The Tempests Ow Feb 07

8/12/2019 The Tempests Ow Feb 07

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YEAR 9SHAKESPEARE FOR SATS

Courtesy of Watford Grammar School for Girls

THE TE PEST SET SCE!ES FOR "##$%

Act 1, Scene 2, lines 189-321

Act 5, Scene 1, lines 1-134



“THE TEMPEST” – OUTLINE OF ACTIVITIES IN SOW

WEEK TASK

1 INTRODUCTION TO THE PLAYStudents should make predictions based on images from “The Tempest” and

familiarise themselves with Shakespeare’s characters and use of language.2 OUTLINE OF THE PLOT AND CHARACTERS

Students should understand the plot and characters of “The Tempest”. Someof these activities are ideal for a series of drama lessons.

Reading Act One Scene One ! drama based activities on the storm.3 ACT ONE, SCENE TWO

"#amine stereot$pical characters and then e#plore the behaviour of %rospero &iranda Ariel 'erdinand and (aliban finding suitable)uotations.

4 ACT TWO*riting to imagine e#plore entertain + students should describe their own

utopias,*riting to argue persuade advise ! students to use techni)ues to write persuasivel$ on a number of topics ; Anal$se (aliban’s solilo)u$ at the start of the scene,Order ke$ events in the scene and use the ke$ )uotations sheet to test

students’ knowledge of who said what,Stor$board the entrance of Trinculo and Stephano and show how it contrastswith the mood of (aliban’s opening solilo)u$.

5 ACT THREEScene One- (onsider 'erdinand’s opening solilo)u$ and e#plore the use ofoppositions or antithesis,

Scene Two- irectorial response to the drunkards,Scene Three- *riting to imagine e#plore entertain. Students should imaginethemselves as /on0alo. 1e has returned to &ilan and is recounting theevents on the island for the benefit of a friend. Students should write a scriptof his monologue for the events of Act 2 Scene 2.

6 ACT FOUR (onsider Shakespeare’s use of language stage directions andcharacterisation in Act 'our Scene One.

7 ACT FIVE Revise the main characters and actions to revise events in the pla$,Students should write a response to this scene considering if the$ are

surprised b$ the ending of the pla$ and consider how %rospero’s powerchanges as the pla$ progresses.

8 / 9 CONSIDER HOW SHAKESPEARE PRESENTS THE MAINCHARACTERS IN THE TEMPEST

%rospero Ariel and (aliban.10 / 11 EXPLORATION OF THEMES, CHARACTERS AND IMAGES

Sonnet in a Bottle ! writing to imagine e#plore entertain- "ach students chooses one character to focus on and should write about whothe$ are what has happened to them their ambitions and disappointmentsetc. The$ must write in the first person. (hallenge students to write theirmessage as a sonnet.

Love ! writing to anal$se review comment-Students to consider which t$pe of love is most important in “The Tempest”.

Magic ! writing to anal$se review comment-



"#plain that most if not all of the characters in the pla$ undergo a “sea+change” and are forever altered b$ the events following the tempest.

"ssa$- 1ow is magic used in “The Tempest”3

Enslavement + oes Shakespeare present enslavement as a positive ornegative concept in “The Tempest”3(onsider how the following characters e#perience some kind of enslavement-

%rospero, (aliban, Alonso, &iranda, Ariel, 'erdinand.

Language techniques + Alliteration onomatopoeia repetition of ke$ wordsbalanced phrases e#aggeration emotive language dramatic words or

phrases use of imager$ groups of three pronouns to involve the audiencee#clamations and )uestions.

mage!" an# $atte!ns o% language + Students to identif$ and e#plore a rangeof images and comparisons in the pla$.

Songs + Se)uencing Ariel’s song. (onsider wh$ The Tempest includes more songs and music than other Shakespeare pla$s. Students ma$ wish tocompose a song for Ariel to sing to celebrate his release.

Sea-changes + *ho changes the most and who changes the least in the pla$3(onsider &iranda %rospero Alonso Ariel Antonio 'erdinand Sebastianand (aliban.

&e$o!ting the ne's + Students to imagine the$ are part of a T4 news channelbringing important stories and updates to viewers as the$ happen. "ach

group is a news team and is in competition with ever$ other team to bring themost relevant interesting and insightful news reports to the viewers. "ach

group will need to give the “bare bones” of the top stories on the island andwork out how to present them to make the most impact. Remind students thatthe$ need to imagine that the$ do not know what will happen ne#t ! this newsis unfolding as the$ are working. /roups should be numbered and given onl$ten minutes to prepare for each ke$ event. 5ndividuall$ students could writearticles about the most important event.

A##itional (!ama Activities )ase# on the $la"12 TIMED ESSAY ON THE SET SCENES (ONE HOUR)

Set scenes a!e availa)le %!om*

htt$*++''' qca o!g u +#o'nloa#s+qca-./-2/50- s3-en-.0-tem$est-v5 $#%

(onsider how %rospero changes his attitude to others in the pla$. 1owwould $ou direct the two e#tracts from Act 6 Scene 7 and Act 'ive Scene 6 to

show these changes3



NATIONAL LITERACY STRATEGY OBJECTIVES

W!"# L$%$&7. recognise layers of meaning in the writer’s choice of wor s! eg. connotation!

im"lie meaning! ifferent ty"es of m#lti"le meanings.

S$' $' $ L$%$&4. integrate s"eech! reference an $#otation effecti%ely into what they write;11. in%estigate ways &nglish has change o%er time;

T$* L$%$& – R$+# '-2. synthesise information from a range of so#rces! sha"ing material to meet the

rea er’s nee s;5. e%al#ate their own critical writing a'o#t te(ts;6. comment on the a#thorial "ers"ecti%e offere in te(ts on in i%i #als!

comm#nity an society;14. analyse the lang#age! form an ramatic im"act of scenes an "lays 'y

"#'lishe ramatists;15. e(ten their #n erstan ing of literary heritage 'y relating ma)or writers to

their historical conte(t! an e("laining their a""eal o%er time.

T$* L$%$& – W" '-1. re%iew their a'ility to write for a range of "#r"oses an a# iences! recognising

their strengths an i entifying s*ills for f#rther e%elo"ment;3. "ro #ce formal essays in stan ar &nglish within a s"ecifie time! writing

fl#ently an legi'ly an maintaining technical acc#racy when writing at s"ee ;11. ma*e telling #se of escri"ti%e etail! eg. eye witness acco#nts! tra%el writing;17. cite s"ecific an rele%ant te(t#al e%i ence to )#stify critical )# gements a'o#t

te(ts.

S.$+/ '- +'# L 0 $' '- 1 D"+2+9. isc#ss an e%al#ate conflicting e%i ence to arri%e at a consi ere %iew"oint;12. #se of range of rama techni$#es! incl# ing wor* in role! to e("lore iss#es!

i eas an meanings! eg. 'y "laying o#t hy"otheses13. e%elo" an com"are ifferent inter"retations of scenes or "lays 'y

+ha*es"eare;14. con%ey action! character! atmos"here an tension when "erforming "lays.



WEEK ONE – INTRODUCTION TO THE PLAY

AS * Stu#ents shoul# #iscuss thei! e $ectations + no'le#ge o% Sha es$ea!e, an#ma e $!e#ictions )ase# on images %!om he em$est he" shoul# also

%amilia!ise themselves 'ith Sha es$ea!e6s cha!acte!s an# use o% language

PROCESS

“S3+/$0.$+"$ B+--+-$”,et st# ents to 'e o"en a'o#t their fears / reser%ations / e(citement / "reconce"tionsa'o#t +ha*es"eare. -n "airs! assign an an . s are to 'rainstorm to their "artnerson the wor +ha*es"eare for two min#tes. +wa" an re"eat.-n two min#tes! on s#gar "a"er! s an s sho#l then write / scri''le / rawe%erything they can remem'er their "artner saying! 'efore "resenting their "artner’stho#ghts an i eas to the whole gro#".

U0$ 2+-$0 + + 3$# or #se ,oogle to research their own to ga#ge st# ents’ firstim"ressions of the "lay.

hese sho#l 'e e%elo"e 'y #sing D$ B!'!40 T3 '/ '- H+ 0 +'# C!RT !!&0 (0$$+ + 3$#)5

-ntro #ce st# ents to the 2+ ' 3+"+ $"0 ' 3$ .&+6 see attache reso#rce .+t# ents sho#l consi er who they wo#l "refer to 'e stran e on a esert islanwith! an why.

I'07& 0 gi%e each st# ent an ins#lt from the "lay to throw at another mem'er of theclass! who in t#rn ins#lts someone else. +ee attache reso#rce.

I+28 P$' +2$ $"

&("lain the meaning of iam'ic "entameterent fi%e! iam'ic means stresses! one stress on! one stress off. +o there are fi%e

stresses on an fi%e stresses off. i um i um i um i um i um 869 beats:.,et this rhythm going 'y as*ing st# ents to cla" their han s an stam" their feet.+t# ents sho#l then i entify this 'eat in the lang#age

A horse a horse m$ kingdom for a horse 5f music be the food of love pla$ on

;ut soft what light through $onder window breaks,et them to wor* o#t their own 'irth ays in iam'ic "entameter! eg.y 'irth ay is the .

&(amine lines from he em"est which #se iam'ic "entameter.&nco#rage st# ents to loo* at +ha*es"eare’s %erse as "oetry.



USING THESE IMAGES, MAKE PREDICTIONS ABOUT “THE TEMPEST”



DE BONO4S THINKING HATS +'# C!RT

:se the following SIX HATS to organise st# ents’ first im"ressions of heem"est

W3 $ H+acts < what information o - ha%e= >hat information o - nee to get=

R$# H+?ow o - feel a'o#t st# ying +ha*es"eare= >hat are my first feelings a'o#t the

"lay=

Y$&&!9 H+>hat are the 'enefits of st# ying +ha*es"eare’s he em"est = >hat am - loo*ingforwar to=

G"$$' H+>hat i eas o - ha%e alrea y a'o#t the "lay= @o yo# ha%e any "re ictions a'o#t theo#tcome of the "lay=

B&+ / H+>hat are the negati%e "oints a'o#t st# ying +ha*es"eare an he em"est = >hat

on’t - li*e an what are the "ro'lems=

B&7$ H+>hat ha%e - isco%ere an what is still left to isco%er= ?ow can - isco%er it=

A&0! "6 3$ :!&&!9 '- C!RT !!&0 ! $& "$0.!'0$0 +'# #$+0 :"!2 3$ 0 7#$' 0

PMI < l#s! in#s! -nteresting?ow o they feel a'o#t st# ying +ha*es"eare= >hat are the -s of rea ing he

em"est =

CAF < Aonsi er ll actors>hat o yo# nee to thin* a'o#t when rea ing +ha*es"eare=

AGO < ims! ,oals an B')ecti%e>hy are we st# ying +ha*es"eare < it is not )#st for e(amsC



THE MAIN CHARACTERS IN “THE TEMPEST”A BRIEF INTRODUC TION;

7 7 :L( BE E BES ;A<( 7 &S = SLA<( > M?A< < A<(7 @

+t# ents sho#l try to match these character escri"tions to famo#s cele'rities.

hey co#l 'ring in "ict#res or ma*e $#ic* s*etches in their 'oo*s

Mi!an#a+he is a yo#ng! innocent an naD%e teenage girl who has li%e with her father on aremote islan since she was a 'a'y. ?er father is fiercely o%erE"rotecti%e. iran a is#nfamiliar with the real worl .

A!iel mysterio#s s"irit! neither male or female! who has magical a'ilities to fly an

'ecome in%isi'le. riel feels tra""e on the islan an longs to 'e free. ?owe%er!riel is also loyal an o'e ient if yo# co#l offer the o""ort#nity of free om from the

islan .

>ali)an nati%e of an islan ! sometimes escri'e as a fish! an at other times as a monster.

-t is r#mo#re that his father is the e%il himself. ?e is f#ll of fo#l lang#age! '#t willwor* har for yo# < if yo# can tame himC

Alonsolonso is a *ing who has recently atten e the we ing of his a#ghter. ?e fears that

his son has 'een rowne an is at ris* from "olitical "lots against him.

e!#inan# ?e is a goo loo*ing teenage "rince! who has recently lost contact with his father! theFing lonso. er inan is %ery romantic! an "rone to falling in lo%e $#ite easily.

ConDalo?e is an honest ol man with %ery i ealistic %iews a'o#t the worl . ,onGalo is aloyal frien an com"anion who always loo*s on the 'right si e of life. ?e can 'e alittle naD%e.

Antonio

?e is a @#*e! who gaine his title 'y ishonest means. ntonio is selfish an li*es to '#lly an intimi ate others. ?e is frien s with +e'astian! Fing lonso’s 'rother.

Se)astian+e'astian is Fing lonso’s 'rother. ?e sometimes en%ies his 'rother’s "osition! ancan 'e cr#el an #n*in . ?e is also easily le 'y ntonio.

Ste$hano+te"hano is the '#tler to the *ing. ?e li*es to rin* alcohol an can often 'e fo#nstaggering aro#n the islan in a r#n*en haGe. ?e also reams a'o#t 'eing as

"owerf#l as the *ing.

!inculorinc#lo is a clown who li*es to *ee" "eo"le entertaine . ?e is also a cowar ! an

li*es to rin* too m#ch alcohol.



INSULTS FROM “THE TEMPEST”

• ho# "oisono#s sla%e

• :nwholesome fen

• he e%il himself

• 'horre sla%e

• thing most 'r#tish

• ?ag see

• ost lying sla%e

• hy wic*e am

• ho# )esting mon*ey

NOW MIX AND MATCH YOUR OWN;

:se one or more '07& '- +#<$ %$

• rec*le• oisono#s• r#tish•

-gnorant• onstro#s• oolish• awling• ?owling• 'omina'le• -ncharita'le

n a an '07& '- '!7'

• raitor • ool• ?ag• ss• onster • @e%il• ortoise• Hinny• -m"oster



WEEK TWO – OUTLINE OF THE PLOT AND CHARACTERS

AS * amilia!ise stu#ents 'ith the $lot an# cha!acte!s o% he em$est his $!og!amme o% activities is i#eal %o! a se!ies o% #!ama lessons

PROCESS

:sing the + + 3$# 06'!.0 0 !: “T3$ T$2.$0 ! the class sho#l attem"t to reEenactthe whole "lay in mime. Iea them the syno"sis of the "lay attache 'efore castingthe following characters

shi" master er inan ,onGalooatswain ntonio ros"eroariners 2 or 3 iran a riellonso Aali'an rian

+e'astian rancisco rinc#lo+te"hano -ris AeresJ#no +"irits an Hym"hs < anyone not alrea y cast.

,o thro#gh each ct an scene! rea ing the syno"sis alo# while the a""ro"riatecharacters mime their roles. his will 'e $#ite chaotic! an nee more than one r#nthro#ghC

fter this acti%ity! e(amine 3$ 2 ' 0 $'$0 attache . @i%i e the class into gro#"sof fo#r or fi%e! an gi%e them two scenes each. s* them to then come #" with afroGen "ict#re for each mini scene. he whole class sho#l then "resent their miniscenes in the correct or er of the "lay! with the title of each scene 'eing rea alo# .

R$+# A O'$, S $'$ O'$ an "erform with st# ents ta*ing ifferent roles. im toshow the chaos an conf#sion of the scene with its many entrances an e(its.



THE SYNOPSIS OF THE PLAY

DRAMA EXERCISE>ast the %ollo'ing cha!acte!s among the class*

• shi" master • oatswain• ariners• Fing lonso• +e'astian• ntonio• +e'astian• er inan• ,onGalo• ros"ero• iran a• riel•

Aali'an• rian• rancisco• rinc#lo• +te"hano• -ris• Aeres• J#no• +"irits an Hym"hs < anyone who isn’t alrea y cast

&("lain to st# ents that yo# want them to e("lore all the "ossi'le e(its an entrances

in this e(ercise! incl# ing hea%en an hell.hey sho#l follow +&& 0 +-$ # "$ !'0 an ma*e the necessary 0!7'# $::$ 0 ! '#t

2 2$ all s"eeches.

efore they mo%e! ta*e them thro#gh a 'rief syno"sis of the "lay attache tofamiliarise them with the story.

IeErea the syno"sis! with characters "erforming their roles. -t is li*ely to 'e messyat first! an so will nee se%eral attem"tsC



“THE TEMPEST” = SYNOPSIS

A> <E, S>E<E <E • Hoise of th#n er an lightning an a shi" at sea;• &nter a S3 .2+0 $" an a B!+ 09+ ' . +"ea*. he S3 .2+0 $" e(its.

M+" '$"0 enter an e(it;• K '- A&!'0!, S$8+0 +' +'# A' !' !, F$"# '+'#, G!'>+&! enter. he

B!+ 09+ ' as*s them to *ee" o#t of the way! then e(its with the others;• he B!+ 09+ ' reEenters. S$8+0 +', A' !' ! +'# G!'>+&! reEenter! s"ea*

to the B!+ 9+ ' .• M+" '$"0 enter wet an anno#nce the shi" is sin*ing. A' !' ! +'#

S$8+0 +' e(it! soon followe 'y G!'>+&! .

A> <E, S>E<E 7• he islan ! 'efore ros"ero’s cell ho#se• P"!0.$"! tells M "+'#+ their history! '#t he is concerne that she is not

listening;• M "+'#+ falls aslee";• A" $&enters an escri'es how he create the storm! '#t sa%e the 'oat an its

occ#"ants. P"!0.$"! +'# A" $& s"ea* then arg#e;• M "+'#+ awa*es. A" $&reEenters as a water nym"h! then e(its;• C+& 8+' enters f#rio#sly an com"lains to P"!0.$"! a'o#t his 'on age.

P"!0.$"! tells him off. C+& 8+' e(its;• A" $&enters in%isi'le! followe 'y F$"# '+'# . A" $&sings;• F$"# '+'# an M "+'#+ see each other an instantly fall in lo%e. P"!0.$"!

magically ensla%es F$"# '+'# .

A> 7 , S>E<E <E •

nother "art of the islan ;• K '- A&!'0!, S$8+0 +', A' !' !, G!'>+&!, A#" +', F"+' 0 ! enter.

G!'>+&!, A#" +' +'# F"+' 0 ! try to comfort A&!'0! ! who cannot fin hisson! er inan .

• A' !' ! moc*s them;• A" $& enters! in%isi'le! an "lays m#sic an "#ts all 'y S$8+0 +' +'#

A' !' ! to slee";• A" $& e(its;• A' !' ! then "ers#a es S$8+0 +' to *ill lonso so he will 'ecome *ing.

hey raise their swor s to *ill lonso an ,onGalo 5 A" $& reEenters an wa*esG!'>+&! )#st in time. A' !' ! +'# S$8+0 +' ma*e "athetic e(c#ses a'o#ttheir raise swor s;

• A&&wa*e #" an e(it to loo* for er inan .

A> 7 , S>E<E 7• nother "art of the islan ;• C+& 8+' enters an c#rses P"!0.$"! . T" ' 7&! enters! sees C+& 8+' an

thin*s he is a monster. ?e ta*es shelter from the storm #n er C+& 8+'40 cloa*;

• S $.3+'! enters r#n* an singing. ?e thin*s the sha"e of C+& 8+' anT" ' 7&! #n er his cloa* re"resents a monster. ?e gi%es C+& 8+' a rin* of

alcohol;• T" ' 7&! then emerges from C+& 8+'40cloa* an greets S $.3+'! . C+& 8+'thin*s the alcohol is magical an ass#mes S $.3+'! is a go . C+& 8+'

"romises to show S $.3+'! the wealth of the islan .



A> &EE, S>E<E <E • F$"# '+'# enters carrying logs. ?e an M "+'#+ see each other an fall in

lo%e instantly;• P"!0.$"! "reten to isa""ro%e! '#t secretly he a""ro%es of the match.

A> &EE, S>E<E 7• C+& 8+', S $.3+'! an T" ' 7&! enter r#n*. T" ' 7&! shows his isli*e for

C+& 8+' an S $.3+'! tells him off for 'eing r# e to C+& 8+';• A" $&enters an "lays a tric*! imitating rinc#lo’s %oice to call Aali'an a liar;• S $.3+'! hits T" ' 7&! ;• C+& 8+' then "ers#a es S $.3+'! to m#r er ros"ero in or er to gain control

of the islan ;• A" $&then "lays some m#sic which frightens the cowar ly T" ' 7&!?• S $.3+'! an T" ' 7&! then eci e to follow riel’s m#sic.

A> &EE, S>E<E &EE • &nter A&!'0!, S$8+0 +', A' !' !, G!'>+&!, A#" +' an F"+' 0 ! ;• S$8+0 +' an A' !' ! are still secretly "lotting to *ill A&!'0! ;• P"!0.$"! a""ears accom"anie with m#sic! an a 'an$#et magically a""ears;• he "!6+& .+" 6 react with won er an awe;• here is th#n er an lightning! an A" $&enters as a har"y mythical creat#re

with the face of a woman '#t the wings an talons of a %#lt#re ;• A" $& eli%ers a terrifying s"eech! remin ing A&!'0! an A' !' ! a'o#t their

sins against P"!0.$"! ;• A" $&%anishes in th#n er.

A> :&, S>E<E <E • P"!0.$"!, M "+'#+ an F$"# '+'# $' $"5 P"!0.$"! releases F$"# '+'# an

a""ro%es his marriage to M "+'#+ ;• A" $& enters an P"!0.$"! instr#cts him to fetch the royal "arty to him;• P"!0.$"! then #ses his magic to show F$"# '+'# an M "+'#+ a mas$#e a

"erformance of m#sic! "oetry an ance with "owerf#l %is#al effects ;• P"!0.$"! s# enly remem'ers C+& 8+'40 "lot against his life an the mas$#e

%anishes;• A" $& reEenters an P"!0.$"! or ers riel to 'ring Aali'an! rinc#lo an

+te"hano 'efore him;• C+& 8+', T" ' 7&! an S $.3+'! enter! all wet. P"!0.$"! istracts S $.3+'!

an T" ' 7&! from their "lot to *ill him with glamoro#s clothes. C+& 8+' isa""alle at their 'eha%io#r.

• C+& 8+', T" '7&! an S $.3+'! are then chase off the stage 'y s"rits in thesha"e of ogs an ho#n s! organise 'y P"!0.$"! .

A> E, S>E<E <E • efore ros"ero’s cell;• E' $" A" $& an P"!0.$"!5 A" $& tells P"!0.$"! that the royal "arty are still

'ewitche an enco#rages him to ha%e "ity on them;• P"!0.$"! or ers their release. A" $&e(its;•

P"!0.$"! s"ea*s to the a# ience a'o#t his intention to gi%e #" magic;• A" $& reEenters! lea ing in K '- A&!'0!, G!'>+&!, S$8+0 +', A' !' !,A#" +' +'# F"+' 0 !5 P"!0.$"! lifts the magic s"ell;

• P"!0.$"! changes from his magical ro'es to his @#*e’s a""arel;



• A" $&sings )oyf#lly of his a""roaching free om;• P"!0.$"! forgi%es 3$ "!6+& .+" 6?• P"!0.$"! then re%eals M "+'#+ an F$"# '+'# "laying chess. F$"# '+'#

intro #ces M "+'#+ an A&!'0! welcomes her;• A" $&enters with the S3 .2+0 $" an B!+ 09+ ' . he B!+ 09+ ' says that

the shi" is mirac#lo#sly #n amage ;• A" $&e(its an then reEenters with C+& 8+', S $.3+'! an T" ' 7&!5

C+& 8+' a"ologises an e(its;• P"!0.$"! in%ites the others to hear the story of his life;• P"!0.$"! frees A" $&.

E? L C:E • P"!0.$"! tells the a# ience that he has gi%en #" his magical "owers an

therefore nee s the a# ience’s enco#ragement a""la#se if he is to ret#rn to Ha"les.



MINI SCENES

E@ ? E>E >AB:LA&@* :S:&?

1. @i%i e the class into fi%e! an gi%e each gro#" two scenes each see attache

2. s* them to come #" with a froGen "ict#re ta'lea# for each scene

3. +how them aro#n the class

4. How as* them to come #" with a silent film %ersion for each of their scenes!with a freeGe frame at the en .

5. +how them aro#n the class

SCENE ONE

'oat carrying the Fing lonso an the @#*e of ilan ntonio is ca#ght in astorm.

SCENE TWOros"ero tells his a#ghter the story of how he was #s#r"e 'y his 'rother ntonio!

an how they came to 'e on the islan .

SCENE THREEros"ero an riel isc#ss the storm.

SCENE FOUR

Aali'an is intro #ce .

SCENE FIVEiran a an er inan meet an fall in lo%e.

SCENE SIXFing lonso mo#rns the loss of his son er inan ! #naware of +e'astian an

ntonio’s "lot to *ill him.

SCENE SEVEN+te"hano! rinc#lo an Aali'an meet an rin* alcohol. hey "lot to o%erthrow

ros"ero.

SCENE EIGHTros"ero 'ewitches the royal "arty with a magical 'an$#et an riel acc#ses them of

#s#r"ing ros"ero.

SCENE NINEros"ero gi%es er inan iran a’s han in marriage.ros"ero creates a magical %ision in cele'ration.

SCENE TENros"ero an riel tric* the r#n*en Aali'an! +te"hano an rinc#lo with a magical

washing line an then set s"irits in the form of ho#n s after them.



SCENE ELEVENros"ero 'rings e%eryone together an "resents himself. ?e forgi%es his enemies!ntonio an lonso.

SCENE TWELVEros"ero "resents er inan an iran a! m#ch to lonso’s )oy.

SCENE THIRTEEN+te"hano an rinc#lo with 'a hango%ers cowar ly escri'e their torments.Aali'an re"ents.

SCENE FOURTEENros"ero in%ites the others into his cell to hear the story of his life 'efore they all

ret#rn to -taly.

SCENE FIFTEENros"ero in%ites the a# ience to release him with their a""la#se.



WEEK THREE – READING “THE TEMPEST”

TASK &ea#ing he em$est - Act 1 Scene 2 E amine ste!eot"$ical cha!acte!s an# then e $lo!e the )ehaviou! o% ?!os$e!o, Mi!an#a, A!iel, e!#inan# an# >ali)an, %in#ing suita)lequotations

PROCESS

B'%io#sly there is no right way to rea the "layC ?owe%er! there are somes#ggeste ! scene 'y scene acti%ities liste 'elow. ll reso#rces are attache .

A O'$, S $'$ T9!

E*+2 '$ 0 $"$! 6. +& 3+"+ $"0 ( 3 0 +' 8$ #!'$ +0 + #"+2+ + % 6)5A0/ 0 7#$' 0 ! 2."!% 0$ 3$ :!&&!9 '- '# % #7+&&6 !" ' .+ "0

• et owner to a og• +on to his mother • small chil• rain con #ctor • Hewsrea er • @oorman / 'o#ncer • eacher to a st# ent• to ler an mother • oy to a gro#" of frien s

fter rea ing ct Bne! +cene wo! e("lore the 'eha%io#r of ros"ero! iran a!

riel! er inan an Aali'an! fin ing s#ita'le $#otations. ?ow ty"ical are they of acontrolling father! innocent a#ghter! +"irit! yo#ng man an 'east =

E*.&!" '- .+"$' 1 3 &# "$&+ !'03 .0 ' 2!"$ #$ + &A-+ ', 3 0 0 + #"+2+=8+0$# + % 6 93 3 "$@7 "$0 + &+"-$ #$0/ :"$$ 0.+ $5

+t# ents are to wor* in "airs. Bne is the "arent an the other a chil .he "arent an chil sho#l wal* aro#n the s"ace together initially. he chil

sho#l then 'ecome istracte 'y something in the s"ace an wal* off towar s it.he "arent sho#l then calmly call the chil 'y name BHA&. he chil sho#l ret#rn

to the "arent.

R$.$+ 3 0 3"$$ 2$05

he "arent an chil sho#l then res#me their wal*. gain! the chil sho#l 'ecomeistracte an wal* away from the "arent. he "arents sho#l again call the chil ’s

name! '#t this time the chil sho#l not go to the "arent. he "arent sho#l call thenchil ’s name ?I&& times 'ecoming increasingly irritate 'efore the chil ret#rnsto the "arent. R$.$+ 3 0 3"$$ 2$0.

arents an chil ren sho#l then isc#ss how the e(ercise ma e them feel. artnerssho#l then 09+. "!&$0 +'# "$.$+ 3$ $*$" 0$ .

a*e the "oint that "arent / chil relationshi"s are %ery "owerf#l in he em"est !eg. ros"ero an iran a! ros"ero an riel! ros"ero an Aali'an! lonso an

er inan .



WEEK FOUR – READING “THE TEMPEST”

KEY VOCABULARY "$e!)ole, :to$ia, ("sto$ia

TASKS &ea#ing he em$est F Act 'o7!iting to imagine, e $lo!e, ente!tain - stu#ents shoul# #esc!i)e

thei! o'n uto$ias o! #"sto$iasG7!iting to a!gue, $e!sua#e, a#vise F stu#ents to use techniques to'!ite $e!suasivel" on a num)e! o% to$ics ?

Anal"se >ali)an6s soliloqu" at the sta!t o% the sceneG Sto!")oa!# the ent!ance o% !inculo an# Ste$hano an# sho' ho' itcont!asts 'ith the moo# o% >ali)an6s o$ening soliloqu"

PROCESS

A T9!, S $'$ O'$ = B"+%$ N$9 W!"&#;&("lain that many writers #se the meta"hor of an islan for in%estigating society anhow it is constr#cte ! organise an go%erne . >ell *nown e(am"les incl# eTreasure 5sland ! <ord of the 'lies an the K series <ost.

&("lain the meaning of #to"ia an "oint o#t that writers often in%estigate this i ea!incl# ing how #to"ias go wrong ysto"ias . ?#(ley’s ;rave =ew *orld e("lores thei ea of a ysto"ia! #sing iran a’s wor s from The Tempest as its title.

G!'>+&!40 7 !. +&("lore ,onGalo’s #to"ia in ct 2! +cene 1! e("laining what he wo#l o if he werein chare of the islan .

W" '- ! 2+- '$, $*.&!"$, $' $" + '+t# ents sho#l escri'e their own #to"ias or ysto"ias.

W" '- ! +"-7$, .$"07+#$, +#% 0$s* st# ents! how o yo# "ers#a e someone to o something for yo#= o hel"

them thin*! yo# co#l gi%e them the scenario of "ers#a ing an ol er sister to o their&nglish homewor*. @raw o#t the techni$#es s#ggeste an list them! eg. flattery!threats! rewar s. -n "airs! st# ents sho#l #se the a""ro"riate "ers#asi%e 'eha%io#r toact o#t the following i eas

• ers#a e yo#r "arents to let yo# ha%e a "arty•

ers#a e yo# frien to as* someone o#t• ers#a e yo#r teacher to let yo# off homewor* • ers#a e yo#r 'rother / sister to o the washing #" when it’s yo#r t#rn.

Iemin st# ents that in ct wo! +cene Bne! ntonio is "ers#a ing +e'astian to *illhis 'rother! lonso. &("lain that ntonio #ses "ers#asi%e techni$#es to con%ince+e'astian. +t# ents sho#l then i entify when ntonio #ses the following techni$#es!fin ing $#otations to s#""ort their "oints

• ""ealing to his am'ition• oosting his confi ence• lattery• @escri'ing the f#t#re• :sing hy"er'ole• Ii ic#ling others



A T9!, S $'$ T9!Aonsi er C+& 8+'40 0!& &!@76 at the start of the scene this co#l 'e "hotoco"ie forst# ents to annotate .?ow oes he feel a'o#t ros"ero at this early stage in the "lay=

Lo# also may wish to 0 !"68!+"# .+" !: 3 0 0 $'$ to show how the entrance ofrinc#lo an +te"hano contrasts with the moo of Aali'an’s o"ening solilo$#y.



WEEK FIVE – READING “THE TEMPEST”

KEY VOCABULARY Soliloqu" Antithesis a!$"

TASKS &ea#ing Act h!ee Scene ne* >ont!asting Language - consi#e! e!#inan#6s o$eningsoliloqu" an# e $lo!e the use o% o$$ositions o! antithesisG

Scene 'o* Essa" - #i!ecto!ial !es$onse to the #!un a!#sG Scene h!ee* 7!iting to imagine, e $lo!e, ente!tain Stu#entsshoul# imagine themselves as ConDalo e has !etu!ne# to Milanan# is !ecounting the events on the islan# %o! the )ene%it o% a %!ien#

Stu#ents shoul# '!ite a sc!i$t o% his monologue %o! the events o% Act3, Scene 3

PROCESS

A T3"$$, S $'$ O'$-n "airs! st# ents sho#l consi er the $#estion! “ o $ou believe in love at first sight3

hey sho#l gi%e reasons for their answers. s a class! e("lore the "otentiala %antages an isa %antages.

C!' "+0 '- L+'-7+-$Aonsi er er inan ’s o"ening solilo$#y in ct hree! +cene Bne an e("lore the #seof o""ositions or antithesis. Lo# may wish to "hotoco"y this e(tract for st# ents toannotate.

Y!7'- L!%$-n "airs! st# ents sho#l fin $#otations to ill#strate iran a an er inan ’s feelingsfor each other. -n each "air! one st# ent sho#l fin $#otations for iran a an theother for er inan . Bnce s#ita'le $#otations for each character ha%e 'een fo#n !st# ents sho#l then s#mmarise the reasons their character gi%es for those feelings.

A T3"$$, S $'$ T9!@isc#ss how an actor can show the a# ience that his or her character is r#n*. Mists#ggestions on the 'oar . &("lain to st# ents that they are sometimes as*e to irecta scene or the way a character sho#l act as "art of their + +s e(am. &("lain that in

or er to o this they ha%e to show a etaile #n erstan ing of +ha*es"eare’scharacters an lang#age. &(amine ct hree! +cene wo an consi er how the linesare s"o*en! the moo of the characters an how their %oices! action or mo%ementswill show this! an which wor s nee to 'e em"hasise .

+t# ents sho#l consi er the following chec*list of things to note when irecting• ?ow is the line s"o*en=• >ho is 'eing s"o*en to=• >hat moo is the character in an how will the actor’s %oice! action or

mo%ement show this=• >hat wor s nee to 'e em"hasise an in what way=

A''! + $ +' $* "+ !: 3$ 0 $'$ +'# 9!"/ ' -"!7.0 !: :!7" ! ."$0$' 5



Iemin st# ents that when writing #" their res"onses! they nee to #se &&. ore(am"le! Aali'an sho#l s"it o#t his wor s #n"leasantly when he calls ros"ero a

tyrant an sorcerer as this will show how m#ch he hates his master.

Essa"* o' 'oul# "ou #i!ect Act h!ee, Scene 'o to sho' >ali)an6s g!o'ing#ete!mination an# %!ust!ation 'ith !inculo

A T3"$$, S $'$ T3"$$-n this scene! riel a""ears to the islan %isitors as a har"y. >rite on the 'oar thefollowing escri"tion of a har"y an then as* st# ents to "ro #ce a $#ic* s*etch

A harp$ is a creature from /reek m$tholog$. The$ were ugl$ evil and bad+temperedwith the head and bod$ of a woman and the tail wings and claws of a bird. Thesehorrible creatures were usuall$ associated with wind ghosts and the underworld.

Iea ing riel’s s"eech as a har"y an consi er how a har"y wo#l s"ea*! thin*inga'o#t "itch! tone! so#n an %ol#me. hey co#l "ractise rea ing the s"eech in theirhar"y %oices.

W" '- ! 2+- '$, $*.&!"$, $' $" + '

+t# ents sho#l 2+- '$ 3$20$&%$0 +0 G!'>+&! . ?e has ret#rne to ilan an isreco#nting the e%ents on the islan for the 'enefit of a frien . +t# ents sho#l write ascri"t of his monolog#e. &ns#re st# ents incl# e an acco#nt of lonso’s moo ! the

'an$#et an mysterio#s s"irits! the har"y an yo#r reaction to e%ents at the en of thescene. his acti%ity co#l 'e e(ten e to incl# e other characters reco#nting theirfeelings.



WEEK SIX – READING “THE TEMPEST”

KEY PIECE OF VOCABULARY Hu ta$ose

TASK >onsi#e! Sha es$ea!e6s use o% language, stage #i!ections an#cha!acte!isation in Act ou!, Scene ne

PROCESS

ct o#r! +cene Bne is f#ll of romance! rama an h#mo#r. Aonsi er the followinglist of e%ents an eci e 93! 0 '%!&%$# ' $+ 3 0 7+ !'

• Bne character is "lease a'o#t an im"en ing marriage;• wo "eo"le get %ery r#n*;• "lan for a m#r er goes wrong;• hree "eo"le fall into a stin*ing "on ;• character 'ecomes angry when remin e of something;• +omeone is istracte from a tas* 'y some 'ea#tif#l clothes;• +ome magic is "erforme ;• "ac* of ogs chases more than one character away;• Bne character has a heartEtoEheart tal* with another character;• Bne character 'elie%e another will ma*e a great lea er.

S 7#$' 0 03!7&# 3$' !'0 #$" 3$ :!&&!9 '- @7$0 !'0 +8!7 3$ 0 $'$

• ?ow has +ha*es"eare ma e the first "art of the scene "leasant / 'ea#tif#l /magical=

•

?ow has +ha*es"eare ma e the secon "art of the scene #n"leasant / %#lgar /re"#lsi%e=• >hy has +ha*es"eare )#(ta"ose these two hal%es rather than se"arating them

into two scenes=



WEEK SEVEN – READING “THE TEMPEST”

TASK Act ive, Scene ne &evise the main cha!acte!s an# actions to !evise events in the $la"G Stu#ents shoul# '!ite a !es$onse to this scene, consi#e!ing i% the" a!esu!$!ise# )" the en#ing o% the $la" an# consi#e! ho' ?!os$e!o6s $o'e!changes as the $la" $!og!esses

PROCESS

Ie%ise the main characters an actions to re%ise e%ents in the "lay so far.&("lain to st# ents that in this last scene! all action of the "lay is seemingly resol%e .

ros"ero raws the gro#" together! re%eals himself as 'eing the tr#e @#*e of ilanan s"ea*s to each character a'o#t what they ha%e one to him.

-n "airs! st# ents sho#l #se the + + 3$# "$0!7" $ to i entify which of ros"ero’ss"eeches is inten e for which character. rom"t st# ents to loo* for cl#es s#ch aswhat ros"ero calls the "erson! whether he refers to their actions an what he says hewill o to them now. Bnce st# ents ha%e finishe ! ta*e fee 'ac* an isc#ss i eas asa class.

N!9 "$+# 3$ 0 $'$5+t# ents to write a res"onse to this scene! consi ering if they are s#r"rise 'y theen ing of the "lay! #sing the following $#estions

• @oes ros"ero 'eha%e in a way they were e("ecting or is he m#ch moreforgi%ing=

• -s e%erything resol%e =• re ntonio an +e'astian li*ely to change an 'ecome %irt#o#s=• >hat will ha""en once e%eryone is 'ac* in -taly=

T3$ U.0 +'# D!9'0 !: P"!0.$"!40 & :$:se the time line to show how ros"ero’s "ower changes as the "lay "rogresses.

F! 70 !' +28 .$' +2$ $":se ros"ero’s s"eech from ct 5! +cene 1 lines 38E62 scra''le attache .+t# ents sho#l insert line 'rea*s 'ase on their *nowle ge of iam'ic "entameter.

ime

>ea*

+trong



PROSPERO4S SPEECHES IN ACT FIVE SCENE ONE

Iea all of ros"ero’s s"eeches 'elow an eci e which one he says to whichcharacter. Hote that he oesn’t say something to e%eryone! an to some characters hesays more than )#st one thingC

1. ehol ! sir *ing!he wronge @#*e of ilan! ros"ero.or more ass#rance that a li%ing "rince

@oes now s"ea* to thee! - em'race thy 'o y;n to thee an thy com"any - 'i hearty welcome

2. #t yo#! my 'race of lor s! were - so min e !- here co#l "l#c* his highness’ frown:"on yo#

n )#stify yo# traitors. t this time- will tell no tales.

3. here! sir! sto".Met #s not '#r en o#r remem'rances with

hea%iness that’s gone.

4. ,o! sirrah! to my cell;a*e with yo# yo#r com"anions. s yo# loo* o ha%e my "ar on! trim it han somely.

5. irst! no'le frien !Met me em'race thine age! whose hono#r cannot

e meas#re or confine .

6. Ho.or yo#! most wic*e sir! whom to call 'rother

>o#l e%en infect my mo#th! - o forgi%ehy ran*est fa#lt < all of them

7. +ir! my liege!@o not infest my min with 'eating on

he strangeness of this '#siness. t "ic*e leis#re!>hich shall 'e shortly single! -’ll resol%e yo#!>hich to yo# shall seem "ro'a'le! of e%ery

hese ha""ene acci ents. ill when! 'e cheerf#ln thin* of each thing well.

8. hat is thy charge. hen to the elementse free! an fare tho# wellC



PROSPERO4S SPEECH IN ACT FIVE, SCENE ONE – SCRABBLED;

ar* in where yo# thin* the line 'rea*s sho#l fall then chec* yo#r %ersion against aco"y of the "lay

Le el%es of hills! 'roo*s! stan ing la*es! an gro%es! an ye that on the

san s with "rintless foot o chase the e''ing He"t#ne! an o fly him

when he comes 'ac*; yo# emi "#""ets! that 'y moonshine o the green

so#r ringlets ma*e! whereof the ewe not 'ites; an yo#! whose "astime is

to ma*e mi night m#shrooms! that re)oice to hear the solemn c#rfew; 'y

whose ai < wea* masters tho#gh ye 'e < - ha%e 'e imme the noonti e

s#n! calle forth the m#tino#s win s! an Ntwi(t the green sea an the

aG#re %a#lt set roaring war. o the rea rattling th#n er ha%e - gi%en

fire! an rifte Jo%e’s sto#t oa* with his own 'olt; the strongE'ase

"romontory ha%e - ma e sha*e! an 'y the s"#rs "l#c*e #" the "ine an

ce ar; gra%es at my comman ha%e wa*e their slee"ers! o"e ! an let

Nem forth 'y my so "otent art. #t this ro#gh magic - here a')#re. n

when - ha%e re$#ire some hea%enly m#sic < which e%en now - o < to

wor* mine en #"on their senses that this airy charm is for! -’ll 'rea* my

staff! '#ry it certain fathoms in the earth! an ee"er than i e%er

"l#mmet so#n -’ll rown my 'oo*.

+t# ents sho#l also consi er how ro"sero’s s"eech 'rea*s into sections. +t# entssho#l wor* in "airs to eci e whether the 0 $'$ 8"$+/0 ' ! :!7", : %$ !" 0 *0$ !'0 an where these 'rea*s are there is no right answer! '#t isc#ssionssho#l "romote a e'ate on the meaning of ros"ero’s lines .



WEEK EIGHT1NINE – CHARACTER STUDIES

TASK >onsi#e! ho' Sha es$ea!e $!esents the main cha!acte!s in he em$est

PROCESS

P"!0.$"!

>rite IB+& IB on 'oar s#ggest strength= an e(amine wor root of his name <loo* #" "rs"er an "ros"ero#s in ictionary. crostic of his name! eg. ro# ! I#ler!B%er'earing. +t# ents co#l write an essay

s ?!os$e!o the st!ong, success%ul cha!acte! his name suggests :se ?EEhey sho#l incl# e "oints s#ch as ros"ero as a strong an s#ccessf#l character! with

his #se of magic! control of riel an Aali'an an the im"risonment of er inan .&$#ally! they co#l consi er ros"ero as #ns#ccessf#l 'eca#se he has to rely onmagic for his "ower! his cr#elty an his ina'ility to control iran a’s lo%e for

er inan .

A" $&

&(amine $#otations from ros"ero a'o#t riel! eg. chic* ! 'ra%e s"irit ! myelicate ! my ainty . @isc#ss if these names gi%e any in ication of riel’s

character or what riel loo*s li*e.&(amine images of riel an see following we'siteshtt" //www.english.emory.e #/classes/+ha*es"eareOill#strate / em"est"aintings.htmlhtt" //li'rary.w#stl.e #/#nits/s"ec/e(hi'its/enchant/tem"est.htmlhtt" //a'sol#tesha*es"eare.com/"ict#res/tem"est/htmhtt" //www.tate.org.#*/ser%let/Kiew>or*=wor*i 13439Psearchi 14423htt" //www.english.emory.e #/classes/+ha*es"eareOill#strate / #seli. riel.html

lso see www.google.co.#* images.

A" $&W" '- ! $*.&!"$, 2+- '$, $' $" + '+t# ents co#l write a miniEa#to'iogra"hy for riel! incl# ing as m#ch informationfrom the "lay as "ossi'le! incl# ing how riel feels a'o#t "artic#lar iss#es < is hegratef#l to ros"ero or angry at him= Aonsi er whether riel was on the islan in thefirst "lace an what riel i 'efore +ycora( came. oc#s on ct 1 +cene 2! lines

303 to 353. ?ow oes riel feel a'o#t +ycroa( an ros"ero= >hat o yo# thin*riel will o after the e%ents in the "lay are o%er=+t# ents sho#l also raw riel as they imagine him.

C+& 8+'s* st# ents to consi er if he is a man or a monster. :se the following $#otations

a'o#t Aali'anho# earth ! "oisono#s sla%e ! got fathere 'y the e%il himself ! filth ! hagE

see ! tortoise ! man or a fish ! a most sc#r%y monster ! a moonEcalf ! a'horrehate sla%e from a %ile race .

How #se these $#otations to hel" st# ents to raw an la'el Aali'an.

hey sho#l then consi er how to gi%e an actor a %ice a'o#t "laying the "art.Aonsi er

• ?ow sho#l Aali'an stan an mo%e aro#n the stage=• >hat gest#res an facial e("ression sho#l he #se=

http://www.english.emory.edu/classes/Shakespeare_illustrated/Tempestpaintings.html

http://www.google.co.uk/

http://www.english.emory.edu/classes/Shakespeare_illustrated/Tempestpaintings.html

http://www.google.co.uk/



• ?ow sho#l Aali'an s"ea*= >ill he a o"t a 'itter! angry or sa tone of %oice=>ill he s"ea* lo# ly or m#tter $#ietly=

• >ill Aali'an’s "ost#re! gest#res! facial e("ression an manner of s"ea*ingchange #ring the "lay=

@isc#ss if ros"ero a mits at least some res"onsi'ility for Aali'an’s 'eha%io#r whenhe says! this thing of ar*ness! - / c*nowle ge mine

+t# ents sho#l now gather information / e%i ence a'o#t Aali'an! consi ering thefollowing

1. in e%i ence that Aali'an has 'een 'a ly treate 'y ros"ero aniran a in the "ast cr#elty can 'e "hysical an "sychological . oc#s onct 1! +cene 2;

2. in e%i ence that ros"ero has stolen the islan from Aali'an. ct 1+cene 2; ct 3 +cene 2 ;

3. in e%i ence that Aali'an lo%es the islan . ct 1 +cene 2; ct 3 +cene2 ;

4. in e%i ence that Aali'an is a'#si%e towar s ros"ero an iran a anwants to harm them. ct 1 +cene 2! an ct 2 +cene 2 ;

5. in e%i ence that Aali'an "lots to m#r er ros"ero an enco#rages+te"hano an rinc#lo to hel" him carry o#t the m#r er. ct 3 +cene 2 ;

6. in e%i ence that Aali'an attem"ts to ta*e the islan from ros"ero toallow +te"hano to r#le. ct 3 +cene 2 .



WEEK TEN 1 ELEVEN – EXPLORATION OF THEMES AND IMAGES

TASK EI?L &A < EMES, > A&A> E&S A<( LA<C:ACE

PROCESS

S!''$ ' + B! &$ – 9" '- ! 2+- '$, $*.&!"$, $' $" + '

&ach st# ents chooses one character to foc#s on. hey m#st "#t themsel%es in theshoes of their character an imagine that they ha%e 'een gi%en a $#ill "en! "a"er an a

'ottle with a cor* in or er to write a message in a 'ottle for their character. hey maywrite a'o#t who they are! what has ha""ene to them! their am'itions an

isa""ointments! etc. hey m#st write in the first "erson. Ahallenge st# ents to writetheir message as a sonnet. o el the acti%ity on the 'oar first. or e(am"le!

iran a’s sonnet might start ;orne across the waves twelve long $ears ago &$ father’s dukedome never since 5’ve seen, =ow winds across the seas our ship will blow And 5 shall there return and reign as )ueen.

his acti%ity "ro%i es rich sco"e for wall is"lays.

L!%$ ' 3$ .&+6 – 9" '- ! +'+&60$, "$% $9, !22$'+t# ents sho#l consi er as many ifferent *in s of lo%e as they can! eg. self lo%e!

"latonic lo%e! romantic lo%e an the lo%e of "ower. in e(am"les of each *in oflo%e in the "lay! writing $#otations #n erneath each ty"e of lo%e.

Stu#ents to consi#e! 'hich t"$e o% love is most im$o!tant in he em$est

M+- ' 3$ .&+6 – 9" '- ! +'+&60$, "$% $9, !22$'&("lain that most! if not all! of the characters in the "lay #n ergo a seaEchange anare fore%er altere 'y the e%ents following the tem"est. he tem"est itself is the firstmagical act of the "lay! '#t certainly not the last an it is "erha"s magic that res#lts inthe largest an most noticea'le changes in the characters.

Essa"* o' is magic use# in he em$est

lso consi er Aali'an’s wor s a'o#t ros"ero! irst to "ossess his 'oo*s; forwitho#t them / ?e’s '#t a sot ct 3! +cene 2! lines 79E80 . >hat oes Aali'anmean 'y this= @o yo# thin* this is an acc#rate "ortrayal of ros"ero= @oes ros"eroe%er #se magic in a 'a way= >hat co#l ros"ero ha%e one to get his @#*e om

'ac* ha he not #se magic=

E'0&+%$2$' ' 3$ .&+6

@oes +ha*es"eare "resent ensla%ement as a "ositi%e or negati%e conce"t in heem"est =

Aonsi er how the following characters e("erience some *in of ensla%ementros"ero; Aali'an; lonso; iran a; riel; er inan .s* st# ents to thin* a'o#t ros"ero’s "osition on the islan ! his treatment of riel

an riel’s free om at the en of the "lay. lso consi er how lonso 'ecomesremorsef#l a'o#t his treatment of ros"ero while on the islan an how sla%ery can*ee" innocent "eo"le safe.

L+'-7+-$ $ 3' @7$0 ' T3$ T$2.$0

Aonsi er the #se of the following techni$#es in he em"est



lliteration! onomato"oeia! re"etition of *ey wor s! 'alance "hrases! e(aggeration!emoti%e lang#age! ramatic wor s or "hrases! #se of imagery! gro#"s of three!

"rono#ns to in%ol%e the a# ience! e(clamations an $#estions.ore a'le st# ents sho#l 'e a'le to i entify e(am"les of each e%ice in the "lay.

I2+-$"6 +'# .+ $"'0 !: &+'-7+-$

+tart with ros"ero’s meta"hor!“3$ 9+0 1 3$ %6 93 3 3+# 3 # 26 ." ' $&6 "7'/, 1 A'# 07 /$# 26 %$"#7"$ !7!'4 ” which he #ses to escri'e how his 'rother! ntonio! #rs#r"e him. +t# ents co#lalso raw a s*etch to ill#strate this image.

+t# ents sho#l then fin other e(am"les of similes an meta"hors in the "lay ane("lore their meaning. &(am"les are liste 'elow

5’ll warrant him from drowning, though the ship were no stronger than a nutshell andas leak$ as an unstanched wench.

1e receives comfort like cold porridge.

The$’ll take suggestion as a cat laps milk.

The truth $ou speak doth lack some gentleness And time to speak it in, $ou rub the sore*hen $ou should bring the plaster.

1is tears run down his beard like winter’s drops 'rom eaves of reeds.

S!'-0 ' T3$ T$2.$0

- entify the ifferent songs #se in he em"est in the following scenes

• ct 1! +cene 2• ct 2! +cene 1• ct 2! +cene 2• ct 4! +cene 1• ct 5! +cene 1

>hat is the im"ortance of m#sic in he em"est =

S$+= 3+'-$0

>ho changes the most an who changes the least in the "lay= Aonsi er iran a!ros"ero! lonso! riel! ntonio! er inan ! +e'astian an Aali'an.

R$.!" '- 3$ '$90

&(amine the following main e%ents in the "lay. +t# ents sho#l select the fi%e mostim"ortant e%ents. -n ma*ing their ecision! st# ents sho#l ta*e into acco#nt the

ramatic im"act of the e%ents! their effect on the "lot an their effect on thecharacters



1. he *ing an the royal "arty are ca#ght in a storm2. er inan is le to ros"ero an iran a3. Aali'an tries to ra"e iran a4. er inan an iran a fall in lo%e5. ros"ero has an o""ort#nity to get off the islan6. ntonio "ers#a es +e'astian to m#r er lonso7. Aali'an "ers#a es +te"hano an rinc#lo to m#r er ros"ero

8. ,onGalo is a loyal ol man9. ros"ero "reten s to isa""ro%e of er inan an iran a’s lo%e! '#t he

secretly a""ro%es10. ntonio’s a#ghter has )#st got marrie11. riel "re%ents Aali'an! rinc#lo an +te"hano from m#r ering ros"ero12. riel "re%ents ntonio an +e'astian from m#r ering lonso13. ll the sailors on 'oar the shi" are *e"t safe an the 'oat is seaEworthy at

the en of the "lay14. ros"ero forgi%es the *ing for his "art in his 'anishment15. er inan an iran a inten to get marrie16. ros"ero ret#rns to ilan to 'e @#*e again17. ros"ero s#rren ers his magic

-n gro#"s of two or three! st# ents sho#l then imagine they are "art of a TV '$903+''$& ! 'ringing im"ortant stories an #" ates to %iewers as they ha""en. &ach

gro#" is a news team an is in com"etition with e%ery other team to 'ring the mostrele%ant! interesting an insightf#l news re"orts to the %iewers. &ach gro#" will neeto gi%e the 'are 'ones of the to" stories on the islan an wor* o#t how to "resentthem to ma*e the most im"act. Iemin st# ents that they nee to imagine that they

o not *now what will ha""en ne(t < this news is #nfol ing as they are wor*ing.

-n i%i #ally! st# ents co#l write + '$90.+.$" +" &$ a'o#t the most im"ortante%ent.



WEEK TWELVE – TIMED ESSAY ON THE SET SCENES (ONE HOUR)

TASK >onsi#e! ho' ?!os$e!o changes his attitu#e to othe!s in the $la" o''oul# "ou #i!ect the t'o e t!acts %!om Act 1 Scene 2 an# Act ive Scene 1 to sho'these changes

KEY OBJECTIVES

3. "ro #ce formal essays in stan ar &nglish within a s"ecifie time! writingfl#ently an legi'ly an maintaining technical acc#racy when writing at s"ee ;

13. e%elo" an com"are ifferent inter"retations of scenes or "lays 'y+ha*es"eare;

PROCESSre"are st# ents caref#lly for this acti%ity 'y "lanning an isc#ssing the essay in

class 'efore they write #" their res"onses! #n er time con itions.

Aonsi er how ros"ero’s lang#age shows he is rea y to gi%e #" magic an forgi%e thecharacters who ha%e wronge him=

%oints to consider--n ct 1! +cene 2! ros"ero chec*s riel’s wor* on the tem"est an is affectionatetowar s him. ?owe%er! his close attention to etail is also %ery eman ing. Hote that

ros"ero gi%es riel %ery little "raise an enco#rages riel to o e%en more wor*!chec*ing time! etc. ros"ero also res"on s witho#t sym"athy to riel’s re$#est forfree om < notes how the s"eeches 'ecome shorter an more hostile! remin ing rielthe way he has free him from +ycora(’s ca"ti%ity! acc#sing him of ingratit# e anlonger s"eeches "aint etaile "ict#res of the "ast! en ing 'y threatening riel withim"risonment an or ering him to o more wor*.

ros"ero’s wor s to Aali'an are also harsh with a great eal of ins#lts an or ers.

-n ct 5! +cene 1! ros"ero has achie%e the res#lts he wishe from the tem"estescri'e in ct 1! +cene 2 < a more rela(e ! seemingly ol er man! es"ite the fact

only fo#r ho#rs ha%e "asse it is now 6 o’cloc* . ?e as*s for #" ate on Fing anfollowers since he raise the tem"est < they are weary an totally #n er his control <

"owerf#l magic. ros"ero or ers riel to release them an his long solilo$#ya resses magical elements! 'efore a'an oning his "owers! -’ll rown my 'oo*.

he length of his a ress to ,onGalo! lonso! riel! +e'astian! ntonio! rian an

rancisco! who are now in front of his cell! #n erlines ros"ero’s "ower < they arestill #n er his s"ell. ?e forgi%es them all an or ers riel to get his hat an sworan "romises his free om. riel sings a song of s#mmer ha""iness while ros"eroremo%es his magic cloa* an gi%es riel his free om an re%eals that the shi" is rea yto sail away from the islan . s the characters come o#t of the s"ell! ros"eroforgi%es them.



ADDITIONAL DRAMA ACTIVITIES

ACT ONE SCENE ONE – POWER

@isc#ss re%enge in general. >hat ma*es "eo"le see* re%enge= ?ow o they get it=-n gro#"s of 4 or 5! st# ents sho#l e%ise a scene in which a "erson see*s re%engefor a 'etrayal. ?ow o they get re%enge=

+t# ents sho#l then imagine that the "erson see*ing re%enge has e%elo"e magical "owers. ?ow might this affect their re%enge=

s* st# ents to isc#ss how "eo"le feel when they get re%enge on someone. @oes itsatisfy them= ?ow might this lin* with he em"est =

ACT ONE SCENE ONE – THE STORM

-n gro#"s of 6 or 7! st# ents sho#l e%ise a scene in which a shi" is ca#ght in astorm. hey sho#l #se mime an ialog#e to show "anic an fear in lang#age an

"hysical actions. +t# ents sho#l thin* caref#lly a'o#t how to en the sceneeffecti%ely.

he scene co#l 'e set to m#sic or so#n effects.

ACT ONE SCENE TWO – MIRANDA

@isc#ss with the class how iran a is %ery naD%e an has a %ery limite *nowle ge ofh#manity.+t# ents sho#l then imagine that aliens ha%e lan e in their town an ha%e to ha%ee%erything e("laine to them! incl# ing the com"le( ways h#mans interact. -n gro#"sof 6! st# ents sho#l e%ise a scene in which the aliens are conf#se 'y how "eo"leact towar s each other on &arth an the h#man to#r g#i es ha%e to e("lain what isreally ha""ening. hey sho#l try to '#il #" a sense of mystery for the a# ience

'efore the scene is e("laine .

@isc#ss with the class how h#man 'eha%io#r is sometimes o ! conf#sing or cr#el!an what might ca#se s#ch 'eha%io#r.

ACT THREE SCENE TWO – COMEDY

Iemin st# ents how! in this scene! Aali'an has 'een rin*ing with rinc#lo an+te"hano an is 'oasting to them while riel ma*es himself in%isi'le an ta#nts

Aali'an 'y calling him a liar.-n gro#"s of 5! st# ents sho#l e%ise a mo ern scene which shows one "erson 'ragging in or er to im"ress a gro#" of "eo"le. erha"s this 'ragging is f#elle 'yalcohol. he fifth "erson is an in%isi'le %oice who ta#nts the s"ea*er. -t is #" tothe gro#" to eci e how the %oice is connecte to the 'ragger an whether the othercharacters can hear it. his scene co#l 'e #se to e("lore comic timing.

ACT FIVE SCENE ONE – PROSPERO4S EPILOGUE

,i%e st# ents "hotoco"ies of ros"ero’s solilo$#y. Iea an isc#ss this s"eech.s* st# ents how this might 'e "resente #sing ramatic e%ices to hel" e("lain its

meaning to a gro#" of yo#nger st# ents.

-n gro#"s of 3 or 4! st# ents sho#l "re"are! learn an "resent this e"ilog#e in aninteresting yet e("lanatory way.



EXTENSION ACTIVITIES

+t# ents to show how ros"ero was #s#r"e ;+how thro#gh rama how a teenage iran a might re'el against her controllingfather;

astEforwar in time to show what 'ecomes of the main characters fi%e years later;

-magine riel! Aali'an! ros"ero an iran a ha%e 'een in%ite to a""ear on a Kchat show Jerry +"ringer= . @e%ise a scene to show what might ha""enC

The Tempests Ow Feb 07

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Transcript of The Tempests Ow Feb 07