfather’seyesbyfightingthisrebellion.


3. Whyareyoulookingforwardtosharingthisproductionwiththeaudience?Onasurfacelevel,becauseitissofun!Thereisdrunkenrevelry,theft,heroism,medievalbattle,andatonofcomedythateveryaudiencememberisboundtoenjoy.Thehistoriesareoftenmisjudgedforbeingtooseriousandinaccessible.Onadeeperlevel,theplayhassuchavastcross-sectionofpeople:hospitalityworkers,parents,offspring,lovers,warriors,tragedians,comedians,drunkards,andheroes.Almosteveryone,ifnot,allarerepresentedinourchangingworld,soIthinkI’dliketosharethisproductionasawayofgivingthankstothemultiplecommunitieswelivein,andthesheerwisdomthattheplayoffersforthemanyrolesthatweembodyforit.

4. Whatisyourfavouritelineintheplay?

WhenIwillwearagarmentallofbloodAndstainmyfavourswithabloodymask,Whichwashedawayshallscourmyshamewithit.

HenryIVPartI,Act3Scene2AngusThorburn(HenryPercy,nicknamedbothHarryandHotspur)1. WhathashelpedyouempathisewithandinhabitthecharacterofHotspur?

AsanApprenticewithQSEthisyear,Iamanewcomertothemainstageproductionprocess,rehearsingwitholder,morecompetentandexperiencedactors.IfeelthatHotspurisinasimilarsituation,whereheisanewcomertopoliticsandroyalty,surroundedbypeoplewhoaremoreexperiencedthanhim.Toacertainextent,wearebothtryingtoprovethatwebelongwiththetopdogsofourrespectedgroupsofpeople,despitehowdifferentourlivesare.

2. WhatdoyouconsiderHotspur’sbiggestweakness?Heisimmature.Hotspurisstillyoung,andlacksthewisdomandmaturitytoknowwhentoholdhistongue,andtofilterhiswordsaroundcertainpeople.

3. What'shisbiggeststrength?Heishonourable.Hestandsforwhathebelievesin,anddoeswhathebelievestobetherightthing,neverresortingtofoulplay.Hefightsandactswithhonour,throughandthrough,untilhislastbreath.

4. Whyareyoulookingforwardtosharingthisproductionwiththeaudience?I’mlookingforwardtoshowingtheaudienceanawesomeperformanceofahighlyunderratedplay.Iamalsolookingforwardtosharingastorythatshowsbothsidesofamoralandethicalargumentanddoesnotportrayeithersideasobviouslyrightorwrong,goodorevil.

5. What’syourfavouritelineintheplay?Away,away,youtrifler!Love!Ilovetheenot.

–HotspurtoLadyPercy,Act2Scene3.


PreparationforResponding(Drama)

Respondingrequiresstudentsto:

• analysetheuseoftheDramaticLanguageswithinaproductiontocreatedramaticactionanddramaticmeaning

• evaluatethesuccessofthiscreationofdramaticmeaningfortheaudience

• synthesisetheirunderstandingofhowtheuseoftheDramaticLanguagesworkedtoengagetheaudience.

TheDramaticLanguagesinclude:

ElementsofDrama

SkillsofDrama

Conventionsof

ElizabethanTheatre

Characters/RolesRelationshipsSituation/ContextPlaceSpaceMovementLanguageSymbolMoodDramaticfocusDramatictensionContrast

Acting(voice&movement)Directing(responsiblefordramaticmeaning)Design/Stagecraft(set,lighting,costume,sound)

PoeticlanguageBlankverse(Iambicpentameter)RhymingcoupletsProse(oftenspokenbylower-statuscharacters)PresentationalactingstyleSoliloquiesAsidesEavesdroppingPlaywithinaplayElaboratecostumesSymbolic(minimal)scenery


Students’processforplanningaRespondingessaymayincludethesesteps:

1. Decidewhattheoveralldramaticmeaningoftheproductionwas(thismaychangeasyouanalysetheproductionfurther).

2. DecideonthekeyDramaticLanguagesthateffectivelycontributedtothecreationofdramaticactionandmeaningthroughouttheproduction.

3. Foreachbodyparagraph-chooseamomentwithintheplaythatcontributed

significantlytothecreationofthisdramaticmeaning(amomentthatmadeanimpact!)

4. AnalysewhichofthekeyDramaticLanguageshavebeenusedtocreatethisimpact

5. Connect(synthesise)theuseofelement(s)ofdramawithskill(s)ofdramaand/orconvention(s)offormandstylewithinthechosenmoment• Youcouldlinkakeyconventionthatwaspresentinthechosenmomentwithan

elementofdramathathasalsobeeneffectivelyused• Youcouldlinktwoelementsofdramatogetherwhereoneelementimpactson

anothere.g.dramatictensionoftenenhancesmood• Youcouldlinkaconventionwithoneoftheskillsofdrama• Youcouldlinkanelementofdramawithoneoftheskillsofdrama

6. Evaluatetheoveralleffectivenessofthecreationofdramaticactionandmeaningwithinthechosenmoment.• Evaluativewordscouldinclude:

o Successfulo Effectiveo Engagingo Disjointedo Confusingo Heightenedo Enhancedo Confrontingo Well-developed


RespondingScaffoldingTable

YourstudentsmayuseatablesimilartothisonetolinktheirnotesaroundtheuseofthedramaticlanguageswithinQSE’sproductionofHenryIVPartI.ElementsofDrama

ConventionsofStyle

SkillsofDrama

Purpose/Meaning

Examplesintheproduction

TopicSentence

DramaticMeaning:


StructuringaseniorDramaRespondingEssay

ARespondingessayisnotareview.Thereisnoobligationtoincludeplotorcharactersummaries(beyondwhatmaybenecessarywithintheanalysisoftheuseoftheDramaticLanguages),andevaluationoftheproductionisfocusedonhoweffectivelytheDramaticLanguageswereusedtocreatedramaticactionanddramaticmeaning(ratherthanonwhethertheshowwaswell-received/liked).ThestructureofaRespondingessaymayinclude:

1. Introduction• Introducethetext(HenryIVPartI)andthestyle(ElizabethanTheatre)• FramethekeyquestionoftheRespondingtaskasastatement–forma‘hypothesis’

thattakesaposition(onewayortheother)onansweringthekeyquestion,whichwillbesupportedwithevidencethroughouttheessay.

2. BodyParagraph-eachparagraphmayfocusonasinglekeymomentfromtheproduction,andwillinclude:• Topicsentence–introducingthefocus‘moment’andkeyDramaticLanguagesused

withinthatmoment• Evidence–describehowtheseDramaticLanguageswereusedwithinthefocus

momenttocreatedramaticactionandmeaning.• Evaluate–wasthemomenteffectivelyrealized,referringtotheDramatic

Languages• Link–backtoyourhypothesisand/orDramaticMeaning

3. Conclusion• Refertoeachofthekeypointswithinyourbodyparagraphs.• Summariseyouranalysiswithafinalevaluation


FurtherResources

1. Cliff’sNotes–HenryIV

https://www.cliffsnotes.com/literature/k/king-henry-iv-part-1/play-summary

Plotandscenesummaries;Characterandthemeanalysis

2. CourseHero–HenryIVPartIhttps://www.coursehero.com/lit/Henry-IV-Part-1/

Plot,sceneandcharactersummariesandinfographics.

3. HenryIVPartI–Astructuralanalysis

http://www.stjohns-chs.org/english/shakespeare/hanks/hivpt.html

Excellentdiscussionquestionsforanalysisoftheplayscene-by-scene.

4. Schmoop–HenryIV

https://www.shmoop.com/henry-iv-part-1/

Usesinformallanguageandmodern‘slang’throughout;encompassesplotandscenesummaries,themeandcharacteranalysis,andcompletetextwithmoderninterpretation.

5. SparkNotes–HenryIV

https://www.sparknotes.com/shakespeare/henry4pt1

Providesplotsummary,themeandcharacteranalysis,andmoderntranslationofcompletetext.Usesmoreacademiclanguage.

6. TheDramaTeacher–ElizabethanTheatre

http://www.thedramateacher.com/elizabethan-theatre-conventions/ExcellentsummaryofkeyconventionsofElizabethanTheatre.

Queensland Shakespeare Ensemble 2019 – Education Notes

Documents

Transcript of Queensland Shakespeare Ensemble 2019 – Education Notes