COE: Act 5

Find the best way for Adriana to tell her story (5.1.136-160)

1. Told by exaggerated gestures by Adriana
2. told by Adriana with Luciana miming the actions
3. told by Adriana, but with the rest of the actors miming the action
4. told simply by Adriana, on her knees

Which works best? Why?

Egeon’s appeal to his son (5.1.308-319) First time through, work alone. Once you’re done, partner up and discuss.

1. Change the order
1. Rearrange the pieces so that the order of the sentences is different from that in the play. How many different ways of ordering can you find?
2. Asking question
1. Pick out two or three puzzling phrases from the speech. Upon closer inspection, what do they mean?
3. Which phrase do you like best?
1. Choose a phrase or line that appeals to you most. Why do you like this phrase the most? Share with peer.

The Most important line (5.1.406-end)

1. Which do you think is the most important line in the final section of the play? Be prepared to justify your response.

More Final project talk

OK, let's put a sharper focus on the final projects. I ensemble piece knows the scene it is working with, and there's a puppet show in the works (what are the dominant themes you're going to work toward for each act?), a children's book (which one and any specifics on its adaptation), a movie trailer (which play), felted costumes, and much more. Share some details, some goals and we'll definitely talk about these in class on Monday.

COE Act 4 activities

Tableau Vivant

Prose Patterns

It's the final PROJECT!

Please read the title of this post to the tune of Europe's hit: The Final Countdown. And then listen to the song. Promise you'll be inspired. And then come up with ideas for your final project. There will be a quiz on the song. I'll also give extra credit if you 1. come dressed as one of Europe's band members, or 2. memorize the words and choreograph a lip sync to the song, or 3. write a short essay (and I mean short — think 1 paragraph) on the value of 80s style boy bands and their influence on 21st century masculinity.

The possibilities for the final project are limitless. You can write an essay, perform a scene solo or with others, make a movie trailer, make costumes, design a set, storyboard one of the plays and pick locations, create the soundtrack for one of the plays, and on and on and on. You will create the rubric; we'll revise it together.

Go to, young scholars! Don't stop believing in your awesomeness. Don't get hung up on the small details of the ideas. We'll figure those out later. Just keep it together, and all will be right with the world. Heck, we'll be on summer holiday soon enough. That's right, school's almost out for the summer! No more November rain. Just jump for joy, and June will be here in no time.

Post final project ideas here!

Act 4, Sc 1&2

I have made a tragic mistake. I left my book at school. Therefore the questions are at school. Knowing some of you complete homework over the weekend, I will nix the questions because I can't post them until Monday. And I fear Monday will be too late for some.

Forgive me. I know you're devastated.

COE: Act 3 class notes

1. Scene 1: In groups of 7, construct the scene from line 26-123. Big Questions: How funny is too funny? How do you balance the comedy and the serious tone of Balthasar and AE's final speeches? How do you reign in the audience and the actors?
2. Scene 2: Let's look at lines 85-138. Some would say this section is sexist and chauvinistic, showing contempt for women and other nations in its stereotyping. How would you justify this in a staged performance? Look closely at mood, tone, pace, pauses, movement, gestures, etc ... What is each characters' motivation?

Act 3 questions

1. How do the two Dromios compare with one another? Talk specifically about their language and then their actions.
2. How would you stage scene 1? Know that we'll be working on this scene in class as it's physically quite entertaining. So, be creative!

I've been thinking about Amalia's question about Adriana's purpose. While I do still believe it's about the ridiculousness of the play as a whole, I also think her whining and drama queen-like speech is to show us that Antipholus is nothing like that. Her ridiculousness illuminates is awesomeness. It's proving his worth through negation. If he were that bad, we should hate him. But he's not, she was wrong, and so we should love him even more.

Anyway, just another thought. I could be wrong -- it's happened once before. =-) And for the record, we're NEVER having class outside again. That's right. I'm going against James Bond's advice. Never.

COE: Act 1, Sc 2 & Act 2

I.ii
1. How does the audience know the arriving Dromio is of Ephesus and not Syracusa?
2. In what ways is the tone contradictory in lines 32-42 and 43-52. How are these two speeches delivered? Is the contrast present in these two speeches humorous?
3. How is the interaction between Antipholus S and Dromio E played out? Is one more serious than the other? Notice the focus on money.

II.i
1. Act out lines 1-41: What stereotypes do Luciana and Adriana perpetuate? What effect does the rhyme have on this interaction? Compare lines 15-25 and 32-41. What are the two women saying and how are their views on marriage different?
2. Look at Adriana's final two speeches: 87-101 and 103-115. How does this speech contradict her previous one in lines 32-41. What is the tone of her delivery? What is Shakespeare saying about all women in this speech -- go crazy.

II.ii
1. The idea of madness is introduced in the previous scene, and here we have some seriously wacky things happening. But the scene begins with Dromio S's witty word play. What is the purpose of the back and forth in the first 106 lines? Remember, we've now seen Antipholus with both Dromios.
2. Act out lines 109-end. How do Antipholus and Dromio physically react to this situation? What are we to think of Adriana?

Comedy of Errors Begins ....

1. How are the beatings of Dromio acted out? Should the actors play to humor or severity? Support your answer with the text.

2. How should Adriana deliver her speech in lines II.ii.109-145? What is she saying and what do you think of her use of repetition?

Merchant of Venice: The Essay

Here are the essay options!

Tuesday and Thursday: Computer Lab
Monday, May 3: Essay Due. Class in black box. Bring Comedy of Errors.

Act 5 ... it all comes crashing down

The final post for Merchant of Venice! Oh no ... the final post. We'll finish up the Pacino film on Wednesday and then get to the happenings of Act 5. Remember, MoV is classified as a comedy. Did you find it funny?

1. What’s the beginning of Act 5 all about?
2. Is Jessica on stage throughout most of Act 5? If so, why? What happens to her?

Monday's class

MONDAY'S CLASS BE HELD IN THE BBLC LECTURE HALL!!!!

Please pass the word to others. Please be on time.

Equivocation Response

Focusing on one element of the play -- lighting, direction, costumes, acting, whatever -- discuss the successes and/or failures of the play. Your response should be a healthy 2-3 paragraphs.

Act 4, Sc 1&2

Answer 2 of 3. Your choice.

1. Who is the merchant of Venice designated in the title of the play?
2. Is Venice law against Christian bloodshed?
3. What does the ring symbolize to the different characters? Think big and outside the box. Go wild!

Must See

Sassy Gay Friend saves Ophelia.

One of the Prince of Morocco's good assistants.

MoV: 3.3-5

Looking at 3.3, where can a person draw the line between the expression of commercial interests and the expression of Christian values?

Is Venice a state that assumes a universal common humanity or does it make such universalism conditional on being "in Christ"? In other words, is it conditional on being a citizen rather than a stranger?

Belmont vs Venice: How has Shakespeare set up these two worlds in contrast to each other? What does each world represent and why?

I know, I've got lots to ask. That's only because there's lots going on before we head off for break.

MoV: 3.1-2

3.1
Shylock's speech at the bottom of p. 42: How does Shylock deny is own humanity? What are we to make of his speech? How is it delivered?

3.2
Portia and Bassanio at last! Discuss the homework questions. Excellent responses, especially to question #2. How is Shylock's character developed in Scene 2? Why does Bassanio use such fancy rhetoric for such a simple bargain (marriage with Portia). In what ways does Shakespeare contrast Shylock and Jessica? Are we to side with one more than the other? Understand the struggles they both face?

Let's visit the films again.

MoV Act 3, Sc 1-2

1. Is Bassanio the type of man Portia’s father would have chosen?
2. Some critics say in order for Bassanio to join the heterosexual community of the play, he must first get rid of Antonio. What do you think? Keep in mind time period and contemporary cultural norms.

MoV Act 2, Sc 6-9

What causes Shylock’s rage at the end of Act 2: Antonio as a competitor or the loss of Jessica?

MoV Act 2, Sc 1-5

1. What’s the effect of structurally contrasting the scenes with Shylock against the scenes with Portia? Do you like it?

Monday's class!

Folks

We'll be meeting in the BBLC Lecture Hall to watch some film and talk about Act 1. Please meet there and please be on time.

And, there's no homework. So no memorizing or posting or anything. I know this will be difficult to handle. Sorry.

mc

MoV: Act 1, Sc 2-3

To recap some questions from the prior class:

1. How do Salarino and Salanio react to Antonio?
2. What kind of character is Antonio?
3. Is Antonio worried he'll lose his friendship with Bassanio? Are there homosexual overtones in Antonio's talk of love? Does Antonio brighten in Bassanio's presence? (be sure to look at language)
4. Notice Bassanio's innate and unconscious elegance of speech.

Now, from last night's reading:

Scene 2
1. Patriarchal Society and filial piety (duty from son or daughter) meant more to Elizabethan society than to ours. Always keep that in mind.
2. Does Portia have control of her situation or is she helpless?

Scene 3
3. In Scene 2, the stereotypes are mentioned but then disregarded. In Scene 3, the stereotype of the Jew is brought to fruition. hhhmmmm.
4. Is the offer of flesh in jest or serious? Is offer of friendship serious?
5. Whenever we start to sympathize with Shylock, his greed and hatred are emphasized.
6. How is Antonio becoming a Christ figure?
7. How is Shylock is own worst enemy?

End of Act 1 & beyond ...
Notice how Shakespeare has set absolute polarities: Christian/Jew, Venice/Belmont, male/female. Shakespeare takes advantage of these apparent differences in order to put in question the whole issue of difference. How are others, and otherness, related to oneself? To the notion that one has a self?

Merchant of Venice, Act 1, Sc 2-3

1. What’s Portia doing in her first scene? She can’t be just standing there.
2. Does Shylock’s language show us what it’s like to be an outcast?

Share, discuss, be amazing!

Equivocation

Here's a review of the play we'll be seeing in April: Equivocation! OK, we won't be seeing this in New York City, but I'm sure Mill Valley is just as exciting. Will surely be fun fun fun.

Thanks to Kyle for the review.

Essay Topic!

Love is in the air .....

Write your brains out. I welcome posts for questions, comments, concerns, but no complaints. You can use the blog as a forum for essay discussion if you like.

Twelfth Night's Final Day of Fun

We'll break up into different groups; each group will have a different activity.

1. Turn to the beginning list of characters and consider each character in relation to Malvolio. What would be Malvolio's preferred revenge on each? (4 people)

2. There are two patterns to Shakespeare's comedies: Escape from civilization to the green world or invasion of a world by the "other." Which one is Twelfth Night? (4 people)

3. Viola is very quiet at the end. What are we to make of that? And, let's just say that Shakespeare had chosen her for the final epilogue. What would she have to say? (3 people)

4. Cast the lovers: Orsino, Viola, Olivia, Sebastian, Maria and Toby. First, construct a profile on each character (list information known and supposed). Second, who are you going to cast (can be superstars, local people, your fellow classmates) in each part and why? (3 people)

5. Recap the entire play in 3-minutes. That's right, write a 3-minute Twelfth Night. And be ready to prepare it. (4 people)

Equivocation: April 14

Here is a link to the play we'll all be seeing in April. Should be a glorious night of fun!

Act 5: the final act

1. Cry real tears. The play is over. It is done and no more.

2. Here's the question for the night: Does Twelfth Night end happily ever after? We have one marriage and the promise of two more, and yes Shakespeare follows the formula for comedies quite well (coupling everywhere), but would you call this a happy ending? Why? Why not?

Your posts have been fabulous thus far. I so enjoy reading them and especially love when you reference each other. I encourage you, as we move forward, to continue to get inspiration from your peers, but try to push your own ideas even more regardless if someone has already said the thought you wanted to share. Take your ideas in a new direction. Go boldly into the unknown.

Act 4 notes & ideas

1. 4.1: Olivia bursts on the stage at line 39. She must command the stage. How does she do it? What is her entrance like? How does Sir Toby react to Olivia's dismissal?

2. 4.1.46-60: Olivia has just saved the love of her life. Work with a partner and speak the words as persuasively as possible. How does Sebastian react? How does Olivia deliver her lines?

3. 4.2.21-60: Do you feel sympathy for Malvolio seeing as he's in a Catch 22? Do you think Feste's humor is funny or bitter or vicious or what?

4. Scene 3: This scene mirrors the previous one, but what are we to make of this secret marriage? What does the priest make of it? What happened to the mourning vow? Why not say Cesario? What is the dramatic purpose of the scene? Does Sebastian speak some/none/all of his lines to the audience? How does Sebastian speak so as to bring out the humor in his wonderment?

Act 4!

Act 4! Lots of action. Lots and lots of action. We're almost to the end of the play, so find me some lines that hint at the resolutions that are about to come. You need only find two.

Excellent job today. When someone asked me about class, I couldn't help but sing your praises not only for your amazing performances but also for those moments of sheer and utter chaos. Thanks for your hard work, and for the singing and wackiness.

Act 3, Sc 4

Please respond to these two questions:

1. Why has Feste not been involved in the plot against Malvolio? Maria said she would involve him.

2. Olivia says that love, like guilt, shows itself clearly in a person's face and behavior. "Love's night is noon" (3.1.144). Do you agree? Does love always show itself clearly? Can any of your deepest feelings remain private to you and hidden from others?

Act 3, Sc 1-3 Points of interest

1. Discussion: What are we make of Viola's interaction with Feste at the start of 3.1? As Katya noted, Viola seems something in Feste others do not, so does that lead us believe she sees something in Orsino, too? Viola and Feste clearly engaged verbally, but how do they engaged physically?

2. Together: Re-read 3.1.90-160. What stands out the most about what Viola has said? Olivia? Is there desperation in Olivia's words? Evidence of real, true, awesome love? In what different places could Viola and Olivia be having their conversation in 3.1? Playing tennis, sitting on the couch, driving in a car ... And in what time period? Modern day, Elizabethan England, 1960s Marin ... Small group activity: rewrite and condense the interaction between the two women and get ready to perform it.

3. Discussion: What are we to think of Sir Andrew? In all the commotion, we're forced to focus on the love triangle and the Malvolio incident, but poor, poor Andrew gets bullied and knocked around and teased. Do you feel bad? Even Fabian (who the heck is Fabian and what's his purpose in the play?) is trying to get Andrew to stay and pay for more cakes and ale.

4. Discussion: Who is Antonio and how does he fit in this play? How does he act around Sebastian? What are we to make of his language and his relationship to Sebastian?

Act 3, Sc 1-3

Please post two comments on passages/moments/ideas that you loved.

Act 2 notes/ideas

1. Scene 1: Antonio & Sebastian — What are we to think of their relationship? Implications of the nature or love? How do our heteronormative ideas inform our impression of this scene?

2. Scene 3, lines 77-end — The knuckleheads, Malvolio and the plan.

3. Scene 4, lines 14-end — What are we think of Orsino and Viola? Compare their language? Is there sincerity in either character's language?

4. Scene 5, lines 76-166 — How does Malvolio read the letter? How does we stage each sentence or phrase? How do the actors entertain the audience? What are the overhearers doing whilst Malvolio is reading?

Let's talk about LOVE

The much awaited longer response question ...

Does Shakespeare present an over idealized version of love? As Orsino says, "For as I am, all true lovers are:/ Unstaid and skittish in all motions else / Save in the constant image of the creature that is belov'd." (2.4) Is Orsino correct? Is Shakespeare correct? What are your thoughts on the portrayal of love in this play thus far. Hint: translate these lines for yourself before responding.

Share, comment, inform in 3 lovely paragraphs ... more if you like. Less if you dare.

Act 2, Sc 4 & 5

Let's finish up Act 2 with a bang. One comment should be focused on the usual: awe-inspiring moment when you think, "Yeowzers! This Shakespeare guy knows his stuff." The other comment should be focused on this: What character is most like you and why? Have some fun with that one.

Excellent! Super duper! Amazing! Wow! Fantastic! All of those words describe your performances today. I was thrilled. I hope you enjoyed the work you did; I hope you are proud of your performance; I hope you learned something from your peers.

Remember -- meet in LIB 207 on Friday. It's movie time! Yah.

Act 2, Sc 1-3

Back to two posts about your most favorite lines. There are oodles of goodies in these scenes.

12th Night: Act 1, Scene 5 Notes/ideas

From previous reading

1. Scene 3: the knuckleheads. We're offered comedic relief and some prose. Look at Sir Toby's wordplay and his wit. What is Sir Andrew's role? Look at lines 93-124.
2. Scene 4: Viola & Orsino are quick friends. Is Valentine jealous? Look at lines 1-4. How are they delivered? Jealousy? Angry? Superior? Indifferent? Mocking? Friendly? What tone works best and why? Look at the entire scene for the dramatic irony (see terms list). How does Viola respond to Orsino's words of love? Look closely at lines 24-41. Are we witness to love at first sight? What does Viola see in Orsino?

From last night's reading

1. Ideas from nightly posting.
2. Scene 5: Look at lines 154-291 and compare the tone, movement, and intention to 1.4.18-42. How is Viola different in the two scenes?
   

Act 1, Sc 5

Keep up the excellent work. The first night of commenting was fantastic! I especially loved how you answered each other's questions. So be sure to check back if you do post a question/confusion as the answer might well show up from a peer. Otherwise, we'll try to address questions in class.

For this post, I'd like you to comment on one moment from the play, but for your second comment tell me about where you would set your version of Twelfth Night. You are aware of the major action and you have some serious details about the main players. Now you just have to put all of this action and all of these people somewhere in time and space. Where? When? Be creative. Have fun.

12th Night: Act 1, Sc 1-4 notes/ideas

1. Brainstorm: Twelfth Night have TWO titles, the second one being "What You Will." How does each one affect our impression of the play? Why are there two titles?
   
2. Review some questions raised from comments
3. Three story lines: 1. Orsino & Olivia (serious, brooding lovers), 2. Sebastian & Viola (poor, separated siblings), 3. Maria, Sir Toby & Sir Andrew (noting but comedy)
4. Scene 1: we get a clear picture of Orsino and Olivia. What are we to think of these two lovers? Look at lines 25-32 for hints about Olivia
5. Scene 2: we learn about Viola. Is she really in distress or is she a sneaky mistress? Look at entire scene. Pay close attention to lines 28-29, and 47-61. What major theme is Viola playing on in this final speech?
6. Scene 3: the knuckleheads. We're offered comedic relief and some prose. Look at Sir Toby's wordplay and his wit. What is Sir Andrew's role? Look at lines 93-124.
7. Scene 4: Viola & Orsino are quick friends. Is Valentine jealous? Look at lines 1-4. How are they delivered? Jealousy? Angry? Superior? Indifferent? Mocking? Friendly? What tone works best and why? Look at the entire scene for the dramatic irony (see terms list). How does Viola respond to Orsino's words of love? Are we witness to love at first sight? What does Viola see in Orsino?

Act 1, Sc 1-4

Share, share, and share some more ....

Feel free to respond to others and engage in some Shakespearean discourse.