PERFORMING SHAKESPEARE UNIT

CULMINATING PROJECT

OBJECTIVE
Students will apply previous knowledge of performance to the works of William Shakespeare.

DESCRIPTION
For the final project, students will perform a two-person scene from the works of William
Shakespeare.
Time Management: This project should take 4-5 weeks to complete. It will include analyzing and
interpreting the assigned scene, memorizing and rehearsing, then giving a final staged performance.
• Week 1 - Pair students, assign scenes, assign scene breakdown and text analysis (use
content from the Emotion and Action in Text Lesson). Provide feedback to each group
regarding language, character, relationship, and blocking suggestions based on their
analysis.
• Week 2-3 - Students will memorize, block, and rehearse scenes based on analysis and
feedback. Scene work should reflect concepts and ideas covered in Tableaux and
Soundscape lessons. During these two weeks, make appointments to see each pair 2 times.
• Week 4 - Students will pair up with another scene to provide peer evaluation and feedback.
Students will continue rehearsing based on that feedback. During this week make
appointments to see each pair once.
• Week 5 - Students will finalize scenes and present them to class.

MATERIALS
• Two-person Shakespearean Scenes (list included)
• Rehearsal Peer Evaluation Sheets
• Scene Performance Rubric
• Reflection

INSTRUCTION
1. Students will be paired up and given a scene from one of Shakespeare’s plays to perform.
2. Give students time to analyze their scenes using the concepts from the Finding Emotion and
Action in Text Lesson. Work with students to clarify and refine ideas.
3. Give students time to rehearse and memorize their scenes. They should draw upon the
concepts in the Tableaux and Soundscape lessons for their blocking and staging choices.
a. From Tableaux: Students should use the concepts of visual storytelling in their blocking,
to create interesting stage pictures throughout their scenes.
b. From Soundscape: Students will incorporate sounds and found objects (simple props)
into their scenes, in order to create a deeper theatrical environment for their final
performance.
c. Note: Students should have access to standard rehearsal furniture and simple props.
Remember: Students are being assessed on their performance quality, not the quality
of the production values.
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 4. Put together a sign-up sheet for when you’re going to see each performance pair and
work with them. Work with each pair a minimum of 3 times over the course of the rehearsal
process.
5. Have students pair up with another group to perform a working scene and get some feedback
during the rehearsal process.
a. Focus your feedback on the following:
i. Do the performers understand the text? Can the audience understand the text
based on the actor’s performance?
ii. Is the blocking effective? Are there interesting stage pictures? What changes/
improvements can be made to the blocking to increase interest and
understanding?
iii. Does the scene incorporate sounds and found objects (simple props)? How do
they help to create an environment?
6. Each pair will present their scene to the class. On the day they perform, take students through
an extensive verbal and physical warmup.
7. Afterward, lead a class discussion. What worked and what didn’t work? What did students
learn from performing Shakespeare? How can they apply what they learned to other roles?
8. Have students complete a Written Reflection.

ASSESSMENT
• Scene Performance rubric (included)

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 PERFORMING SHAKESPEARE UNIT
SHAKESPEARE SCENE RUBRIC
Name:

1 2 3 4
Physicality Did not use body Used Used Used
effectively to facial expressions, facial expressions, facial expressions,
convey character. gestures, and body gestures, and body gestures, and
Including staying language to convey language to convey body language to
open to the character some of character most of convey a believable
audience. the time (including the time (including character (including
staying open to the staying open to the staying open to the
audience). audience). audience).
Language/ Did not understand Understood and Understood and Understood and
Articulation or clearly articulate clearly articulated clearly articulated clearly articulated
the words the words the words the words
of the scene. of the scene some of of the scene most of of the scene all of
the time. the time. the time.
Blocking Did not utilize Included some space Included many Fully utilized space
space and stage and used part of spaces and use them and different blocks
effectively. stage effectively. effectively to convey on stage,
the meaning to the incorporated
audience. blocking concepts
into the scene.
Character Did not Established a limited Established a Established a
Relationship establish a relationship between believable believable
relationship between the relationship between relationship between
the characters. characters. characters most of the characters.
the time.
Artistic Made Made limited choices Made choices Made choices
Choices inappropriate that that that
choices or made no did not support the supported the strengthened the
choices during the characters. characters. characters and the
performance. scene.

TOTAL =

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 PERFORMING SHAKESPEARE UNIT
REHEARSAL PEER EVALUATION SHEET

1. Do the performers understand the text? Did you understand the text based on the actor’s
performance? If so, give examples. If not, ask questions.

2. Is the blocking effective? Are there interesting stage pictures? What changes/improvements can
the students make to the blocking to increase interest and understanding?

3. Does the scene incorporate sound and found objects (simple props)? How do they help to create
an environment?

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 PERFORMING SHAKESPEARE UNIT
REFLECTION
1. What is most challenging when performing Shakespeare?

2. Do you think that Shakespeare should only be performed in “modern” English? Why/Why Not?

3. Did the language make more sense after you put the scene on its feet? Why/Why Not?

4. How will this process help you approach Shakespeare in the future?

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 PERFORMING SHAKESPEARE UNIT
SCENES FROM SHAKESPEARE (M/F, M/M, F/F)
MALE-FEMALE SCENES
All’s Well That Ends Well, 4.2 (Bertram & Diana)
BER.
They told me that your name was Fontibell.

Antony & Cleopatra, 1.3 (Antony & Cleopatra)

CLEO.
I am sick and sullen.

As You Like It, 3.2 (Orlando & Rosalind)

ROS.
I will speak to him like a saucy lackey, and under that habit play the knave with him.—Do you hear, forester?

Cymbeline, 3.2 (Pisanio & Imogen)

PIS.
How? of adultery? Wherefore write you not

Hamlet, 3.1 (Hamlet & Ophelia)

HAM.
Thus conscience does make cowards of us all,

Henry 6.2, 3.2 (Queen Margaret & Suffolk)

QUEEN.
Mischance and sorrow go along with you!

Macbeth, 2.2 (Macbeth & Lady Macbeth)

LADY M.
That which hath made them drunk hath made me bold;

Macbeth, 3.2 (Macbeth & Lady Macbeth)

LADY M.
Nought’s had, all’s spent,

Measure for Measure, 2.4 (Angelo & Isabella)

ANG.
Teach her the way.

Measure for Measure, 3.1 (Claudio & Isabella)

CLAUD.
Now, sister, what’s the comfort?

Merchant of Venice, 3.2 (Portia & Bassanio)

POR.
I pray you tarry, pause a day or two

Merry Wives of Windsor, 2.2 (Mistress Quickly & Falstaff)

QUICK.
Give your worship good morrow.

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Midsummer Night’s Dream, 2.1 (Demetrius & Helena)
DEM.
I love thee not; therefore pursue me not.

Much Ado About Nothing, 4.1 (Benedict & Beatrice)

BENE.
Lady Beatrice, have you wept all this while?

Othello, 5.2 (Othello & Desdemona)

OTH.
It is the cause, it is the cause, my soul;

Pericles, 5.1 (Marina & Pericles)

MAR.
Hail, sir! my lord, lend ear.

Richard 3, 1.2 (Richard & Anne)

ANNE.
What do you tremble? are you all afraid?

Romeo & Juliet, 2.2 (Romeo & Juliet)

ROM.
He jests at scars that never felt a wound.
Taming of the Shrew, 2.1 (Petruchio & Katherina)
PET.
I’ll attend her here,

Twelfth Night, 3.1 (Viola & Clown)

VIO.
’Save thee, friend, and thy music! Dost thou live by thy tabor?

Winter’s Tale, 4.4 (Perdita & Florizel)

FLO.
These your unusual weeds to each part of you

MALE-MALE SCENES
Coriolanus, 4.5 (Coriolanus & Aufidius)
AUF.
Where is this fellow? Whence com’st thou? What wouldst thou? Thy name?

Hamlet, 1.5 (Hamlet & Ghost)

HAM.
Whither wilt thou lead me? Speak, I’ll go no further.

Hamlet, 5.1 (Two Clown Gravediggers)

1. CLO.
Is she to be buried in Christian burial when she willfully seeks her own salvation?

Henry 4.1, 1.2 (Prince Hal & Falstaff)

FAL.
Now, Hal, what time of day is it, lad?

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Henry 4.2, 4.5 (Prince Henry & King Henry IV)
KING.
But wherefore did he take away the crown?

Henry 6.3, 5.6 (Richard & King Henry VI)

GLOU.
Good day, my lord. What, at your book so hard?

Julius Caesar, 1.2 (Cassius & Brutus)

CAS.
Will you go see the order of the course?

Julius Caesar, 4.3 (Cassius & Brutus)

CAS.
That you have wrong’d me doth appear in this:

King John, 4.2 (Hubert & King John)

HUB.
My lord, they say five moons were seen tonight;

King Lear, 4.6 (Edgar & Gloucester)

GLOU.
When shall I come to th’ top of that same hill?

King Lear, 5.3 (Kent & Lear)

LEAR.
Howl, howl, howl! O, you are men of stones!

Love’s Labour’s Lost, 1.2 (Armado & Moth)

ARM.
Boy, what sign is it when a man of great spirit grows melancholy?

Macbeth, 4.3 (Malcolm & Macduff)

MAL.
Let us seek out some desolate shade, and there

Merchant of Venice, 1.1 (Antonio & Bassanio)

ANT.
Well, tell me now what lady is the same

Merry Wives of Windsor, 2.2 (Ford & Falstaff)

FORD.
Sir, I am a gentleman that have spent much. My name is Brook.

Othello, 3.3 (Othello & Iago)

OTH.
Ha, ha, false to me?

Othello, 3.3 (Othello & Iago)

OTH.
Excellent wretch! Perdition catch my soul

Richard 3, 5.5 (Richmond & Lord Stanley)

RICHM.
God and your arms be prais’d, victorious friends,

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The Tempest, 2.1 (Sebastian & Antonio)
SEB.
What a strange drowsiness possesses them!

Two Gentlemen of Verona, 2.4 (Proteus & Valentine)

VAL.
Now tell me: how do all from whence you came?

Two Gentlemen of Verona, 3.1 (Duke & Valentine)

DUKE.
Sir Valentine, whither away so fast?

Two Gentlemen of Verona, 3.1 (Launce & Speed)

LAUNCE.
I am but a fool, look you, and yet I have the wit to think my master is a kind of a knave;

Winter’s Tale, 1.2 (Leontes & Camillo)

LEON.
Camillo, this great sir will yet stay longer.

Winter’s Tale, 4.1 (Autolycus & Clown/Young Shepherd)

Enter Autolycus singing.
AUT.
When daffadils begin to peer,

FEMALE-FEMALE SCENES
All’s Well That Ends Well, 1.3 (Countess & Helena)
COUNT.
Even so it was with me when I was young.

As You Like It, 3.2 (Celia & Rosalind)

CEL.
Didst thou hear these verses?

Comedy of Errors, 2.1 (Adriana & Luciana)

ADR.
Neither my husband nor the slave return’d,

Merchant of Venice, 1.2 (Portia & Nerissa)

POR.
By my troth, Nerissa, my little body is a-weary of this great world.

Othello, 4.3 (Emilia & Desdemona)

EMIL.
How goes it now? He looks gentler than he did.

Romeo & Juliet, 2.5 (Juliet & Nurse)

JUL.
The clock strook nine when I did send the nurse;

Romeo & Juliet, 3.5 (Juliet & Lady Capulet)

LA. CAP.
Within.
Ho, daughter, are you up?

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Twelfth Night, 1.5 (Olivia & Viola)
VIO.
The honorable lady of the house, which is she?

Twelfth Night, 3.1 (Olivia & Viola)

VIO.
Most excellent accomplish’d lady, the heavens rain odors on you! My matter hath no voice, lady, but to your own most
pregnant and vouchsafed ear.

Two Gentlemen of Verona, 1.2 (Julia & Lucetta)

JUL.
But say, Lucetta, now we are alone,

Two Gentlemen of Verona, 4.4 (Silvia & Julia)

JUL.
Gentlewoman, good day; I pray you be my mean

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