Unit Lessons Packet

6 Elements of Drama
Based on Aristotle’s Poetics
1. Action/Plot
The events of a play; the story as opposed to the theme; what happens rather than what it
means. The plot must have some sort of unity and clarity by setting up a pattern by which
each action initiating the next rather than standing alone without connection to what came
before it or what follows. In the plot of a play, characters are involved in conflict that has a
pattern of movement. The action and movement in the play begins from the initial
entanglement, through rising action, climax, and falling action to resolution.
2. Thought/Theme/Ideas
What the play means as opposed to what happens (the plot). Sometimes the theme is clearly
stated in the title. It may be stated through dialogue by a character acting as the playwright’s
voice. Or it may be the theme is less obvious and emerges only after some study or thought.
The abstract issues and feelings that grow out of the dramatic action.
3. Diction/Language
The word choices made by the playwright and the enunciation of the actors of the language.
Language and dialog delivered by the characters moves the plot and action along, provides
exposition, defines the distinct characters. Each playwright can create their own specific
style in relationship to language choices they use in establishing character and dialogue.
4. Characters
These are the people presented in the play that are involved in the pursuing plot. Each
character should have their own distinct personality, age, appearance, beliefs, socio economic
background, and language.
5. Music
Music can encompass the rhythm of dialogue and speeches in a play or can also mean the
aspects of the melody and music compositions as with musical theatre. Each theatrical
presentation delivers music, rhythm and melody in its own distinctive manner. Music is not
a part of every play. But, music can be included to mean all sounds in a production. Music
can expand to all sound effects, the actor’s voices, songs, and instrumental music played as
underscore in a play. Music creates patterns and establishes tempo in theatre. In the aspects
of the musical the songs are used to push the plot forward and move the story to a higher
level of intensity. Composers and lyricist work together with playwrights to strengthen the
themes and ideas of the play. Character’s wants and desires can be strengthened for the
audience through lyrics and music.
6. Spectacle
The spectacle in the theatre can involve all of the aspects of scenery, costumes, and special
effects in a production. The visual elements of the play created for theatrical event. The
qualities determined by the playwright that create the world and atmosphere of the play for
the audience’s eye.
(Definitions taken from: Adair-Lynch, Terrin. “Elements of Theatre and Drama.” Accessed 19 October
2006. <http://homepage.smc.edu/adair-lynch_terrin/TA%205/Elements.htm>)
LECTURE NOTES for LESSON PLAN: PLOT
Aristole and The Poetics
I. Aristotle lived 384 BC to March 7, 322 BC; Student of Plato; teacher of Alexander the Great
III. “In science, Aristotle studied anatomy, astronomy, economics, embryology, geography,
geology, meteorology, physics, and zoology. In philosophy, Aristotle wrote on aesthetics, ethics,
government, metaphysics, politics, psychology, rhetoric and theology. He also dealt with
education, foreign customs, literature and poetry.”( http://en.wikipedia.org/wiki/Aristotle)
IV. Aristotle’s was chiefly a scientist and most of his work consists of careful observations. The
Poetics (335 BC) is Aristotle’s observations of literature. His instructor Plato felt “drama,
especially tragedy, was dangerous for society because it encourages irrationality.”(p. 40)
Aristotle’s work is important because he defends drama. He also identifies six elements that are
all aspects of a production: Action/Plot, Thought/Theme/Ideas, Characters, Diction/Language,
Music, and Spectacle. (Goldfard, Alvin. Wilson, Edwin. Living Theater: A History ed. 4. USA:
MCGraw-Hill Companies, 2004. 37-40)
V. Action/Plot
The events of a play; the story as opposed to the theme; what happens rather than what it means.
The plot must have some sort of unity and clarity by setting up a pattern by which each action
initiating the next rather than standing alone without connection to what came before it or what
follows. In the plot of a play, characters are involved in conflict that has a pattern of movement.
The action and movement in the play begins from the initial entanglement, through rising action,
climax, and falling action to resolution. (Definitions taken from: Adair-Lynch, Terrin. “Elements
of Theatre and Drama.” Accessed 19 October 2006. <http://homepage.smc.edu/adair-
lynch_terrin/TA%205/Elements.htm>)
VI.
Climax
Falling Action
Resolution/Denouement
Rising Action
Inciting incident
Exposition
Katie McDermott and Valerie Wozniak
April 7, 2010
Lesson Plan Title: Elements of Drama: Theme
Grade Level: 12th Subject: English/ Drama
Concept /Topic to Teach: Elements of Drama
Duration: Two 50 minute classes.
Goals: 1) Be able to identify and comprehend elements of drama in Shakespeare
Sunshine State Standard:
LA.1112.2.1.2 - The student will analyze and compare a variety of traditional,

classical, and contemporary literary works, and identify the literary elements of
each (e.g., setting, plot, characterization, conflict);
Required Materials:
 Audio-visual equipment capable of playing a DVD and movies from the

internet
 Old comic commercials- for ex. Superbowl commercials
 30 minute television or film clip (ex. House, ER, The West Wing, etc.)
 Theme- Lecture notes
Anticipatory Set (Lead-In): Visual: Superbowl commercials.
After each commercial discuss the message or “point” of the commercial. What
ideas are expressed by the commercial? Watch four or five commercials and
begin introducing the concept of theme.
Step-By-Step Procedures: (Open discussion)
1. Watch the Superbowl commercials.
1. Define and discuss Theme using attached lecture notes. (Possible Questions:
What were the themes of the commercials we watched? What are common
themes found in literature? Discuss themes of possible movies? What theme
does this course focus on?
2. Given tools to identify theme. Questions such as: What is the moral concept
to the piece? Consider the action of the characters or main plot points, what
happened and what were the consequences? How do these pieces relate to
society at large (both now, and then)
GOAL: Provide Students with a general Idea of what theme is. Through
discussion gauge how much they comprehend.
DAY 2
3. Complete theme activity
Have students choose from selection of shows.

Play a 30 minute clip of the show selected.
Divide students into small groups.
4. Small group discussion with guiding questions (What was the episode saying
about whatever the theme happens to be? How can you state the theme? What
other themes can you find?
5. After the group discussions, students will write a theme that they, or their
group, have discussed. Each student will be required to turn in his or her own
statement of theme.
Closure (Reflect Anticipatory Set): Ask volunteers to state their group or

individual themes. Encourage hesitant students to answer by reminding them
there is no “wrong” answer. Question each volunteer briefly and allow them to
defend their theme with evidence from the clip.
Assessment: Collect the themes from all students.
Adaptations for Students with Learning Disabilities or ESOL:
Provide Copies of Lecture Notes (below) and make sure students are paired to
understanding and varied groups.
Be prepared to define:
Theme: a subject of discourse, discussion, meditation, or composition;

topic: The need for world peace was the theme of the meeting.
2. a unifying or dominant idea, motif, etc., as in a work of art.
Also be prepared that cultural differences may misconstrue messages.

Commentary: The knowledge of theme is extremely important to the entire
course. The course is based on the theme of women’s representations in
Shakespeare. The theme of strong women vs. weak women is a primary focus
of most of the topics. Students will need to be able to identify these themes
throughout the course.
THEME—LECTURE NOTES:
I. Thought/Theme/Ideas
“What the play means as opposed to what happens (the plot). Sometimes the theme is
clearly stated in the title. It may be stated through dialogue by a character acting as the
playwright’s voice. Or it may be the theme is less obvious and emerges only after some
study or thought. The abstract issues and feelings that grow out of the dramatic action.”
(from 6 Elements Handout)
II. “What exactly is this elusive thing called theme? The theme of a fable is its moral. The
theme of a parable is its teaching. The theme of a piece of fiction is its view about life
and how people behave. In fiction, the theme is not intended to teach or preach. In fact, it
is not presented directly at all. You extract it from the characters, action, and setting that
make up the story. In other words, you must figure out the theme yourself.The writer's
task is to communicate on a common ground with the reader. Although the particulars of
your experience may be different from the details of the story, the general underlying
truths behind the story may be just the connection that both you and the writer are
seeking.” (“Analyzing Theme.” Literature. What Makes a Story Good. Accessed 23 Oct.
2006. <http://www.learner.org/exhibits/literature/read/theme1.html>)
III. “Finding the Theme: Here are some ways to uncover the theme in a story: Check out
the title. Sometimes it tells you a lot about the theme. Notice repeating patterns and
symbols. Sometimes these lead you to the theme. What allusions are made throughout the
story? What are the details and particulars in the story? What greater meaning may they
have? Remember that theme, plot, and structure are inseparable, all helping to inform and
reflect back on each other. Also, be aware that a theme we determine from a story never
completely explains the story. It is simply one of the elements that make up the whole.”
(“Analyzing Theme.” Literature. What Makes a Story Good. Accessed 23 Oct. 2006.
<http://www.learner.org/exhibits/literature/read/theme2.html>)
April 7, 2010
Lesson Plan Title: Elements of Drama: Character
Duration: One 50 minute classes.
Goals: 1) Be able to identify and comprehend elements of drama in Shakespeare
2) The students will demonstrate their knowledge of characters by completing a

“Myspace” profile for a character in a play read in class.

Required Materials:
 Classroom ser of full length contemporary comedic script (ex: Niel

Simon’s Barefoot in the Park)
 “Myspace” profile worksheets
 Aristotle notes.
 6 Elements Handout
Anticipatory Set (Lead-In): Visual: Journal Entry instructions
Journal instructions on the board:
“Welcome to Your Life: A Play in Three Acts. The person who has been cast as
you wants to come interview you before he or she goes on stage. Write a half
page journal entry about what you would want to tell the person playing you”
5 minutes to do this exercise. Group discussion of what someone needs to know

about a person to successfully play them.

The student will:
1. Consult the Aristotle notes. What does Aristotle say about characters in play?
Have a volunteer read the definition from the “6 elements” handout. (class
discussion)
2. Connect the definition with the list compiled from group discussion.
3. Complete Character activity
Read the short comedic play. Search for clues to the characters of the
story.
Pick a character and fill out a mock “Myspace” page worksheet.
Continue through the script and analysis of character
Activity is due first thing next period.
Closure (Reflect Anticipatory Set): Five minutes before the end of class, bring
the class back together and discuss any major insights found on character.
(Class discussion)
Assessment: “Myspace” sheet due the beginning of next class.
Character: the aggregate of features and traits that form the individual
nature of some person or thing.
Ask what make the individual themselves.
Commentary: This course will cover two particular characters: Desmonda of

Othello and Ophelia of Hamlet. It is important what makes these women
developed characters in the play so that the students can identify and understand
their characteristics and representations as different types of character.
MYSPACE.COM
NAME:
Favorite quote:
Profile Song:
My Interests: About Me:

General:
Music:
Movie/TV:
Books:
Heroes: Who I’d Like to Meet:
My Stats:
Marital status:
Children:
Friends:
Hometown:
Religion:
Income:
Education:
Occupation:
Company:
April 7, 2010
Lesson Plan Title: Elements of Drama: Spectacle

Goals: 1) Be able to identify and comprehend elements of drama in
Shakespeare
2) Students will demonstrate their understanding of spectacle by designing
scenery for “Spectacular, Spectacular”
Required Materials:
 Moulin Rouge DVD (“Spectacular, Spectacular” scene)
 ½ hour clip of spectacular show (ex. Vareka by Cirque Du Soleil)
 Paper, markers, watercolours, etc
 6 elements worksheet
Anticipatory Set (Lead-In): Visual: Spectacular Spectacular!
Play the scene
The student will:
1. Using the “6 element” handout and the scene, define and discuss Spectacle.
-What is spectacle? How is it used in a play?
2. Watch the extended clip of Vareka.
3. After the clip discuss the spectacular elements in scenery, costumes, and
special effects.
4. Discuss how spectacle aids plot structure and theme.
GOAL: Get class involved in what Spectacle is and does.
DAY 2
3. Complete activity for Spectacle
-Assign groups
-The students are set designers. (money, laws of physics and
geography don’t matter.
-They must design the backdrop, two or three special effects, and
at least on costume idea for the play “Spectacular, Spectacular”
-Must create a labeled, coloured sketch (no art skill needed) of the
scenery, and write a short paragraph describing the different
elements and when they’ll be used.
GOAL: turn in completed activity. It is graded on completion and observed
effort.
Closure (Reflect Anticipatory Set): Allow 5 minutes for clean up and discussion
of how this will be completed. (should Fall on a weekend)
Assessment: Group scenery project should be due the following class period
first thing.
Spectacle: Something that can be seen or viewed, especially something of a
remarkable or impressive nature.
A public performance or display, especially one on a large or lavish scale.
Note that cultural differences could influence what is dramatic enough to be
Spectacular.
Commentary: The Spectacle of a play, often reflects upon the characters and
actions specifically in the play. Ophelia’s “mad” scene and Desmonda making
spectacle out of being a strong woman, who marries a “moor” (very dangerous
and forthcoming for that time period), are spectacles that make the students
better able to understand the strength and weakness of the characters.
April 30, 2010
Lesson Plan Title: Othello: Setting and Representations
Concept /Topic to Teach: Setting and cultural ideologies of women in Othello

Shakespeare. (Setting)
2) Discuss women’s role and representations in the Elizabethan era.

3) Discuss women’s roles and representation in Othello (as an example of
the Elizabethan era).
4) Examine some of the use of Shakespeare’s representations for historical

significance.
LA.1112.1.6.1 The student will use new vocabulary that is introduced and
taught directly;
LA.1112.1.7.2: The student will analyze the author’s purpose and/or perspective in a

variety of text and understand how they affect meaning;
LA.1112.2.1.1: The student will analyze and compare historically and culturally

significant works of literature, identifying the relationships among the major genres (e.g.,
poetry, fiction, nonfiction, short story, dramatic literature, essay) and the literary devices
unique to each, and analyze how they support and enhance the theme and main ideas of
the text;
LA.1112.2.1.8: The student will explain how ideas, values, and themes of a literary work
often reflect the historical period in which it was written;
Required Materials:
 Power point lecture on Othello’s Setting and Elizabethan Era.

 “Stuff you should know” worksheet- Othello’s Time
Anticipatory Set (Lead-In): Visual: Journal Entry Instructions

“Hello Class! Today I want you to write about something you feel represents you!
It can be anything: A Song, object, symbolic image, animal, etc. Once you have
talked about what your something is and why you feel it represents you, I want
you to write a few paragraphs and how that object is a reflection of present day
society, as opposed to any other time period. Think carefully! Ten minutes!”
10 minutes to do this exercise. This exercise is meant to get them into the mind
set of how historical and cultural time periods effect representations within
themselves as well as literature. It will be read later as part of their guided
journal assessment.
Step-By-Step Procedures: (Explicit Instruction)
DAY 1:
1. Finish Journal Exercise (10 minutes)
2. “Hello everybody! Today we are going to start with Shakespeare’s Othello

and the character Desmonda! In order to better help you understand more about
Desmonda, we are going to talk about one of our drama elements learned last
week (setting), and how it fits into the Elizabethan Era. Can anyone tell me what
the Elizabethan Era is? “
3. Discuss Elizabethan Era briefly.
4. Present Power point.
-Setting of Othello Time. (Between 1489-1571: This is broad yes?)
- Description of Elizabethan time line. (1533- 1603)
- End before WOMEN
DAY 2
1. Begin Power point at WOMEN.
What were women expected to be?
What were women allowed to do?
How did women behave?
2. Brief activity:
Imagine you are a woman in the time period described in Othello. Take a
few minutes to discuss within your group what your life would be like day to day
as Desmonda or Emilie.
Closure (Reflect Anticipatory Set): Discuss with all students what they feel
Desmonda (a woman of the Elizabethan Era) would experience and how that
would be reflected with Shakespeare’s writing.
Assessment: Assessment in Journal Entry day one and Class participation Day
2
Elizabethan Era- Era ruled by Elizabeth and the Tudor cultural society ideologies
from 1533-1603.
Representation: a symbol of image that means something else, or is a general

example of something.
Commentary:
"Elizabethan Women." Queen Elizabeth I (1533-1603). Web. 04 May 2010.

<http://www.elizabethi.org/us/women/>.
"Othello." Free Study Guides for Shakespeare and Other Authors. Web. 04 May
2010. <http://www.cummingsstudyguides.net/xOthello.html>.
"Queen Elizabeth I Timeline." History Timelines. Web. 04 May 2010.

<http://www.history-timelines.org.uk/people-timelines/06-queen-elizabeth-
i-timeline.htm>.
The sites will help make a lesson and power point for my students that are
informative and useful to the representations and information on Elizabethan
times and women. Desmonda would be a part of the Elizabethan regime and
therefore the information is relevant to the lesson.
April 30, 2010
Lesson Plan Title: What Ho’ Desmonda? : Before we meet
Concept /Topic to Teach: Pre Construction of Character in a Play

Shakespeare. (Character).

significance.
7) Comprehends the use of other characters dialogue to form conceptions of

another character.
LA.1112.1.6.1: The student will use new vocabulary that is introduced and taught
directly;


the text;
LA.1112.1.6.2: The student will listen to, read, and discuss familiar and conceptually
challenging text;
LA.1112.1.7.1: The student will use background knowledge of subject and related
content areas, prereading strategies (e.g., previewing, discussing, generating questions),
text features, and text structure to make and confirm complex predictions of content,
purpose, and organization of a reading selection;
Required Materials:
 Discussion materials
 Whole class copies of Othello for whole class reading
 White board markers for making a list of what Desmonda “should” be
Anticipatory Set (Lead-In): Visual: Journal Entry Instructions
“Hello Class! Please take a moment to write about a time when you were
described as something you are not. How did that make you feel? Have you
ever told something untrue about someone else? How do you think it affected
them?”
5 minutes to do this exercise. The acknowledgement of rumours as

preconceived notions about a person makes examining the play more relatable
to the high school mind.
1. Finish Journal Exercise (5 minutes)
2. “I hope you guys at least looked over the first couple of scenes as requested.
We are going to spend today’s class looking at what the other characters in the
play have to say about Desmonda, and how their understanding of her affects
our pre-judgment. “
3. Examine the scene where Iago and Roderigo call upon Brabantio.
“Look to your house, your daughter, and your bags! / Thieves, Thieves!”
- What does this passage say about Desmonda? (She is objectified

along with the bags and the house in this statement)
“My daughter is not for thee”
- What do you think this is saying? Is it a statement of the father

daughter relationship/ownership or does Desmonda simply not wish to
marry Roderigo?
. “O treason of the blood!/Fathers, from hence trust not your daughters’
minds”
- Do you believe that Brabantio trusted his daughter to begin with?

Why wouldn’t he trust her now? How does this compare with today’s
ideals of marriage?
“But that I love the gentle Desmonda”
- Here Othello speaks of Desmonda with love and respect as her

husband. How does this contrast with her father?
“Thou hast enchanted her…If she in chains of magic were not bound,
whether a maid so tender, fair and happy”
- Is Desmonda so weak minded that Othello could “seduce her with

magic”
Have student read Brabantio I.3.94-106.
- Summarizes Brabantio's views of Desmonda.
4. “Reading this scene, let’s create a list on the board of personality traits that
Desmonda is imbued with. I will start with fair, which means beautiful. So she’s
pretty. What else is Desmonda made out to be?”
5. Compile list.
6. Recap on Elizabethan views of women.
“Does she fit the description of what the patriarchal societies of the
Elizabethans depict?”
Closure (Reflect Anticipatory Set): “So Desmonda is made out to be a

submissive, beautiful and obedient creature. Tomorrow we will start looking at
Desmonda as an actual person through her dialogue and actions.”
Assessment: Class participation is the only assessment for today’s lesson.
from 1533-1603.

Commentary:
Desmonda’s dialogue and actions contrast heavily with what she is said to be
early on in the play. Setting up the pre-conceived representation of a woman
makes the actuality of Desmonda more dramatic and noticeable.
April 30, 2010
Lesson Plan Title: Desdemona exerts a Voice
Concept /Topic to Teach: Pre Construction of Character in a Play


significance.
10)Examines the roles in character dialogue to develop a character further.
11)Recognizes the contrast between a character’s pre image and post image.
directly;


the text;
challenging text;
Required Materials:
 Pre and Post image worksheet

 Group section guiding questions
 White board markers
Anticipatory Set (Lead-In): Visual: Myself at the front of the class
“Hello Class! Today we won’t be doing a journal because I want to be able to

finish an activity. Today we will be doing a jigsaw of the scenes Desdemona is in
to examine how her dialogue changes our perceptions of her.”
Number the students off 1- 4
“Now please split into your groups and then sit down in circles. Once you are
finished look to me for instructions.
10 minutes to get into groups and get situated.
DAY 1:
1. Situated in groups.
2. “Okay. So we started talking about how Shakespeare forms Desdemona’s

first representation before she even comes out to talk with us yesterday. Today I
am going to ask you to look into what she says to look into her personality a little
more and find out if those representations are necessarily true. I want you to
take your notes from yesterday and I’m going to assign you a scene and you will
read Desdemona’s relation to the other characters and what she is saying
carefully. I’m going to give you a before and after worksheet for you to record
what you think in your groups. So pick a reader, a recorder, and some
discussion panelists and let’s get started with a guided practice.
3. Guided Practice:
Let’s take a look at when Desdemona first speaks

(read ACT 1, Scene 3, Lines 180-211)
[First of all she is speaking in a public forum of men, which is unlike

women to be on even ground. Then she exemplifies intelligence by
speaking to her father, acknowledging her love for him and her
appreciation, but does not back down from her marriage of Othello (an
interracial marriage that is frowned upon)]
Guide with questions:
Does Desdemona seem like a strong person?
Would an Elizabethan woman typically address a Duke? (The

Merchant of Venice, Portia dresses as a male so she would not get
in trouble for representing Antonio)
Does she seem intelligent?
Does she forsake her marriage to Othello?
Does she seem weak to you?
5. Assign sections and hand outs:
ACT 1 Scene 3 lines 230-301 Group 1
ACT 2 Scene1 line 114- 165 Group 2
6. “Please read over your section and begin discussion today, and we will
reconvene tomorrow to finish the activity and talk about it as a class tomorrow.
DAY 2
1. “Hello class! Get into your groups and continue with yesterdays activities. In
about 30 minutes we are going to discuss your findings as a class!”
2. Let students discuss
3. Have each group present what they found while writing the results on the
board from each scene with white board markers.
4. “This activity was meant to really get your guys thinking about how much
stronger Desdemona is than a typical Elizabethan woman.”
Closure (Reflect Anticipatory Set): “Next week we will all look into each ACT
individually. During this time, make sure to listen and take notes on what we
discuss. After we have covered all the ACTs, we will be forming a list of what we
know Desdemona to be for herself like we did for the preconceived notions!
Have a fantastic weekend!
Assessment: Collect all worksheets from students for participation and

understanding.
from 1533-1603.

Commentary:
The activity will be good to set up independent thinking on the topic of

Dedemona’s strength. During the weekend I will read over the results so I can
incorporate some of the student thoughts into the discussion of the acts
throughout the week.
April 30, 2010
Lesson Plan Title: Desdemona ACT 1 scene 3
Concept /Topic to Teach: The representation of Desdemona (character) as

strength.

12)Discuss women’s roles and representation in Othello (as an example of

13)Examine some of the use of Shakespeare’s representations for historical
significance.
16)Comprehends the use of language and stage presence to form a certain

image.
directly;


the text;
challenging text;
Required Materials:

Anticipatory Set (Lead-In): Visual: Journal instructions on the board
“Hello Class! I would like you to write about what you thought about the activity
last week. Did it help you better understand what we would be looking at? Did it
make it less stressful in a group? What did you learn? How did you come to
your conclusions? Do you think you will better contribute to the discussions in
this class because of this activity?”
10 minutes to write the journal entry.
1. Finish Journal exercise.
2. “Hello everybody! I hope your weekend was great! Did anyone finish reading
Othello after our Jigsaw on Friday? (Waits to gauge response) Well today we
are going to look into each section you guys studied last week individually.
Today we are going to look specifically at Act 1 Scene 3.”
3. Have student from Group 1 read their designated section (lines 230-301).
4. Have Group 1 review their findings from Friday (to remind and start the
discussion). “Does anyone have anything else they personally feel about this
scene?”
5. Discuss any class contributions.
6. “It seems like you guys have thought about some of Desdemona’s
representations as a strong woman. I would like to point out to you some specific
moments that tell us more about Desdemona as a person.”
Lines 243-247.
Desdemona does not want to stay with her father. Why? (It will
make him anxious and unhappy to have her there as he believes
her to have betrayed him.
She appeals to the Duke to let her Live with Othello. Was is
common for women to appeal in court? (no. Another
Shakespearean play Merchant of Venice, Portia dresses as a male
to be able to represent Antonio. Also, women were restricted from
plenty of professions) Was it common while men were at war for
the woman to reside with her husband? (no…Women were
expected to stay with their father’s while the husband is away)
Would you say this makes Desdemona brave?
Lines 249-260.
Desdemona speaks of her love for Othello, and her duty to him as
his wife. Do you think she says this because of the conventions of
the time or because she honestly means it?
“if I be left behind/ A moth of peace, and he go to war,/ The rites for
which I love him are bereft me,/ And I a heavy interim shall support/
By his dear absence”
What is she saying here? (She would be very upset if Othello had
to leave her there-speaks for her true and developed emotions for
Othello which she speaks of in public…NOT courtly love).
Is Desmonda successful? (speaks of her intelligence)
7) “This scene really shows us a different side of Desmonda, she was described
as property and weak minded before, now Othello is asking her to speak on her
own behalf!”
Closure (Reflect Anticipatory Set): Tomorrow we will discuss ACT 2 scene 1!

Group 2 please make sure you are ready to re-brief us on what you found!”
Assessment: The journal entry and class participation are the assessments
today.
from 1533-1603.

Commentary:
This sets up Desdemona as an intelligent and outspoken female. It is very rare

for women’s opinions and thoughts to be asked for and hers are asked for by a
Duke and Othello as her husband. This is an extreme change from being
property as women were usually designated as from her Father to her husband.
April 30, 2010
Lesson Plan Title: Desdemona ACT 2 scene 1

strength.


significance.

image.
directly;


the text;
challenging text;
Required Materials:

Anticipatory Set (Lead-In): Visual: ACT 2 Scene 1 in big letters
“Hello everybody! I hope everybody is well! We are going to jump right into ACT
2 Scene one today. So let’s open the floor for discussion- Group 2!”
1. Beginning statement.
4. Have Group 2 review their findings from Friday (to remind and start the
scene?”
6. “This scene really sets Desdemona up as an intelligent and assertive

individual. The way she speaks to Iago is very indicative of a strength that most
women do not show. She does not let him feed her any false information” For
example:
Line 114, Desdemona calls Iago a “Slanderer”. What does that mean? Is
Iago a slanderer? Does she know how much of a slanderer Iago actually
is?
Lines 118-163
This entire excerpt Desdemona is having Iago recite advise to her.

She first challenges him “I am not Merry, but I do beguile The thing I am
by seeing otherwise” It is her way of insisting. Do women insist in this
age? Why would she be so insistant if he is a slanderer?
What does Iago say? He gives several different kinds of advice for
different kinds of people. Are all the advices directed toward Desdemona?
How does she respond (in jest, except the Third and 4 th, she is cordial but
slightly offended that Iago speaks to her as a commoner “To make fools
laugh I’ the alehouse”.
Desdemona is the wife of a General. She has rank. She asks Iago
for advice to “bestow on a deserving woman indeed, one that, in the
authority of her merit, did justly put on the vouch of very malice itself” (She
is basically asking what about women like me, in position of rank, that
have been witness to crudeness and disgusting behavior *ahem Iago*).
Desdemona is warning Iago playfully not to cross her.
Desdemona also warns Emilia of Iago’s words.
“Do not learn of him, Emilia, though her be thy husband…is he not a most
profane and liberal counselor?”
She insults Iago for being so common and debase. Is this something a
conventional Elizabethan woman would do? (Many women chided men,
but were often beaten for chiding too much)
7) “This excerpt opens up a lot of questions about how much Desdemona really
knows about Iago. It’s almost as though her intuition tells her something is
amiss, but she ignores it for the sake of Iago helping out her Husband. We have
really seen her shine in the strength of her position here, and we are about to
plunge into Act 3 where she really pulls weight.”
Closure (Reflect Anticipatory Set): Tomorrow we will start on ACT 3! Be ready

to discuss power and influence within Desdemona!
Assessment: Class Participation
from 1533-1603.

Commentary:
Othello Text and Translation - Act II, Scene I - Page 2." ENotes - Literature Study Guides, Lesson Plans,
and More. Web. 05 May 2010. <http://www.enotes.com/othello-text/act-ii-scene-i?start=2>.
This website made translation nearly painless! Will give it to students if they need more help with
comprehension!
This scene really notes how Desdemona starts asserting herself in groups of men. Iago and Cassio are
witness to her wit when listening to Iago’s gross and rude behavior. She chastizes him for it, and notes that
he is treading on thin ice jokingly.

April 30, 2010
Lesson Plan Title: Desdemona ACT 3

strength.


significance.

image.
directly;


the text;
challenging text;
Required Materials:

Anticipatory Set (Lead-In): Visual: Journal exercise written on Board
“Hello Class! Please write about a time where you have been placed in a
position that gave you power. Did you actually feel empowered or did you feel
like too much was expected of you? Do you think your relation to that power
would have been different if you were a different sex? Why or why not? What if
you were back in Elizabethan times? Why or why not? Think critically about how
things have changed both historically and role relatedly”
Exercise should take about 10 minutes.
1. Journal exercise
2. “Today we are going to look into Act 3, where Desdemona really starts to
assert her power as a female to those around her. Act 3 is a very complex set of
circumstances for Desdemona, but we will start with lines 1- 28, a shorter section
filled with some complex gestures on her part”
4. Have Group 3 review their findings from last Friday (to remind and start the
scene?”
6. In this scene we can see Desdemona and Cassio in a conversation over

Cassio’s wounded reputation to Othello (through the cruel devises of Iago).
Lines 1 and 2
- “Be thou assured, good Cassio, I will do all my abilities in thy
behalf” - What is the extent of Desdemona’s behalf? Does she
have a lot of control over the situation? What control does she
have? Conventionally, did women in the Elizabethan Era have
much control at all?
Lines 19-28
What is Desdemona saying here? (She is saying that nothing will

stop her from mentioning morning, noon, and night that Othello
should speak with Cassio). Why does she do this? Does her
position allow her to talk with her husband in such a demanding
way? Were women typically permitted to speak to men in such a
manner? Were women supposed to have private audiences with
other men like this? (Iago uses this audience to his advantage)
How much does Desdemona mean that “thy solicitor shall rather
die/ Than give thy cause away”?
7. “Before we can move on to ACT 4, we can acknowledge the fact that

Desdemona has realized her position as a wife of a general and her ability to
sway Othello with her influence. She is a strong, intelligent, and determined
woman who plans to help Cassio. On that note, I want to look at the scene
where Desdemona confronts Othello with the idea of speaking to Cassio. Othello
has already been imparted with the seed of jealousy at this point.”
8. Lines 55-74
Desdemona demands an audience with Cassio and pesters Othello

until he concedes. Women often chided their men into doing things
in this age, but is this a moment of strength of weakness for
Desdemona? Why or why not? (could be either- she is assertive
and determined, but almost overweeningly so)
Lines 76-83
Desdemona gets upset with Othello. Why is she upset? What

does this say about her character? (She is confident. Her suits of
this sort should be thought well on and answered with serious
consideration- not to be treated as a trifle like eating or putting on
gloves.)
Closure (Reflect Anticipatory Set): Tomorrow we will finish with ACT 4. Make
sure to keep up with your notes for the final activity afterward!
Assessment: Class Participation

from 1533-1603.

Commentary: After this things get harder. So far we have intelligent, respected,
eloquent, confident, powerful. Desdemona so far is a very strong representation
of a woman.
April 30, 2010
Lesson Plan Title: Desdemona ACT 4 Scene 2

strength.


significance.

image.
directly;


the text;
challenging text;
Required Materials:

Anticipatory Set (Lead-In): Visual: Journal exercise written on Board
“Hello Class! Please write about a time you were accused of something you did
not do. Why were you accused? How did it turn out? Was the relationship you
had with the accuser different afterward? Were you ever acquitted of the
accusation? How do you feel about the situation now?”
Exercise should take about 10 minutes.
1. Journal exercise
2. “We are now going to look at Desdemona under duress. Othello has deemed
her as unfaithful and decides to confront her about the “crime””
4. Have Group 4 review their findings from last Friday (to remind and start the
scene?”
6. As a class we can see that this scene is very emotionally charged as Othello
and Desdemona argue over her false accusation
Lines 42-46
Desdemona pleads with Othello to tell her what she has done
wrong. She also lets him know that if he is upset with someone
else- do not take it out on her. How would you say this show’s
Desdemona’s confidence in her answer? Confidence in herself?
Does she show contempt for her position under her father and her
husband? How does this move against the conventional female
role?
Lines 84-87
Desdemona insists that she is not a “strumpet”. What is a

strumpet? Is arguing with her husband a conventional Elizabethan
woman’s action?
Lines 31-92
This entire scene depicts a battle of wits and a conversation of

moral consciousness between the two characters Desdemona and
Othello. Desdemona argues heavily against the accusations made
of her. Was this common of the Elizabethan woman (No, most
women were property and would not dare speak against her
husband for fear of retribution.)
Closure (Reflect Anticipatory Set): Tomorrow we will do the review session for
all we have seen about Desdemona. Do not forget your notes from the pre-
concieved notion lesson, and any notes you’ve taken about Desdemona’s
strength thus far.
Assessment: Journal entry and Class Participation
from 1533-1603.

Commentary: Desdemona: Strong, respected, assertive, outspoken, eloquent,

determined. This contrast greatly with the preconceived notions received from
other characters in the beginning.
Introduction: Discussion of Gender Stereotypes
Author: Valerie Wozniak
Grade: 12
Estimated Time: One 50 minute class period
SUNSHINE STATE STANDARDS:

 LA.1112.5.2.1 The student will demonstrate effective listening skills and
behaviors for a variety of purposes, and demonstrate understanding by
critically evaluating and analyzing oral presentations
 LA.1112.5.2.2 The student will apply oral communication skills in
interviews, formal presentations, and impromptu situations according to
designed rubric criteria
 LA.1112.5.2.4 The student will use appropriate eye contact, body
movements, and voice register for audience engagement in formal and
informal speaking situations
STUDENT OBJECTIVES
Students will:
 List and discuss the ways they think women and men are portrayed in the
mass media, based on their own experiences and observations.
 Discuss gender differences and representations of those differences
 Listen to the opinions of classmates and voice opinions of their own
MATERIALS AND TECHNOLOGY:

 Dry erase markers
 Whiteboard
PROCEDURE
1. Students will respond in their journals to the question, “What are gender
stereotypes and what do they mean to you?”
2. The teacher will write the words “Women” and “Men” on the board and ask
students to brainstorm some of the images that come to their minds when
they think about how the two genders are portrayed in the mass media,
including TV and magazines.
3. As a class, students will compile a list of 10 things they value about being
the gender that they are and ten things they value about the opposite sex.
They will then compare these things and see if they are similar.
4. The teacher will show examples of gender stereotypes of women in
Hamlet and have the class compare these to the lists they have compiled
ASSESSMENT/REFLECTIONS
 Students will be assessed on participation in discussions and relevance of
comments, questions, and answers.
ESE/ESOL MMODIFICATIONS:
 ESE students will be given extra time to answer, technology modifications as
necessary, and extra assistance with the technology in use.
 ESOL students will receive word banks, extra time to answer, and extra
assistance with the technology in use.
 ESOL students will be given primary language-to-English dictionaries for
reference.
 The teacher will use physical examples, realia, and gestures, where
appropriate and necessary, to aid in understanding.
Ophelia: Interpretation is the Thing
Adapted from: http://www.readwritethink.org/classroom-resources/lesson-
plans/literature-interpretation-thing-818.html
Grade: 12
Estimated Time: Four 50-minute class sessions
 LA.1112.2.1.1. Literary Analysis: Fiction: Standard: The student identifies,

analyzes, and applies knowledge of the elements of a variety of fiction and
literary texts to develop a thoughtful response to a literary selection. The
student will:: - analyze and compare historically and culturally significant
works of literature, identifying the relationships among the major genres (e.g.,
poetry, fiction, nonfiction, short story, dramatic literature, essay) and the
literary devices unique to each, and analyze how they support and enhance
the theme and main ideas of the text;
STUDENT OBJECTIVES
Students will:
 Practice working cooperatively by dividing into groups to analyze
information, form a consensus, and present this information to the class
 Analyze texts by reading and reacting to passages from a work of
literature and critical interpretations of that same work
 Listen to and critique opposing interpretations of the same reading and
consider how these opinions were formed through classroom dialogue and
independent writing
 Practice critical thinking by defending the validity of an assigned point of
view even if it opposes their personal interpretation of the reading
 Synthesize diverse interpretations by listening to student presentations
and writing an essay that compares and contrasts them
 Chart paper
 Computers with Internet access
 Websites
o Hamlet: List of Scenes
(http://shakespeare.mit.edu/hamlet/index.html)
o Elizabethan England and the World of Shakespeare
(http://www.kn.pacbell.com/wired/fil/pages/listelizabetma1.html)
o The Ophelia Page
(http://faculty.pittstate.edu/~knichols/ophelia.html)
o Shakespeare and His Critics (http://shakespearean.org.uk)
 ESE students will be given extra time to finish, technology modifications as

 ESOL students will receive word banks, extra time to finish, and extra
reference.
SESSION 1
1. Begin the lesson by asking students to respond to the following questions:
o Have you ever had a discussion with someone about a novel or movie
that you thought was great but the other person disliked?
o How did you feel after hearing a different perspective?
o What causes one person practically to fall in love with a piece of art,
another to hate it, and still another to be not sure of how they feel
about the work?
2. Facilitate a 10- to 15-minute class discussion by allowing students to speak
anecdotally of their experiences with opposing viewpoints.
3. Next, explain to the class that they will examine how individuals "interact" with
art, in this case classic Shakespearean literature.
4. Ask students to define the term classic as it relates to literature. Have them
create an analogy to explain or defend their definition using specific
examples. Point out that what is considered to be classic is a contentious
subject. Ask students why that might be.
5. Divide the class into four groups. Inform students that they will be looking at
four passages from a classic play. But first, they will look at different
interpretations of a specific character from that play.
6. Direct students to the websites you have bookmarked and ask them to review
at least three featured interpretations of Shakespeare's Ophelia. They should
take notes on these interpretations, as they will use them during the rest of
the week. This will help introduce students to a sample of the divergent
opinions of Ophelia throughout history.
SESSION 2
1. Provide each group with a different passage from Hamlet: List of Scenes, on
chart paper or a computer. List the following tasks they are to perform:
a. Each student in the group reads the assigned passage.
b. Group members discuss their initial reactions to the piece. How does
the character or characters make them feel?
c. Students consider why they feel as they do and why other group
members may feel differently. What factors affect one's reading or
interpretation of a text? How can opinions vary widely or seem
consistent?
d. In this activity, students' answers cannot be incorrect; however, they
will need to defend their opinions. It is not permissible to say, "That's
just how I feel." Instead, they will need to examine why they feel as
they do and what factors are shaping their opinions. A scribe within the
group should be assigned to record the group's reaction and defense.
Assigning a different student for each passage is recommended.
e. When finished (after approximately 8 to 10 minutes), students pass the
passage to the next group and receive a new passage.
f. Continue until each group has read all four passages.
2. Reconvene as a whole class and lead a general discussion about the
different reactions groups had to the passages. Assign a speaker from each
group for each passage, preferably not the recorder. Ask students if different
interpretations about the same passage, scene, or character can be valid? If
so, why?
3. Inform students that in the next session they will be given a different
perspective on the same character or characters. Their assignment will be to
defend a particular interpretation of a passage.
SESSION 3
1. Begin by asking students to briefly recap their discussion from the first
session.
2. Ask students to get into the same groups or four different groups. Provide
each group with an interpretation of Ophelia. The four interpretations may be:
 Ophelia as innocent victim
 Ophelia as insane
 Ophelia as a weak female
 Ophelia as ______________ (Here the group chooses an interpretation of
their own that is independent of previously stated interpretations.)
3. Inform students that they are charged with creating a coherent and clearly
stated oral argument that audience members can record and use in a
concluding essay. Students must support their assigned interpretation using
what is stated in the text or implied by the author as well as what they found
online during Session 1. The presentation must include at least one reference
to an interpretation from the assigned websites that is germane to the group's
stance on Ophelia. Provide groups with chart paper to record statements with
supporting reasons to guide them as they present to the group.
Remind students that the purpose of this activity is not to simply arrive at an
interpretation, but to examine divergent interpretations, consider how they are
constructed, and what determines their validity. This step can be the most
challenging, as students will need to empathize with an interpretation that
may oppose their own.
4. Allow groups about 15 minutes to prepare a two-minute presentation. The
presentation should be delivered orally by at least two members of the team
to their classmates explaining their team's assigned interpretation and its
rationale.
5. Have students present their interpretations and supporting evidence to the
class. Students in the audience should note each group's interpretation and at
least two supporting arguments. The notes students take during the
presentation will be used to help formulate a brief essay about the differing
interpretations and reasoning of each team. Students are responsible for
making sure that they get the information needed by each presenting group.
To satisfy this requirement, students may need to further query presenting
groups. If presenters are unable to satisfy the audience's questions, the team
must reconvene and improve their presentation in light of what is needed by
their peers to complete the cumulative essay.
6. At the end of this session, assign an essay that compares the divergent
interpretations of Ophelia presented by each group and explains what factors
may contribute to the validity of each one. Students should use the notes they
took during the oral presentations. Because a successful essay depends not
only on the attention of audience members but on the quality of each group
presentation, this essay will help ensure that each group presents a clearly
stated interpretation.
SESSION 4
1. Take a poll of the opinions held by individual students.
2. If the majority of the class holds one opinion about a character or text
passage, ask students to reflect on why that may be.
3. Ask students to interpret a character as if they were older, younger, from
another part of the world, etc.
4. Have students read opposing critiques of a text or character, and consider
whether these divergent interpretations can both be valid. Must a reader
agree with someone to consider his or her interpretation respectable or at
least defendable?
5. Have students address their classmates as a "lawyer" for one specific
interpretation of Ophelia. Assign which Ophelia students will defend either in
advance.
 Observe and take anecdotal notes during group discussions to see how
well students are able to analyze and interpret texts. Give students a
participation grade based on whole-class and small-group discussions in
each session.
 Assess student presentations. Questions to consider include: How well
were students able to defend viewpoints with which they didn't necessarily
agree? Did they come up with supporting statements to defend those
opinions? Were background materials incorporated into their
presentations? How well did they answer questions from the class?
 Evaluate the essays to see how well students were able to understand
and synthesize the different viewpoints presented in class. Use the essays
as a means of measuring group presentations as well. If a particular
group's presentation generated unclear or incomplete writing, have the
class discuss constructively what they felt was lacking in the presentation.
The group in question should then be allowed to use the feedback to
improve and redo their original presentation.
Introduction: Discussion of What Makes a Character
“Weak”
Author: Valerie Wozniak and Katie McDermott
Grade: 12
Estimated Time: One 50 minute class period

 LA.1112.5.2.1 The student will demonstrate effective listening skills and
behaviors for a variety of purposes, and demonstrate understanding by
critically evaluating and analyzing oral presentations
 LA.1112.5.2.2 The student will apply oral communication skills in
interviews, formal presentations, and impromptu situations according to
designed rubric criteria
 LA.1112.5.2.4 The student will use appropriate eye contact, body
movements, and voice register for audience engagement in formal and
informal speaking situations
STUDENT OBJECTIVES
Students will:
 List and discuss what they think makes a person “strong” versus what
makes a person “weak”
 Discuss which category constitutes a majority of male characters and
which constitutes a majority of female characters.
 Listen to the opinions of classmates and voice opinions of their own

 Dry erase markers
 Whiteboard
PROCEDURE
5. Students will respond to the questions, “What is a ‘weak’ person like?
What is a ‘strong’ person like? Which do you consider yourself to be?”
6. The teacher will write the words “Strong” and “Weak” on the board and
ask students to brainstorm some of the images that come to their minds
when they think about these words in relation to characters in literature
7. The teacher will have students compile a list of characters that they
consider to be “strong” and “weak”
8. The class will discuss which of these lists contains a majority of male
versus female characters.
9. The teacher will introduce characters from Hamlet and discuss one
“strong” and one “weak” character.
 Students will be assessed on participation in discussions and relevance of
comments, questions, and answers.
 ESE students will be given extra time to answer, technology modifications as
 ESOL students will receive word banks, extra time to answer, and extra
reference.
Ophelia: Author of Her Own Syndrome
Author: Valerie Wozniak and Katie McDermott
Grades: 12
Estimated Time: Three 50-minute class sessions
SUNSHINE STATE STANDARDS

 LA.1112.2.2.2 Nonfiction - The student identifies, analyzes, and applies
knowledge of the elements of a variety of nonfiction, informational, and
expository texts to demonstrate an understanding of the information
presented.
 LA.1112.2.2.3 Nonfiction - The student identifies, analyzes, and applies
knowledge of the elements of a variety of nonfiction, informational, and
expository texts to demonstrate an understanding of the information
presented.
STUDENT OBJECTIVES
Students will:
 Read and analyze the text
 Develop a response that is personally relevant to the text
 Share ideas and feelings about the text with the class
MATERIALS
 Copies of Diagnosing and Treating the Ophelia Syndrome
(http://www.fpsct.org/file.cfm?resourceid=2712&filename=ophelia
%20%20syndrome.doc)
 ESE students will be given extra time to finish, technology modifications as
 ESOL students will receive word banks, extra time to finish, and extra
reference.
PROCEEDURE
1. Review of Ophelia in 1.3
1) Discuss Ophelia, Laertes, and Polonius
1) Laertes' advice to Ophelia
2) Polonius' advice to Laertes
3) Polonius' "assault" on Ophelia
2. Provide students with a copy of Diagnosing and Treating the Ophelia
Syndrome and have them read and respond in their journal on the following
topic: How did the article, Diagnosing and Treating the Ophelia Syndrome,
relate to your actual life? Consider experiences you’ve had at school, at
home, at work, and socially.
3. Discuss journal entries as a whole class
4. Discussion: Manifestations of Ophelia Syndrome in our lives – excerpts from
Thomas Plummer’s lecture at BYU.
1) Female and Male: I need to tell you that I see this constantly.
2) Why does this happen?
3) How do we address these problems?
4) Any other section students found interesting or noteworthy.
5. Students will write an informal personal plan of action to guard against
developing this condition.
6. Discuss why the behaviors exhibited by those persons manifesting the
Ophelia Syndrome would be considered “weak” and/or “dependent.
1) Split students into 4-5 groups for small group discussion
2) Give groups “seeds” for discussion
3) Reassemble class for whole-group sharing
7. Students will place marked handout, written response, and plan of action in
their portfolio.
STUDENT ASSESSMENT/REFLECTIONS
 Assess for completeness of written response and plan of action
 Evaluate responses given during whole-class and small-group
discussions.

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6 Elements of Drama

Based on Aristotle’s Poetics

Lesson Plan Title: Elements of Drama: Theme

Grade Level: 12th Subject: English/ Drama

Concept /Topic to Teach: Elements of Drama

Duration: Two 50 minute classes.

Goals: 1) Be able to identify and comprehend elements of drama in Shakespeare

Sunshine State Standard:

LA.1112.2.1.2 - The student will analyze and compare a variety of traditional,

 Audio-visual equipment capable of playing a DVD and movies from the

 Theme- Lecture notes

Anticipatory Set (Lead-In): Visual: Superbowl commercials.

Step-By-Step Procedures: (Open discussion)

1. Watch the Superbowl commercials.

3. Complete theme activity

Have students choose from selection of shows.

Closure (Reflect Anticipatory Set): Ask volunteers to state their group or

Assessment: Collect the themes from all students.

Adaptations for Students with Learning Disabilities or ESOL:

Theme: a subject of discourse, discussion, meditation, or composition;

2. a unifying or dominant idea, motif, etc., as in a work of art.

Also be prepared that cultural differences may misconstrue messages.

Lesson Plan Title: Elements of Drama: Character

Grade Level: 12th Subject: English/ Drama

Concept /Topic to Teach: Elements of Drama

Duration: One 50 minute classes.

Goals: 1) Be able to identify and comprehend elements of drama in Shakespeare

2) The students will demonstrate their knowledge of characters by completing a

Sunshine State Standard:

LA.1112.2.1.2 - The student will analyze and compare a variety of traditional,

 Classroom ser of full length contemporary comedic script (ex: Niel

Anticipatory Set (Lead-In): Visual: Journal Entry instructions

Journal instructions on the board:

5 minutes to do this exercise. Group discussion of what someone needs to know

Step-By-Step Procedures: (Open discussion)

3. Complete Character activity

Assessment: “Myspace” sheet due the beginning of next class.

Adaptations for Students with Learning Disabilities or ESOL:

Ask what make the individual themselves.

Commentary: This course will cover two particular characters: Desmonda of

My Interests: About Me:

Heroes: Who I’d Like to Meet:

Lesson Plan Title: Elements of Drama: Spectacle

April 30, 2010

Lesson Plan Title: Othello: Setting and Representations

Grade Level: 12th Subject: English/ Drama

Concept /Topic to Teach: Setting and cultural ideologies of women in Othello

Duration: Two 50 minute classes.

Goals: 1) Be able to identify and comprehend elements of drama in

2) Discuss women’s role and representations in the Elizabethan era.

4) Examine some of the use of Shakespeare’s representations for historical

Sunshine State Standard:

LA.1112.1.7.2: The student will analyze the author’s purpose and/or perspective in a

LA.1112.2.1.1: The student will analyze and compare historically and culturally

 Power point lecture on Othello’s Setting and Elizabethan Era.

Anticipatory Set (Lead-In): Visual: Journal Entry Instructions

Step-By-Step Procedures: (Explicit Instruction)