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?