Macbeth Student Packet

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English 10: Macbeth

Welcome to the Macbeth unit! This unit should take six weeks to complete. Please be prepared each class with a copy of this package and the play.

Unit Expectations:

Students will be able to: Consciously use and evaluate a wide variety of strategies before, during, and

after reading, viewing, and listening to increase their comprehension and recall Explain the effects of a variety of literary devices and techniques, including figurative language, symbolism, parody, and irony Demonstrate an understanding of the main ideas, events and themes Interpret details and subtleties to clarify gaps or ambiguities in written, oral, or

visual works Make connections between the ideas and information presented in literary and mass media works and their own experiences Demonstrate a willingness to take a tentative stance, tolerate ambiguity, explore Multiple perspectives, and consider more than one interpretation Support their opinions or respond to questions and tasks about the works they have read or viewed Adjust their form, style, tone, and language to suit specific audiences and

purposes

Essential Questions: What are the risks associated with power? Is ambition dangerous? Should Shakespeare be read or listened to? What makes Shakespeare so popular with English teachers? (Hint: literary devices, story, language, themes) What does Shakespeare do with ‘Illusion vs. Reality’?

Motifs To Explore: -Time -Unreliability of Appearances -Passion Vs. Free Will -Fate vs. Free Will -Ambition -Nature/Order/Good -Supernatural/ Disorder/ Evil

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Elizabethan Syntax and Grammar

Singular Pronouns Thou Subject “Thou are my

brother” You are my brother

Thee Object “Come, let me clutch thee

Come here, I want to hug

Thy Possessive Adjective

“What is thy name?”

What is you name?

Thine Possessive Noun “To thine own self be true.”

Be true to your self.

Plural Pronoun Ye Subject “Ye shall know

me.” You shall know me.

Personal/informal pronouns vs. formal -Like modern French and Spanish, English used to have different pronoun forms that were used depending on whom one was speaking to Verb Inflection Elizabethan language, though considered Early Modern English, still retained some verb inflections. Usually they simply add an -est or –st to a word. These were used often with the 2nd person familiar pronouns: "Thou liest, malignant thing." "What didst thou see?" "Why canst thou not see the difference?" "What time should'st thou callest?" "Didst thou drinkest thy Coke when thou wast thirsty?" Sentence Structure – Yoda-Speak A student was once heard to say, "Shakespeare takes a perfectly good sentence and messes it up." Keep in mind that Shakespeare was operating under a different set of writing rules:

- Blank verse requirements (unrhymed iambic pentameter) - Rhyming Couplets, in some instances - He’s Shakespeare – He, unlike most of us, can bend and even break the rules!

"A glooming peace this morning with it brings." ~ Romeo and Juliet "That handkerchief did an Egyptian to my mother give." ~ Othello "Thy shape invisible retain thou still." ~ The Tempest

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Iambic Pentameter Iamb A “foot” in poetry. An iamb always has 2 syllables, with the stress on the

LAST (2nd) syllable in each set. Penta Five Meter A pattern or rhythm So, IAMBIC PENTAMETER is made of lines of poetry that have 5 sets of 2 syllables (10 syllables per line) with the 2nd syllable of each ‘set’ being the one that is stressed. Example: But soft! What light through yonder window breaks? 1 2 1 2 1 2 1 2 1 2

Historical Context

1034 -1040 King Duncan rules Scotland 1040 – 1057 Macbeth rules Scotland 1513 Machiavelli’s The Prince offers a practical guide to Italian state rulers. 1558 Elizabeth I becomes the Tudor Queen of England. 1567 James Stuart becomes King James VI of Scotland 1598 King James writes The True Law of Free Monarchies, expressing his

views about the rights of kingship 1599 King James writes Basilicon Doron, a pamphlet of political instruction

for his son and heir, Henry. 1603 James IV of Scotland becomes James I of England 1606 Probable date of Macbeth’s composition and first performance 1625 James dies; his son succeeds to the throne as King Charles I 1649 Charles I is beheaded in the Civil War.

Monarchy and Tyranny

Macbeth is a political play. It dramatizes a story about power and authority; about order and disorder, about the violence of civil war and the final restoration of peace. At the center of all these concerns lies the issue of kingship in its legitimate and illegitimate forms, including succession, the rightful transition of authority from one ruler to the next; regicide, the killing of the king; usurpation, the wrongful seizure of the crown; and tyranny, the cruel abuse of power by a state ruler. Questions about the proper exercise of power directly involve everyone on stage. In the course of the play, no less then three Scottish kings wear the crown; Duncan, Macbeth, and Malcolm. The English King Edward the confessor is also mentioned with approval,

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and Banquo receives the politically confusing promise that he will father many kings. All the other characters even the witches and Lady Macbeth, act either to make a king to support or protect him, or to destroy him.

This play is not isolated or in a vacuum. It is directly related to the political issues and tension present in Shakespeare’s England. Shakespeare needed to be aware of the current politics and cater to the whims of the monarchy.

Political Succession from the Tudors to the Stuarts

Queen Elizabeth was the reigning monarch for most of Shakespeare’s life. A member of the Tudor family, she was the third child of Henry VIII to sit on England’s throne following Edward VI and Mary I. Governing from 1558 to 1603, Elizabeth boasted one of the longest reigns in England’s turbulent history. Her era was not without its troubles including attempts against her life, international conflicts culminating with the unsuccessful attack of the Spanish Armada in 1588, disease and plagues, economic troubles and religious tensions between Catholics and Protestants. But the longevity of her reign fostered a degree of stability and peace that England had not experienced for some time.

Her rule also created the problem of succession. Because she was the last of the Tudors and never married, there were not children to take over the throne when she died. Furthermore, she never openly proclaimed her choice of successor. Initially her advisors assumed that they would find an acceptable husband for her, but as she grew older and remained unmarried, her subjects simply hoped for a peaceful transition to a new monarch when she died. It was rumored that on her deathbed she chose James VI, King of Scotland, as her heir and it had already become apparent that he was the obvious successor because of his royal birth and his Tudor connection through the sister of Henry VIII.

King James for his part spent his years as Scotland’s king nurturing hopes that he would assume the English throne. Initially England welcomed him in style, and he became the first monarch of the new Stuart line as James VI of Scotland and James I of England. He had been on the throne for several years by the time Shakespeare wrote Macbeth.

Kingship in Medieval Scotland

The beliefs and practices of kingship in medieval Scotland differed substantially from those during the reign of Elizabeth and James, and because Shakespeare adapts history for the stage, bringing the perspective of his own time to the past, the differences are worth noting. In Macbeth’s eleventh-century Scotland, monarchy did not

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have a long and stable tradition, and the crown did not automatically pass from one king to his son in hereditary succession. Instead, there was a complicated system based on both hereditary and election. The king was chosen alternately from several different branches of the same family so that often a nephew, rather then a son, succeed to the throne. If the heir appeared incompetent or too young, the nobility reserved the right to elect a more suitable king. Although several kings prior to Duncan had attempted to legislate lineal succession, they had been unsuccessful, and the resulting conflict and confusion frequently led to regicide and civil unrest. Not until Malcolm assumed the throne did hereditary succession become accepted, gradually leading the Banquo line from which King James claimed descent.

The Chain of Being

One of the most common sixteenth-century views of order is referred to today as the Elizabethan World Picture. It is based on a metaphor of a vertical chain that links everything in the universe according to a hierarchy from the greatest to the least, descending from God at the top, to angels, to people to animals, to plants to the lowest inanimate objects including minerals and soil. The degree or order represented in this chain is divinely ordained and allows for harmony and unity when all perform their proper function. The metaphor also permits comparison to be made from one level to the next because at all levels the highest or noblest member controls the others. For example God is greatest among the angels, so is the sun among the stars, the king among men, the head among the other body parts and reason among the human faculties. The state is a miniature version of the universe, and man is yet a smaller version or microcosm of the state.

The King’s Two Bodies

The power and dignity of the king depicted in the Chain-of-Being metaphor also found expression in another related metaphor that focused specifically on kingship itself. A theory that evolved from the Middle-Ages described the king as having two bodies; a body politic and a body natural. The body politic involved his role as heard of the state. Whoever was the king, assumed to political poison with all the power and duties entailed. The body natural represented the king’s personal body, his human side, which when joined with his body politic, bestowed on him the divine appointment to govern by God’s will and election. This theory echoes still today in the expression “The king is dead; long live the king.” When one monarch dies, his natural body goes to the grave, but the body politic is immortalized in succession as the crown is passed on to a new heir. The chain is not broken; the king never dies; the social system is not destroyed.

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Relationship of Characters in Macbeth

Macbeth

Supporters:

Macbeth Scottish general; ambitious enough to commit regicide to become

king

Lady Macbeth His wife; ambitious; convinces Macbeth to perform the murder;

later remorseful

Seyton Lieutenant to Macbeth

Neutral:

Three Witches Predict Macbeth's ambitions will soon come true; later predict his

downfall

Duncan

Supporters:

Duncan King of Scotland; his murder by Macbeth is the first in a series of

many murders

Malcolm Eldest son of Duncan; heir to the throne of Scotland; flees to

England after Duncan's murder; becomes king at end of the play

Donalbain Youngest son of Duncan; flees to Ireland after Duncan's murder

Lennox Nobleman, loyal to Duncan

Siward English Earl; supporter of Malcolm

Young Siward Bravely faced Macbeth though he is killed in battle

Banquo General; witches predict his offspring will become kings; murdered

by Macbeth's hired killers

Fleance Banquo's son; escapes murder by Macbeth's hired killers

Macduff General; discovers Duncan's body; becomes suspicious of Macbeth

and joins forces with Malcolm, slays Macbeth and proclaims

Malcolm King

Ross Cousin to Macduff

Key Vocabulary

Act I: brandished, plight, hurlyburly, minion, lavish, runnion, corporal, prophetic, surmise, fantastical, harbinger, plenteous, rapt, missives, metaphysical, remorse, beguile, sovereign, procreant, martlet, purveyor, trammel, chamberlains, limbeck

Act II: husbandry, augment, possets, raveled, incarnadine, infirm, equivocator, carousing, clamored, sacrilegious, countenance, scruples, malice, consort, warrant, suborned, benison

Act III: indissoluble, bestowed, dauntless, rebuked, beggared, bounteous, avouch, eminence, cloistered, vizards, humane, choughs, thalls, malevolence, homage, exasperate

Act IV: brinded, cauldron, gruel, conjure, apparition, chafes, pernicious, diminutive, judicious, homely, unsanctified, treachery, transpose, cistern, intemperance, blaspheme, ulcerous, hither, doff

Act V: perturbation, distempered, epicures, antidote, oblivious, purgative, direness, brandished, staves, intrenchant, palter, salutation, tyranny

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The story The play opens as three witches plan a meeting with the Scottish nobleman Macbeth, who at that moment is fighting in a great battle. When the battle is over, Macbeth and his friend Banquo come across the witches who offer them three predictions: that Macbeth will become Thane of Cawdor and King of Scotland, and that Banquo's descendants will become kings. Banquo laughs at the prophecies but Macbeth is excited, especially as soon after their meeting with the witches Macbeth is made Thane of Cawdor by King Duncan, in return for his bravery in the battle. He writes to his wife, Lady Macbeth, who is as excited as he is. A messenger tells Lady Macbeth that King Duncan is on his way to their castle and she invokes evil spirits to help her slay him. Macbeth is talked into killing Duncan by his wife and stabs him to death. No-one is quite sure who committed this murder and no-one feels safe, but Macbeth is crowned king. Now that Macbeth is king he knows the second prediction from the witches has come true, but he starts to fear the third prediction (that Banquo's descendants will also be kings). Macbeth therefore decides to kill Banquo and his son, but the plan goes wrong - Banquo is killed but his son escapes. Macbeth then thinks he is going mad because he sees Banquo's ghost and receives more predictions from the witches. He starts to become ruthless and kills the family of Macduff, an important lord. Macbeth still thinks he is safe but one by one the witches' prophecies come true, Lady Macbeth cannot stop thinking about Duncan, becomes deranged and dies. A large army marches on Macbeth's castle and Macbeth is killed by Macduff. Introductory Activity: If the Crime Fits

Rank these criminals, starting with the most heinous and ending with the least evil. Be prepared to give reasons for your choices. Number each of these from one to fifteen.

A Soldier who kills an enemy soldier in battle

A man who kills his King

A man who kills a close relative

A woman who persuades her husband to kill someone

A woman who kills her own child

A woman who plans a murder but kills no one herself

A man who suspects his best friend of murder but does nothing

A man who arranges for his best friend to be murdered

A man who tries to have his best friend’s son murdered

A King who orders the death of an enemy

A King who orders the death of an enemies wife an children

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A soldier who kills children under orders from his King

A doctor who knows his patient is a murderer but says nothing

A woman who commits suicide

A man who kills the murderer of his family

Unit Schedule: Bold = 10F Italics = 10B (Subject to Change)

Sunday Monday Tuesday Wednesday Thursday March 4 Act I

5 Act I

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7 Review

8 Review

11 Act II Character Development Homework: Finish Act II

12 Act II Character Development Homework: Finish Act II

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14 Passage Analysis

15 Passage Analysis

18 Act III

19 Act III

20 (Half Day) Work/Review/ Catch Up

21 Acts I – III; Fear – how a person reacts to fear III.iv

22 Acts I – III; Fear – how a person reacts to fear III.iv

25 Act IV; Sound Effects to the Witches Cauldron

26 Act IV; Sound Effects to the Witches Cauldron

27 Passage Analysis

28 Passage Analysis

29 (Half Day) Work/Review/ Catch Up

April 8 NO SCHOOL

9 Act V

10 Act V

11 Graded Discussion/ Passage Analysis

12 Graded Discussion/ Passage Analysis

15 Play in Review/Loose Ends

16 Play in Review/Loose Ends

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18 Final Presentations

19 Final Presentations

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Character Development Class Project

As a class we are going to develop a character profile for the major character in the play. For homework your assignment is to write three notes or comments. Please write a creative comment for three of the following characters.

Macbeth, Lady Macbeth, Banquo, Duncan, The Three Witches, Malcolm.

Your note should follow this format. Chose one word or quality to describe your character. You can describe the following aspects of characterization; physical aspect (physical description and actions), character trait (personality and tone) or, aspect of their relationship with another character. Once you have chosen a word find a quote that proves that concept.

Example for Lady Macbeth:

Control

“ To alter favour, ever is to fear / Leave

all the rest to me.” (I.iv.71-72)

Quotations and Questions:

With the quotations provided; Identify speaker, describe the point in the play, explain or paraphrase what the quote means and the significance for each quote in terms of theme, characterization, or literary features. Answer the questions in complete sentences. Where needed, please use a separate piece of paper.

Quotations of Note Act II

How is it with me when every noise appalls me?/ What hands are here! Ha, they pluck out mine eyes./ Will all great Neptune’s ocean wash this blood/Clean from my hand? No, this my hand will rather/ The multitudinous seas incarnadine,/ Making the green one red.

Is this a dagger which I see before me,/ The handle toward my hand? Come, let me clutch thee!/ I have thee not, and yet I see thee still? Art thou not, fatal vision, sensible to Feeling as to sight? or art thou but / A dagger of the mind, a false creation

Proceeding from the heat oppressed brain?

Me thought I heard a voice cry ‘Sleep no more!/ Macbeth does murder sleep’—the innocent sleep, / Sleep that knits up the raveled sleeve of care…Still it cried ‘Sleep no more!’ to all the house;/ Glamis hath murdered sleep, and therefore Cawdor shall sleep no more!’

Infirm of purpose!/ Give me the daggers. The sleeping and the dead/ Are but as pictures. ‘Tis the eye of childhood that fears a painted devil.

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Our separated fortune/ Shall keep us both the safer. Where we are,/ There’s daggers in men’s smiles;/ the near in blood, the nearer bloody.

The night has been unruly. Where we lay,/ Our chimneys were blown down, and, as they say,/ Lamentings heard i’ th’ air, strange screams of death,/ And prophesying with accents terrible/ Of dire combustion and confused events/ New hatched to the woeful time.

And on thy blade and dudgeon gouts of blood,/ Which was not so before. There’s no such thing./ It is the bloody business which informs thus to mine eyes. Now o’er half the world/ Nature seems dead, and wicked dreams abuse/ The curtained sleep.

Act III Quotes of Note

For each quote: Identify the speaker, explain what is going on in the play at the time and , paraphrase the quote and explain the significance of the quote.

O, proper stuff! This is the very painting of your fear./ This is the air-drawn dagger which you said/ Led you to Duncan.

The time has been/ That, when the brains were out, the man would die,/ And there an end. But now they rise again/ With twenty mortal murders on their crowns/ And push us from our stools.

Thou hast it now-King, Cawdor, Glamis, all/ As the Weird Women promised, and I fear/ Thou played’st most foully for’t.

I am in blood/ Stepped in so far that, should I wade no more,/ Returning were as tedious as go o’er.

To be thus is nothing,/ But to be safely thus. Our fears in Banquo/ Stick deep, and in his royalty of nature/ Reigns that which would be feared.

It will have blood, they say: Blood will have blood.

We hear our bloody cousins are bestowed/ In England and in Ireland, not confessing/ Their cruel parricide, filling their hearers/ With strange invention.

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Better to be with the dead,/ Whom we, to gain peace, have sent to peace,/ Than on the torture of the mind to lie/ In restless ecstacy.

Then comes my fit again. I had else been perfect,/ Whole as the marble, founded as the rock,/ As broad and general as the casing air./ But now I am cabined, cribbed, confined, bound in/ To saucy doubts and fears.—But Banquo’s safe?

Act IV

By the pricking of my thumbs,/ something wicked this way comes

Be bloody, bold and resolute; laugh to scorn/ The power of man, for none of woman born/ Shall harm Macbeth.

Be lion mettled, proud, and take no care/ who chafes, who frets, or where conspires are./ Macbeth shall never vanquished be until/ Great Birnam Wood to high Dunsinane Hill/ Shall come against him.

Questions: Act IV Act IV.i Aim: What is the meaning of the three prophecies and what is their effect on Macbeth? 1. What are the 1st 2nd and 3rd apparitions? 2. What is the 4th supernatural viewing that Macbeth sees and what is his reaction? 3. Why does Macbeth decide to murder Macduff's family? Explain lines 167-170. 4. How has Macbeth changed? How does the decision to murder Macduff's family differ from his decisions to murder Duncan and Banquo? Act IV.ii 5. What is the significance of the characters of Lady Macduff and her son? (Use quotes and explain them?) 6. Explain Lady Macduff's lines 81-86. Act IV.iii 1. Why does Malcolm not trust Macduff and how does he test him? 2. How has Scotland changed under Macbeth's rule?

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3. How will the new ruler behave? 4. Copy the lines that show that Malcom doesn't trust Macduff: a. He is not sure that Macduff is telling the truth. b. Macbeth was once thought to be honest. c. Macduff was a friend of Macbeth. d. Macbeth has left Macduff unharmed. e. Macduff may betray Malcolm to Macbeth. 6. Malcolm tells lies about himself to Macduff. Find the lines and explain the lies. 7. Write the lines which show Malcolm beliefs in Macduff and explain them. 8. Write the lines Ross says that describe Scotland under Macbeth and explain the lines. 9. What does Malcolm's lines 276-281 mean?

Act V

Out damned spot! Out, I say! One; two. Why/ then ‘tis time to do’t. Hell is murky. Fie my lord fie! A/ soldier, and afeard? What need we fear who knows it,/ when none can call out pow’r to accompt? Yet who would/ have thought the old man had so much blood in/ him. (V, i)

Foul whisperings are abroad. Unnatural deeds/ Do breed unnatural troubles. Infected minds/ To their deaf pillows will discharge their secrets./ More she needs the divine than the physician.

Tomorrow, and tomorrow and tomorrow/ Creeps into this petty pace from day to day/ To the last syllable of recorded time; And all our yesterdays have lighted fools/ The way to dusty death. Out, out, brief candle!/ Life’s but a walking shadow, a poor player, \ That struts and frets his hour upon the stage And then is heard from no more. It is a tale/ Told by an idiot, full of sound and fury, / Signifying nothing. (V,v)

Despair thy charm!/ And let the angel whom thou hast served Tell thee, Macduff was from his mother’s womb/ Untimely ripped. (V. viii)

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Romeo and Juliet – Sample Practice Commentary

Read the following passage and identify:

The speaker, The person(s) being spoken to, Where and at what point in the play it is said, Its

significance (character, plot, theme, use of literary devices)

I fear, too early; for my mind misgives Some consequence yet hanging in the stars

Shall bitterly begin his fearful date

With this night’s revels, and expire the term Of a despised life clos’d in my breast

By some vile forfeit of untimely death.

But He that hath the steerage of my course

Direct my sails. (1.4. 106-113)

1. Romeo

2. Himself mostly - Mercutio and Benvolio

and his friends are with him though. 3. Act I, at the end of scene iv. A street in

Verona. Romeo and his friends are on their

way to gatecrash the Capulets’ party, at which Romeo will meet Juliet for the first

time.

4. Literary terms that can be applied, iambic

pentameter, foreshadowing, metaphor, repetition, figurative language, imagery

Motif that can be converted to a larger

theme: Fate/Destiny

This passage, from William Shakespeare’s Romeo and Juliet, uses repetition and figurative language to express Romeo’s fears and thoughts about his fate. He clearly expresses that his mind

“misgives some consequence yet hanging in the stars” to show that he is worried about something.

He seems to have had a premonition that the “stars,” representing fate have something bad in store

for him, which will ultimately lead to “untimely death”. He just told Mercutio a few lines earlier that he had a dream – perhaps it was in this that he had the premonition. The repetition of the word

“fear” stresses Romeo’s mood here. The unrhymed iambic pentameter puts stress on the word

“fear” both times. This connected with the words “death”, “course” and “sail”, clarifies his fears of both death and the uncontrollable fate. This passage foreshadows the deaths of not only Romeo, but

also Juliet, later in the play. It also suggests that Romeo feels that he is controlled by some god and

he does not attempt to fight against the “course” of his life. Shakespeare may be addressing the

Christian idea that God is the master of all men’s fate and the idea that no one can control their own life as it may be predestined by God or “the stars”. The final metaphor is used to compare Romeo’s

life with a boat’s “course” and the person guiding his life is compared to a person steering the boat.

At this point, despite any fears he has, he gives himself over to this captain, God or fate, when he concedes “Direct my sail.

Literary Device Quoted lines/words from text and citation

Explanation

Connection (setting, character, plot, theme, mood, or tone)

imagery sense of touch

cold, stiff joints, frost Cold words Mood: A chilling atmosphere

personification “Death lies on her.” (4.5.28)

Death compared to a person lying on top of the real Juliet

Character: Death does not seem real to Capulet (denial)

simile “Death lies on her like an untimely frost.” (4.5.28).

Death compared to frost coming too soon. The frost surprises at the wrong time.

Plot: Juliet dies too soon. Parents shocked

metaphor “the sweetest flower in the field.” (4.5.29).

Compare Juliet to a sweet flower. Sweet: Young beautiful girl

Theme: A flower cannot survive in a cold, harsh environment.

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Dramatic Presentation Final Assessment You have three options for this final assessment. Please read over the expectations carefully. You may work individually, in pairs or in groups. Please be familiar with the varying expectations.

Individual Options: To memorize and perform 30- 35 lines from Macbeth. Ultimately, voice is your focus to ensure you captivate the audience and capture the essence of your chosen character.

Procedure:

1. Identify a character with whom you feel a connection to. Perhaps this is a character you sympathize or empathize with, someone you find interesting, confusing, etc.

2. Scan the text and identify a passage (30-35 lines) that unveils deep and essential traits of your chosen character. You may decide to ‘join’ smaller passages to compose 15-20 lines.

3. Read contextually so you gain a deep understanding of your passage. 4. Rehearse, ensuring that you are portraying the personality of the

character, and using your voice, face, and body language to convey this.

Expectations:

1. You must employ voice effectively to represent character. 2. Body and facial gestures must be used to convey character’s emotions. 3. Mood and tone must be represented through voice and gestures 4. Lines must be memorized; no notes or cue cards. 5. To earn a top grade you must employ appropriate props and or costumes. 6. Offer a brief introduction explaining your reason for passage and character

selection. You must also set the context for your audience. Variations on the Individual Assignment:

You may record this performance ahead of time, but sound and quality should look professional. Because the pressure of performing in front of an audience is altered, you are expected to put more ‘emotion’ into the piece.

You may consider revising the language of the piece to modern English – or a common stereotypical colloquialism. For this to be effective you must ensure that the modern language is still reflective of Shakespeare’s original intent. Simplifying the piece is not recommended. In your final write up you must explain carefully translation you have chosen.

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You may choose to put the performance to music in the original Shakespearean English or in modern context.

Pair Options: Between the pair, you need to memorize and perform 60- 65 lines from Macbeth. (That is 30 lines each). Ultimately, voice is your focus to ensure you captivate the audience and capture the essence of your chosen character.

Procedure:

5. Identify two characters with whom you feel a connection to. Perhaps this is a character you sympathize or empathize with, someone you find interesting, confusing, etc.

6. Scan the text and identify a passage (60-65 lines) that unveils deep and essential traits of your chosen character. You may decide to combine various scenes to put together a modified version of the characters dialogue.

7. Read contextually so you gain a deep understanding of your passages. 8. Rehearse together, ensuring that you and your partner are portraying the

personality of the character, the relationship the two characters have, and that you use your voice, face, and body language to convey this.

Expectations:

7. You must employ voice effectively to represent character. 8. Body and facial gestures must be used to convey character’s emotions. 9. Mood and tone must be represented through voice and gestures 10. Lines must be memorized; no notes or cue cards. 11. To earn a top grade you must employ appropriate props and or costumes. 12. Offer a brief introduction explaining your reason for passage and character

selection. You must also set the context for your audience. Variations on the Pair Performance: *Modifications from the Individual Variations are allowed as long and the content is still appropriate for two people. Working with a pair does not mean you are only doing half the work. It must be evident that you have exerted the same effort as the individual performances would require.

Group Options: To memorize and perform a scene from Macbeth. Ideally each person in the group would be responsible for at least 20 lines. If that is not possible due to smaller roles, those group members must demonstrate a consorted effort in the staging and

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organization of this performance. Ultimately, voice is your focus to ensure you captivate the audience and capture the essence of your chosen character.

Procedure:

9. Identify a scene that you feel is significant in the play. It can reveal something important about a character, the plot, the theme or the tone.

10. Choose a character with which you feel a connection to. Perhaps this is a character you sympathize or empathize with, someone you find interesting, confusing, etc.

11. Read contextually so you gain a deep understanding of your scene. 12. Rehearse, ensuring that you are portraying the personality of the

character, and using your voice, face, and body language to convey this. 13. Ensure that the scene is blocked out appropriately and that all characters

are prepared.

Expectations:

13. You must employ voice effectively to represent character. 14. Body and facial gestures must be used to convey character’s emotions. 15. Mood and tone must be represented through voice and gestures 16. Lines must be memorized; no notes or cue cards. 17. To earn a top grade you must employ appropriate props and or costumes.

Offer a brief introduction explaining your reason for passage and character selection. You must also set the context for your audience. Variations on the group performance: *See the variations for the individual performance. Many of those can be adapted to the group project. Please keep in mind that working with a group, you must ensure that each member is putting in the same quality of effort.

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Final Written Reflection Based on Your Performance: When your performance is complete you must submit a reflection piece. This reflection can be written using the personal pronoun ‘I’ but it still must remain formal In this reflection piece you will cover the following aspects.

A mini- commentary on a section of your passage. You must be able to prove a full understanding of the line you choose. Refer to the commentary sample on Romeo and Juliet earlier in this package. (One paragraph is fine)

You must explain why you chose the scene/ character. (Significance and personal connection)

Explain why you chose the tone / voice / emphasis you used during the performance

Explain how the performance went based on your preparation (did it go as planned, did you forget to include an action or tone? Explain). Things you must include in the reflection if you did anything other then basic individual performance:

How did you manage working with a partner or pair – what kinds of discussions lead to the decisions you made?

Explain the translations. What aspects of the scene did you try to maintain. How successful was your translation.

IF you put your to music, why did you chose the music you did, and how effective was this.

Format and Expectations:

1. Your assignment should be typed. Name, Date, Course Code and Title. 2. Two pages double-spaced, size 12 font. Do not play with the margins. 3. Due ONE class period after you present. 4. May use Personal Pronouns; yet maintain the functions of formal writing. 5. It will be several well-organized paragraphs. (Think a simplified intro and

conclusion).