MYP Unit Planner



MYP Unit Planner

|Unit Title |Shakespeare (History of Theater) |

|Teacher (s) |Colleen |

|Subject and grade level |Drama Grade 8 |

|Time frame and duration |8 lessons |

Stage 1. Integrate significant concept, area of interaction and unit question

Stage 2. Assessment:

|What task (s) will allow students the opportunity to respond to the unit question? What will constitute acceptable evidence of understanding? |

|How will students show what they have understood? (Summative assessment) |

|Small groups will perform excerpts from various Shakespeare plays; identify the passions, demonstrating the common themes with today’s theater|

|and film industry. They will be expected to find at least 2 movies and 2 novels that use the same themes. Groups will present their findings |

|in a power point presentation after their short Shakespeare performance. |

|Which specific MYP objectives will be addressed during this unit? |

|1.Knowledge and understanding: |

|Students will be able to place Shakespeare’s work into historical context, and be able to identify his themes that are common to today’s film |

|and theater industry. Students will identify the element of dramatic tension in his plays. |

|2. Application: |

|Students will be given the opportunity to perform excerpts from various Shakespearean plays, through their performance they will demonstrate |

|their understanding of dramatic tension and they will identify the themes of passion. |

|3. Evaluation and reflection. |

|Students will reflect on the process and the performance in their journals. Students will also receive and give feedback to their peers. |

|4. Awareness and personal Engagement. |

|Students will be evaluated on their willingness to take risks, and on their motivation and initiative. |

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|Which MYP assessment criteria will be used? |

|Criterion B, C, A, D. |

|Assessment tools: |

|See attached rubrics, peer feedback sheets and teacher feedback reports (receipt book) |

|A.T.L. |

|Gathering information on the Elizabethan era, sorting information to present to the class. Synthesizing scripts in order to identify the |

|passions in the scene and application of all the prior knowledge in the presenting of the short play. Application of knowledge is also evident|

|in the linking of Shakespearean work to modern theater and film |

Stage 3: Planning the unit: Working backwards from the final assessment

|Teaching strategies |Whole class presentations, small group research, small group performances, peer feedback, teacher |

| |feedback, constant encouragement in the search for the passions of life |

|Learning activities |Presentation of King Henry the 8th |

| |Small group research on the globe, Elizabethan thinking, and Shakespeare’s life. |

| |Present info to the rest of the class |

| |View extracts from Elizabeth, and Shakespeare in Love, identify the element of dramatic tension) give |

| |them the hand out to use while watching= |

| |Glance at the language, play with Shakespeare insults, and words that remain today |

| |Read extracts from R &J, Julius Caesar, Macbeth, Much ado about nothing, Midsummer Nights Dream, Hamlet|

| |and Othello, Taming of the Shrew |

| |Students study the piece of their choice and rehearse a performance |

| |Perform their piece to the class, and have discussion about the passion of life. |

| |Research the themes and link to modern theater and film |

| |Present power point to class |

| |Watch the reduced Shakespeare company. |

| |Write new quotes on class walls |

|Resources |DVD. Shakespeare in Love |

| |Elizabeth |

| |The reduced Shakespeare company |

| |Excerpts from R/J Zeferelli production |

| |Excerpts from In search of Henry V |

| |Excerpts from Much ado about nothing |

| |Excerpts from Macbeth |

| |Shakespeare for beginners: Brandon Toropov |

| |An Introduction to Shakespeare: Marchette Chute |

| |Top ten Shakespeare stories: Terry Deary |

|Shakespeare an introduction: |

|What is passion? |

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|Scheme of Work |

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|Content |

|No of lessons |

|Assessment |

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|Presentation of Henry the 8th |

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|1 |

|Class participation and observation |

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|Small group research on the globe, Elizabethan thinking, and Shakespeare’s life. |

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|1 |

|Observation |

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|Present info to the rest of the class |

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|1 |

|Peer feedback |

|Teacher feedback (receipt book) |

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|View extracts from Elizabeth, and Shakespeare in Love, |

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|1 |

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|Glance at the language, play with Shakespeare insults, and words that remain today |

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|Observation |

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|Read extracts from R &J, Julius Caesar, Macbeth, Much ado about nothing, Midsummer Nights Dream, Hamlet and Othello, Taming of the Shrew, |

|identify the passion in each |

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|1 |

|Observation, class discussion |

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|Students study the piece of their choice and rehearse for a performance |

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|3 |

|Teacher and peer feedback (receipt book) |

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|Perform their piece to the class, and have discussions about the passion of life. |

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|2 |

|Peer feedback |

|Teacher assessment using criteria B rubric |

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|Research the themes and link to modern theater and film |

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|2 |

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|Present power point to class |

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|1 |

|Criteria C. feedback, and Criteria A. Feedback |

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|Watch the reduced Shakespeare company. |

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|1 |

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|Total lessons |

|14 |

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|Standards and Benchmarks: |

|Standards: |Benchmarks: |

|Perform | |

|Standard 1. Perform a variety of styles of theater and a variety of characters. |Benchmark 2. Use body language to express the |

| |character. |

| |Benchmark 3. Hold and audience with my performance|

| |creating tension, atmosphere and interest. |

| |Benchmark 4. Perform in small and large ensembles |

| |demonstrating technique, style and stage presence.|

| |Benchmark 5. Independently select a piece of |

| |theater to perform alone or with others. |

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| |Benchmark 2. Experiment with a range of dramatic |

|Standard 2. Perform and interpret dramatic texts from traditional and non-traditional |styles from different parts of the world and |

|sources. |different eras. |

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|Standard 3. Analyze and evaluate own performances |Benchmark 1. Critique own performances and the |

| |performance of peers using appropriate criteria |

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|Create |Benchmark 3. Collaborate with other actors to |

|Standard 5. Write, direct and choreograph a variety of scripts |refine scripts |

| |Benchmark 4. Lead small groups in the planning and|

| |executing of dramatic performances. |

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|Standard 6. Analyze and evaluate own plays. |Benchmamrk3. Compare the effectiveness of own |

| |improvisation and performances to other students |

| |and professionals. |

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|Respond | |

|Standard 7. Understand the historical contributions and cultural dimensions of drama |Benchmark 2. Discuss how theater can reveal |

|Standard 8 Understand the relationships among the arts and disciplines outside the arts |universal concepts and truths. |

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| |Benchmark 1. Recognize the role of theater, film |

| |and other media in daily life. |

Stage 4: Personal Reflection:

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The design cycle.

|The idea |Identifying the passion in the excerpt of the play and linking it to modern film and theater |

|Planning |Using class time to rehearse and collaborate with the rest of the cast on the PowerPoint |

| |presentations |

|Creating |Staging and performing |

| |Designing the PowerPoint |

|Evaluating |Journal reflections, teacher and peer feedback |

The assignment.

1. After reading a variety of excerpts from various Shakespeare plays, decide on which piece you would like to perform. Remember do not choose a piece because your friend has chosen it, rather choose something that you can relate to, or find challenging or would like to study in terms of the passion in the piece. Once you have decided this, I will put the casts together.

2. Identify the passion and the dramatic tension in the piece. (Fill in the planning sheet 1.)

3. Rehearse with your cast

4. Plan for your performance (fill in planning sheet 2)

5. Perform (criterion B rubric)

6. As a group (your cast), plan your PowerPoint presentation on the matching themes of passion in modern film and theater. Remember to identify the dramatic tension in the films you have studied (fill in planning sheet 3)

7. Present your PowerPoint to the class. (Criterion A rubric)

8. Reflect in your journal (see planning sheet 4)

9. The due date for your performance is

10. The due date for your PowerPoint is

11. The due date for your journal reflection is

All work will be done in class. Your final reflections may need time outside of the class.

Planning sheet 1.

Name.

Passion and dramatic tension

Criterion A. Knowledge and understanding

One of the elements of drama is dramatic tension. This is the tension created in the story that keeps the audiences attention throughout, and makes them wonder what will happen next. There are generally 4 ways of creating dramatic tension.

1. The main actors have a relationship problem either with each other or with some person in the story.

2. The main character has a personal problem that they have to overcome

3. The story starts off so confusing that you don’t know what’s going on, so you keep watching until all the pieces fall into place

4. There is always an element of surprise. The most unlikely thing happens to the character that changes the whole story.

5. In the pieces of Shakespeare that we will read together, identify the passion and the dramatic tension in each

6. Remember passion is the strong out burst of and emotion or the strong feeling of a specific emotion.

|Shakespeare Excerpt |Passion |Dramatic tension through a |Dramatic tension through a personal |Dramatic tension through the element|Dramatic tension through the|

| |(Strong emotion) |relationship problem |problem they have to overcome |of surprise |concept of confusion that |

| | | | | |becomes clearer as the scene|

| | | | | |evolves |

|1. Romeo and Juliet Balcony scene | | | | | |

|2. Tybalt and Mercutio’s fight | | | | | |

|3. Romeo and Juliet death scene | | | | | |

|4. Julius Caesars murder | | | | | |

|5. Macbeth 3 witches foretelling Macbeth’s future | | | | | |

|6. Lady Macbeth convincing herself and Macbeth to | | | | | |

|Murder the King | | | | | |

|7. Lady Macbeth’s out spot out speech | | | | | |

|8. Opening Scene of Midsummer nights dream, Egeus, | | | | | |

|Hermia, Lysander and Demetrius. | | | | | |

|9. Forrest scene of Puck, Oberon, Helen, Hermia, | | | | | |

|Lysander and Demetrius | | | | | |

|10. Benedick and Beatrice | | | | | |

|From Much ado about nothing | | | | | |

Planning sheet 2.

Name.

Planning the performance

Criterion B. Application

Work on your own at first and then work with your cast to clarify anything

|Piece I have selected | |

|Role I would like to play | |

|Other members of the cast and their roles | |

|Costume I will need | |

|Props I will need | |

|Date by which I will know all my lines | |

|My character displays the passion of … because… | |

|My character creates dramatic tension because… | |

|My character develops the dramatic tension by… (Acting voice, costume, body | |

|language etc) | |

|We will be ready top perform on… | |

|Does my piece make any reference to the Elizabethan way of thinking (chain of | |

|being, wheel of fortune, heavenly bodies and music, superstition) | |

Planning sheet 3.

Name.

Plan for your group PowerPoint

Criterion A. Knowledge and understanding.

Remember to use appropriate visuals, preferably pictures taken of your own performance. You may choose to do more than these suggested slides.

|Slide |Who will complete this slide |Date due to be completed |

|1. Title: What is passion in (name of your Shakespeare piece) | | |

|2. Cast members | | |

|3. Define and identify the passion in your play | | |

|4. Define and identify the dramatic tension in your play | | |

|5. Identify 2 film titles with the same passion. | | |

|6. Discuss the first film, and explain the passion and the dramatic tension in the film that is similar to your | | |

|play | | |

|7. Discuss the second film, and explain the passion and the dramatic tension in the film that is similar to your| | |

|play | | |

|8. Identify two novels or theater pieces with the same passion as your play. | | |

|9. Discuss the first novel or theater piece, and explain the passion and the dramatic tension that is similar to | | |

|your play | | |

|10. Discuss the second novel or theater piece, and explain the passion and the dramatic tension that is similar | | |

|to your play. | | |

|11. Conclusion on Shakespeare’s themes of passion and life and its relevance to today | | |

Planning sheet 4.

Journal reflections

Criterion C. Reflection and evaluation

After completion of your unit, please reflect on the following questions. Don’t forget to keep notes throughout the whole process in your journal. You may want to add additional notes about Shakespeare or about the piece you have studied. Additional images and pictures of you rehearsing would be a great addition.

Remember the arts are about the design cycle. That means first you get an idea, then you plan it then you apply it or try it out, then you evaluate it and then you try again or produce the final piece.

1. How did you go about choosing the piece you performed?

2. How did your planning go throughout the unit? Could you have made any adjustments?

3. What did you think about the feedback you got from your peers or from the teacher?

4. How do you think the final performance went?

5. How do you think your final presentation went?

6. How do you evaluate your self on this unit?

7. If you had to chose on y one single thing that you learnt in this unit (anything), what was it.

Criterion C: Reflection and evaluation (max 8)

| |Descriptor |

|0 |Just didn’t get it done or the dog ate it |

|1-2 |Feedback is minimal and rudimentary: I’ve handed it in but there’s very little there |

|3-4 |Provides an evaluation, but some are unrealistic or incomplete: Oops , I didn’t get it all done or , oops its late, or , I |

| |think ‘m great anyway , I don’t need to give feedback on my performance or I am defensive about what others have said about |

| |my performance. |

|5-6 |Reflects on work, takes feedback into account, is realistic in the appraisal of the work and clearly identifies areas of |

| |improvement. I thought about this carefully and I took into account all the feedback I got from the teacher and my peers. I |

| |realize where I could have made some improvements and I recognize my skills. |

|7-8 |Gives a considered response to feedback and provides thorough reflection and evaluation of the process and development. Its |

| |accurate and detailed: I thoughtfully reflected on what we did. I included lots of detail and even added extra information. |

| |I am realistic about what I have achieved and the shortcomings I may have had. I can clearly see how the skills we were |

| |taught here can help me in future assignments inside the drama room and outside. |

Throughout this unit I will be observing you to see how you responded in class and how you participated in the activities and the discussions. This is how you will be graded.

Criterion D: Artistic Awareness and Personal Engagement (max 8 points)

| |Descriptor |

|0 |Just didn’t do anything |

|1-2 |Participates to some extent, yet shows little interest and personal engagement. So you thought this was boring and you |

| |really would rather be somewhere else. You often kept others from their work because you weren’t into it. Sometimes when you|

| |felt like it you did a little. |

|3-4 |Participates and shows some self –discipline and motivation. Some of the time you joined in and contributed some ideas, |

| |although I had to remind you to stay on task. Once you were reminded, you did focus again and actually had some good ideas. |

|5-6 |Fully engaged and shows a willingness to develop further. You really tried everything. You followed instructions and when |

| |suggestions were made, on how to improve the performance or presentation, you were very willing to try to improve. You never|

| |wasted any time of your own and didn’t keep others out of their work. |

|7-8 |High Level of Interest shows initiative, enthusiasm, and commitment. Wow! You really tried your best at everything we did. |

| |You were great at getting the others to be involved too. You were on time for all the lessons and really excited about the |

| |project, and you really wanted this to work for you all. |

Criterion B. Application (max 10 points)

Performance

| |Descriptor |

|0 |Just didn’t get it done |

|1-2 |Limited abilities to use skills and strategies. Poor quality work. Very little time was used effectively in class to develop|

| |the scene. You have not identified the dramatic tension or the passion accurately if at all. Costumes and props were not |

| |used or were inappropriate. |

|3-4 |Success with some basic skills and strategies. The work reaches a point of realization and shows some proficiency in |

| |techniques. You have a basic understanding of how to use your stage space, face and body and voice but all these skills need|

| |to be developed. While the audience did not easily identify the passion and dramatic tension you have worked through the |

| |piece. You knew your lines and you are starting to show improvement in voice projection and confidence. More effort could |

| |have been put into the use of prop and costumes. |

|5-6 |Applies skills and strategies needed to produce creative work showing reasonable proficiency in techniques. You have a good |

| |understanding of how to use your face, body and stage space; You identified the passion and dramatic tension but were not |

| |consistent in maintaining the tension. Your character was believable most of the time. Costumes and props were used were |

| |used with some effect. Little thought was given to the Elizabethan way of thinking. You worked with the rest of the cast. |

|7-8 |Shows competence in applying skills and strategies. Shows creativity and proficiency in techniques. You accurately |

| |identified the dramatic tension and the passion of the piece. Your performance was convincing and you creatively used the |

| |performance space. You used, face, body, space and voice effectively to portray the theme and the dramatic tension. While |

| |your performance was good it was not always convincing. Your costumes and props were appropriate. You worked well with other|

| |members of the cast. You were aware of the Elizabethan way of thinking but did not treat these aspects differently in the |

| |performance. |

|9-10 |Highly competent in choosing and applying a range of skills and strategies for the realization of work. The process reflects|

| |a high level of proficiency and creativity. You accurately identified the dramatic tension and the passion of the piece. You|

| |wowed the audience with your ability to use face, body, space and voice in building the tension and keeping the audiences |

| |attention. Your character was convincing and believable. You used levels and stage positioning effectively. You have a good |

| |understanding of the Elizabethan way of thinking and so emphasized anything that was linked to the chain of being, the wheel|

| |of fortune or the heavenly bodies and music. Your costumes and props were effective in contributing to the dramatic tension |

| |or the theme. You interacted well with the other members of your cast and paid a lot of attention to detail. |

Criterion A. Knowledge and understanding (max 8 points)

PowerPoint presentation.

| |Descriptor |

|0 |Just didn’t get it done |

|1-2 |The student has acquired limited theoretical knowledge and little understanding of the topic under consideration. Your |

| |participation in the research process was very limited. Your part of the presentation has some information but it needs |

| |further work for it to explain the questions properly. You have a vague idea about dramatic tension, and how your dramatic |

| |piece relates to the themes in the movies/theater pieces your group has chosen. |

|3-4 |The student shows a basic acquisition of theoretical knowledge and understanding of the topic under consideration. The |

| |student uses some subject specific terminology to show critical awareness. You are able to define dramatic tension. You are |

| |not clear on identifying it in the films/theater pieces you have selected. You are able to define what the passion is in |

| |your film/theater piece. Your slides are consistent with the others. You have few or no images appropriate to what you are |

| |discussing on your slide |

|5-6 |The student shows a broad understanding of the topic under consideration and applies theoretical knowledge and subject |

| |specific terminology to identify some of the complexities of the materials studied. You have accurately defined dramatic |

| |tension and you have accurately identified it in the films/theater pieces your group has chosen. You have defined passion |

| |and identified it in the additional material your group has chosen. Your slides are consistent with the others and you have |

| |used appropriate images to convey your information. |

|7-8 |The student shows a thorough understanding of the topic under consideration; the student confidently applies theoretical |

| |knowledge and subject specific terminology to identify clearly the complexities of the materials studied. You have |

| |accurately defined dramatic tension and you have accurately identified it in the films/theater pieces your group has chosen.|

| |You have defined passion and identified it in the additional material your group has chosen. You examples are thoroughly |

| |explained. Your images are appropriate and support everything you say on your slides. You have used a variety of images to |

| |support your argument and some of them are of the class members during rehearsals or during their performances. |

Peer feedback on performances (Criterion B. Application)

|Name of evaluator | |

|Name of actor you are evaluating | |

|Role they are playing | |

|Comment on their use of voice (do they express the passion) | |

| | |

|Comment on their use of body language (does it support what they are | |

|saying and feeling) | |

|Comment on their use of stage space. Do they interact with the other | |

|actors and does the movement support the message they are trying to convey| |

|Other comments | |

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Peer feedback on performances (Criterion B. Application

|Name of evaluator | |

|Name of actor you are evaluating | |

|Role they are playing | |

|Comment on their use of voice (do they express the passion) | |

| | |

|Comment on their use of body language (does it support what they are | |

|saying and feeling) | |

|Comment on their use of stage space. Do they interact with the other | |

|actors and does the movement support the message they are trying to convey| |

|Other comments | |

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| | |

Adapted Shakespeare Excerpts

Romeo and Juliet balcony Scene. Act 2 Scene 2

|Act 2 Scene 2 |

|Romeo comes out of hiding and looks up to the balcony |

|Romeo |But soft! What light through yonder window breaks |

| |It is the east and Juliet is the sun |

| |Arise fair sun and kill the envious moon |

| |It is my lady, oh it is my love |

| |See how she leans her cheek upon her hand |

| |Oh that I were a glove upon the hand |

| |That I might touch that cheek |

|Juliet |Ay me |

|Romeo |She speaks |

| |Oh speak again bright angel |

|Juliet |O Romeo, Romeo, wherefore art thou Romeo |

| |Deny thy father and refuse thy name |

| |Or if thou wilt not, be but sworn my love |

| |And ill no longer be a Capulet |

|Romeo |Shall I hear more or shall I speak at this |

|Juliet |‘Tis but thy name that is my enemy |

| |What’s in a name? That which we call a rose |

| |By any other word would smell as sweet |

| |Oh Romeo doff thy name |

| |And for thy name, which is no part of thee |

| |Take all myself |

|Romeo |I take thee at thy word |

| |Hence forth I never will be Romeo |

|Juliet |My ears have not yet drunk a hundred words of thy tongues uttering, yet I know the sound |

| |Art thou not Romeo and Montague |

|Romeo |Neither fair maid, if either thee dislike |

|Juliet |How cam’st thou hither? |

|Romeo |With loves light wings did I over perch these walls |

|Juliet |If thou be seen they will murder thee |

|Romeo |I have nights cloak to hide me from their eyes |

|Juliet |By whose direction found’st thou this place |

|Romeo |By love that first did prompt me to inquire |

|Juliet |O gentle Romeo, If thou dost love, pronounce it faithfully |

|Romeo |Lady, by yonder blessed moon vow… |

|Juliet |O swear not by the moon, the inconsistent moon |

|Romeo |What shall I swear by? |

|Juliet |Do not swear at all |

|Nurse calls from within |

|Juliet |Oh sweet good night |

| |This bud of love, by summers ripening breath |

| |May prove a beauteous flower when next we meet. |

| |Good night good night |

|Romeo |No exchange, thy loves faithful vow for mine |

|Juliet |I gave thee mine before thou didst request it |

|Nurse calls from within |

|Juliet |Anon good nurse |

| |Three words dear Romeo, and good night indeed |

| |If that thou bent of love be honorable |

| |Thy purpose marriage |

| |Send me word tomorrow |

|Nurse calls |

|Juliet |I come |

| |But if thou meanest not well |

| |I do beseech thee, to cease thy strife |

| |And leave me to my grief |

| |A thousand times good night. |

|Romeo |Sleep dwell upon thine eyes, peace in thy breasts |

| |Would I were sleep and peace so sweet to rest |

| |Hence I will to my ghostly Friars cell |

| |Her help to crave and my dear hap to tell. |

2. Tybalt and Mercutio’s fight. Act 3 Scene 1

|Act 3 Scene 1 |

|Romeo and Juliet and Friar freeze while 8th grade choir performs. As they leave so Mercutio, Benvolio and Tybalt enter |

|Benvolio |Good Mercutio, the day is hot and Capulets are abroad, and if we meet we shall not escape a brawl. |

| |Here come the Capulets |

|Tybalt |Gentleman, a word with one of you. |

|Mercutio |And but one word with one of us? Couple it with something. Make it a word and a blow |

|Tybalt |You shall find me apt enough to that sir. |

| |Mercutio, thou consortest with Romeo |

|Mercutio |Consort? What dost thou make us minstrels? |

|Benvolio |Come, withdraw into some private place |

|Enter Romeo |

|Tybalt |Ah. Here comes my man! |

| |Romeo, the love I bear thee, can afford no better term than this! |

| |Thou art a villain! |

|Romeo |Tybalt, villain I am none. |

| |Therefore, farewell, I see thou knowest me not. |

|Tybalt |This shall not excuse the injuries that thou hast done me. Therefore turn and draw |

|Romeo |I do protest. I never injured thee. |

|Mercutio |O calm dishonorable, vile submission. |

| |Tybalt you rat catcher, will you walk. |

|Tybalt |I am for you |

|Romeo |Gentle Mercutio, put up thy sword |

| |Draw Benvolio, beat down their weapons |

| |For shame! |

| |Hold! Tybalt, Mercutio! |

|Romeo tries to hold Mercutio and Tybalt apart. Tybalt thrusts his sword under Romeos arm, killing Mercutio |

|Mercutio |I am hurt |

| |A plague on both your houses, I am sped |

|Romeo |Courage, man, the hurt cannot be too much. |

|Mercutio |Ask for me tomorrow and you shall find me a grave man. |

| |A plague on both your houses |

| |Help me into some house, Benvolio, Or I shall faint, |

| |They have made worms meat of me. |

|Benvolio |Oh Romeo, Romeo. Brave Mercutio is dead. |

| |Here comes the furious Tybalt back again. |

|Romeo |Now, Tybalt take the ‘villain’ back again., for Mercutio’s soul is but a little way above our heads |

| |Staying for thine to keep him company. |

|Romeo and Tybalt fight until Tybalt falls |

|Benvolio |Romeo, away be gone. |

| |Stand not amazed, the prince will doom thee death. |

| |Be gone away! |

|Romeo |O I am fortunes fool! |

|Exit Romeo enter citizens and prince |

|Prince |Where are the vile beginners of this fray? |

|Benvolio |Oh noble Prince, |

| |There lies the man, slain by young Romeo |

| |That slew thy kinsman brave Mercutio. |

|Lady Capulet |Tybalt! My cousin! |

| |Oh prince, oh husband, o blood is spilled of my dear kinsman |

|Prince |Benvolio, who began this bloody fray? |

|Benvolio |Tybalt here slain, |

|Lady Capulet |He is a kinsman of the Montegues |

| |Affection makes him false |

| |I beg for justice |

| |Romeo slew Tybalt, Romeo must not live |

|Lady Montague |Not Romeo prince. He was Mercutio’s friend. His fault concludes but what the law should end, |

| |The life of Tybalt |

|Prince |And for that offence, immediately we do exile him hence. |

| |Let Romeo hence in haste |

| |Else when he is found, that hour is his last |

3. Romeo and Juliet death scene. Act 5 Scene 1

|A messenger comes on and looks at the scene, he runs to upstage right where Romeo is waiting he whispers |

|Romeo shouts in agony while all others freeze. Bell toll again |

|Act 5 Scene 1 |

|Romeo |Then I defy thee stars! | |

| |Hast thou no letter from the friar? | |

|Messenger |No my good lord | |

|Romeo |No matter, get thee gone | |

| |Well Juliet I will lie with thee tonight (move in slow motion to Juliet while the following dialogue | |

| |happens | |

|Friar John |Holy friar? | |

|Friar |This would be the voice of friar John | |

| |What says our Romeo of the new plans | |

|Friar John |My speed to Mantua was stayed! | |

|Friar |Who gave the letter to Romeo? | |

|Friar John |It was not sent (Freeze) | |

|Romeo |Give me my torch | |

| |Give me those flowers. Here take this letter. Early in the morning, see thou deliver it to my mother. | |

| |Do as I bid thee, go! | |

|Romeo |Oh my love, my wife | |

| |Death that hath sucked the honey of thy breath | |

| |Hath had no power yet upon thy beauty. | |

| |Ah dear Juliet, | |

| |Why art thou yet so fair? | |

| |Oh hear will I set up my everlasting breath | |

| |Eyes look your last | |

| |Arms take your last embrace | |

| |And lips, oh you | |

| |The doors of breath, seal with a righteous kiss | |

| |(Drink) | |

| |Oh true apothecary | |

| |Thy drugs are quick. Thus with a kiss I die | |

|Juliet |Where is my Lord | |

| |I do remember well where I should be, where is my Romeo…(gasp) | |

| |Poison, I see hath been his timeless end | |

| |Oh churl drunk all and left no friendly drop | |

| |To help me after | |

| |I will kiss thy lips | |

| |Haply some poison yet doth hang on them (kiss) | |

| |Thy lips are warm…. (Pause and hear the sounds outside) | |

| |Yea noise, then I’ll be brief | |

| |O happy dagger | |

| |This is thy sheath. There rust and let me die | |

| |(Fall across Romeo) | |

| |

4. Julius Caesar.

|Act 3 Scene 1 :52 |

|Brutus |I kiss thy hand, but not in flattery, Caesar; |

| |Desiring thee that Publius Cimber may |

| |Have an immediate freedom of repeal. |

|Caesar |What, Brutus. |

|Cassius |Pardon, Caesar, Caesar pardon: |

| |As low as to thy foot doth Cassius fall. |

| |To beg enfranchisement for Publius Cimber. |

|Caesar |I could be well moved, if I were as you; |

| |If I could pray to move, prayers would move me; |

| |But I am constant as the northern star, |

| |Of those true fixed and resting quality |

| |There is no fellow in the firmament. |

| |The skies are painted with unnumbered sparks, |

| |They are all fire and every one doth shine; |

| |But there’s but one in all doth hold his place. |

| |So in the world; tis furnished well with men |

| |And men are flesh and blood, and apprehensive; |

| |Yet in the number I do know but one |

| |That unassailable holds on his rank, |

| |Unshaken of motion; and that I am he, |

| |Let me a little show it even in this, |

| |That I am constant, Cimber should be banished, |

| |And constant do remain to keep him so. |

|Cinna |O Caesar |

|Caesar |Hence! Wilt thou lift up Olympus? |

|Decius |Great Caesar |

|Caesar |Doth not Brutus bootless kneel? |

|Casca |Speak hands for me! |

|All stab Caesar |

|Caesar |Et tu Brute? Then fall Caesar |

|He dies |

|Cinna |Liberty! Freedom! Tyranny is dead! |

| |Run hence, proclaim, cry it about the streets. |

|Cassius |Some to the common pulpits, and cry out, |

| |Liberty, freedom and enfranchisement! |

|Brutus |People and Senators, be not affrighted. |

| |Fly not, stand still. Ambitions debt is paid |

5. Macbeth’s 3 Witches

|Act 1 Scene 1 |

|Narrator |A fierce and salty wind came from the sea, covering the already bleak Scottish heath with a stinging dampness. Forks of|

| |lightning exposed how barren the place was. There was no sign of life anywhere. |

|First witch |When shall we three meet again |

| |In thunder, lightning or in rain |

|Second witch |When the hurly-burly’s done |

| |When the battle’s cost and won |

|Third witch |That will be ere the set of sun |

|First |Where the place? |

|Second |Upon the heath |

|Third |There to meet with Macbeth |

|First |I come grimalkin |

|Second |Paddock calls |

|Third |Anon |

|All |Fair is foul and foul is fair |

| |Hover through the fog and filthy air |

|Act 1 Scene 3 |

|Narrator |Meanwhile, Macbeth, the brave soldier was traveling with his companion Banquo from Fife to Forres. The country was |

| |rough and the weather wild. Thunder rumbled impatiently in the sky. A flash of lightning illuminated the desolate heath|

| |they were now crossing. Again the thunder drummed upon the charcoal clouds |

|Third witch |A drum, a drum, Macbeth doth come. |

|All |The weird sisters hand in hand |

| |Posters of the sea and land |

| |Thus do go about about |

| |Thrice to thine and thrice to mine |

| |And thrice again to make up nine |

|Enter Macbeth and Banquo |

|Macbeth |So foul and fair a day I have not seen |

|Banquo |How far is it called to Forres? What are these, |

| |So withered and so wild in their attire, |

| |That look not like the inhabitants of the earth, |

| |And yet are on it? Live you? Or are you aught |

| |That man may question? You seem to understand me |

| | |

| |By each at once her choppy finger laying |

| |upon her skinny lips. You should be women; |

| |And yet your beards forbid me to interpret |

| |That you are so |

|Macbeth |Speak if you can, what are you? |

|First witch |All hail, Macbeth, Hail to thee, Thane of Glamis |

|Second witch |All hail, Macbeth, Hail to thee, Thane of Cawdor |

|Third witch |All hail, Macbeth, that shalt be king hereafter |

|Banquo |Good sir, why do you start, and seem to fear |

| |Things that doth sound so fair? In the name of truth, |

| |Are ye fantastical? |

| |If you can look unto the seeds of time |

| |And say which grain will grow and which will not, |

| |Speak then to me, who neither beg nor fear |

| |Your favours nor your hate. |

|First witch |You shall be lesser than Macbeth and greater. |

|Second witch |Not so happy, yet much happier |

|Third witch |Thou shalt get kings, though thou be none. |

| |So all hail, Macbeth and Banquo |

|First witch |Banquo and Macbeth all hail! |

6. Lady Macbeth convinces herself and Macbeth to do the deed of killing the King

Act 1 Scene 5

|Act 1 Scene 5 |

|Narrator |In Macbeth’s Castle at Inverness, Lady Macbeth reads the letter her husband has sent her after having met the three weird |

| |sisters. He tells her of their prophecies and of the impending visit of the King to their castle. She paces the room with |

| |mounting excitement and ambition |

|Lady Macbeth | (She reads) They met me on the day of success: and I have learned by the perfectest report that they have more in them than |

| |mortal knowledge. When I burned in desire to question them further, they made themselves air into which they vanished. Whilst |

| |I stood rapt I wonder of it, came missives from the king, who all ‘hailed me thane of Cawdor, by which title before these weird|

| |sisters saluted me., and referred me to the coming on of time with ªhail King that shalt be! This have I thought good to |

| |deliver thee, my dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what |

| |greatness is promised thee. Lay it thy heart, and farewell. |

|Lady Macbeth |Glamis thou art. And Cawdor; and shalt be what thou art promised: |

| |Yet I do fear thy nature |

| |It is too full of the milk of human kindness |

| |To catch the nearest way: |

| |Thou wouldºst be great; |

| |Art not without ambition, but without |

| |The illness should attend it: |

|Enter messenger |

|Lady Macbeth |What is your tidings? |

|Messenger |The King comes here tonight |

|Lady Macbeth |Thou art mad to say it: |

| |Is not thy master with him? |

|Messenger |So please you it is true; our thane is coming; (exit) |

|Lady Macbeth |He brings great news |

| |The raven himself is hoarse |

| |That croaks the fatal entrance of Duncan |

| |Under my battlements. |

| |Come you spirits |

| |That tens on mortal thoughts, |

| |Unsex me here, |

| |And fill me from the crown to the toe top full |

| |Of direst cruelty! Make thick my blood; |

| |Stop up the access and passage to remorse, |

| |That no compunctious visiting s of nature |

| |Shake my fell purpose, nor keep v between |

| |The effect and it! Come to my women’s breasts, |

| |And take my milk for gall, |

| |Come, thick night, |

| |And pall thee in the dunnest |

| |Smoke of hell, |

| |That my keen knife see not the wound it makes, |

| |Nor heaven peep through the blanket of the dark, |

| |To cry Hold, Hold! |

|Enter Macbeth |

|Lady Macbeth |Great Glamis! Worthy Cawdor! |

| |Greater than both, by the all hail hereafter! |

|Macbeth |My dearest love, |

| |Duncan comes here tonight |

|Lady Macbeth |And when goes hence? |

|Macbeth |Tomorrow as he purposes |

|Lady Macbeth |O, never |

| |Shall sun that morrow see!| |

| |Your face, my thane, is as a |

| |Act where men |

| |May read strange matters. |

| |To beguile the time, |

| |Look like the time; |

| |Bear welcome in your eye |

| |Your hand, your tongue: look like the innocent flower, |

| |But be the serpent under it. |

7. Lady Macbeths Out spot out !

|Act 5 Scene 1 |

|Narrator |In a room in Macbeths castle, a doctor and a gentlewomen spend another night crouched in a corner of the room, |

| |observing Lady Macbeth |

|Doctor |Tell me now what is it that she does? |

|Gentlewoman |Since his majesty went to war, I have seen her rise from her bed, write a letter, read it, seal it, and return to bed |

| |again, yet she does all this whilst asleep |

|Doctor |Does she say anything? |

|Gentlewoman |That sir, which I will not repeat |

| |Looks hear she comes. |

| |Watch her but stay hidden |

|Doctor |How came she by the light? |

|Gentlewoman |From her nightstand. Her orders are to have light continually |

|Doctor |Her eyes are open but she does not see |

| |What is it she does now? Look how she rubs her hands. |

|Gentlewoman |It is and accustomed action |

| |With her, to seem thus |

| |Washing her hands; I have known her to continue in this quarter of an hour |

|Lady Macbeth |Yet here’s a spot |

|Doctor |Hark! She speaks: |

|Lady Macbeth |Out, damned spot! out, I say! One two; why then, tis time to do it. |

| |Hell is murky! Fie my lord, fie, a soldier and afeard? What need we fear who knows it, when none can call our power to |

| |account… Yet who would have thought the old man to have so much blood in him? |

|Doctor |Do you mark that? |

|Lady Macbeth |The thane of fife had a wife: |

| |Where is she now? |

| |What will these hands never be clean?.. No more of that my lord, no more of that; |

| |You mar all with this starting |

|Doctor |Go to. Go to. You have known what you should not. |

|Gentlewoman |She has spoke what she should not. Heaven knows what she has known |

|Lady Macbeth |Here’s the smell of blood still: |

| |All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! |

|Doctor |What a sigh is there! The heart is sorely charged. |

|Lady Macbeth |Wash your hands, put on your nightgown; look not so pale… I tell you yet again, |

| |Banquoºs buried; he cannot come out on’s grave |

|Doctor |Even so? |

|Lady Macbeth |To bed, to bed! There’s knocking at the gate, |

| |Come, come, come, come, |

| |Give me your hand. What’s done cannot be undone.. |

| |To bed, to bed, to bed! |

|Doctor |Will she go now to bed? |

|Gentlewoman |Directly |

8. Opening scene of A midsummer Nights dream

|Act 1Scene 1 The Palace of Theseus in Athens |

|(Enter EGUES, and his daughter HERMIA, LYSANDER and DEMETRIUS) |

|Agues |Happy be Theseus, our renowned Duke! |

| | |

|THESEUS |Thanks, good EGUES what’s the news with thee? |

| | |

|THESEUS |What say you, Hermia? Be advis’d, fair maid. |

| |To you your father should be as a god; |

| |Demetrius is a worthy gentleman. |

| | |

|HERMIA |So is Lysander. |

| | |

|THESEUS |In himself he is; |

| |But, in this kind, wanting your father’s voice, |

| |The other must be held the worthier. |

| | |

|HERMIA |I would my father look’d but with my eyes. |

| | |

|THESEUS |Rather, your eyes must with her judgment look. |

| | |

|HERMIA |I do entreat your grace to pardon me. |

| |I know not by what power I am made bold, |

| |But I beseech your grace that I may know what may befall me if I refuse to marry Demetrius. |

| | |

|THESEUS |Either to die, or you can endure the livery of a nun. |

| | |

|HERMIA |So will I live or die my lord, |

| |I yield myself unto his worship. |

| | |

|THESEUS |Take time to pause, and by the next moon, |

| |The sealing day betwixt my love and me, |

| |Upon that day either prepare to die for disobedience to your father’s will, |

| |Or else, to wed Demetrius, as he would, |

| |Or to live the austerity of a single life. |

| | |

|DEMETRIUS |Relent, sweet Hermia; |

| |And, Lysander, yield thy crazed title to my certain right. |

| | |

|LYSANDER |You have her father’s love Demetrius; |

| |Let me have Hermia’s. |

| |Do you marry *him |

| | |

| | |

|EGUES |Scornful Lysander: True he hath my love, |

| |And what is mine, my love shall render him; |

| |And *she is mine, |

| |And all my right of HERMIA I do estate unto Demetrius |

| | |

|LYSANDER |I am my lord, As well derived as he*, |

| |As well possessed. My love is more than his. |

| |My fortunes, every way as fairly ranked, |

| |If not with vantage, as Demetrius. |

| |And which is more, I am beloved of beauteous Hermia. |

| |Why should I not prosecute my right. |

| |Demetrius, has loved Helena, and won her soul, and she, sweet lady, dotes, upon this inconstant man |

| | |

|THESEUS |I must confess that I have heard as much, but my mind did lose it. |

| |But Demetrius come, and come Egues |

| |You shall go with me. |

| |For you fair Hermia, |

| |Look you arm yourself; |

| |To fit the fancies of your father’s will |

| |Come, *I must employ you in some business. |

| | |

|Egues |With duty and desire we follow you. |

| | |

|(Exit all but LYSANDER and HERMIA) |

|LYSANDER |How now my love? |

| |Why is your cheek so pale? |

| |How chance the roses there do fade so fast? |

| | |

|HERMIA |Belike for want of rain which I could well, |

| |Besteem them form the tempest of my eyes. |

| | |

|LYSANDER |Ay Me, |

| |The course of true love never did run smooth, |

| |Hear me Hermia, |

| |I have a widow aunt, a dowager’ |

| |Of great revenue, and she hath no child, |

| |And she respects me as her only son, |

| |From Athens is her house remote, |

| |Seven leagues. |

| | |

| |There, gentle Hermia, may I marry thee, |

| |And that place, the sharp Athenian law, |

| |Will not pursue us. |

| | |

| |If thou lov’st me, |

| |Steal forth from thy fathers house tomorrow night, |

| |And in the wood, |

| |Where I did meet thee one with Helena, |

| |there will I wait for thee. |

| | |

|HERMIA |My good Lysander, |

| |I swear to thee by Cupid’s strongest bow, |

| |By his best arrow with the golden head, |

| |In that same place thou hast appointed me, |

| |Tomorrow truly I will meet with thee |

| | |

|LYSANDER |Keep promise love, look here comes Helena |

| | |

| |(Enter Helena) |

|HERMIA |God Speed, Fair Helena. |

| | |

|HELENA |Call you me fair? |

| |That fair again unsay. |

| |Demetrius loves your fair, |

| |O happy fair. |

| |O teach me how you look, |

| |And with what art you sway |

| |The motion of Demetrius’s heart |

| | |

|HERMIA |I frown upon him, |

| |Yet he still loves me. |

| | |

|HELENA |O, that your frowns would teach my smiles such skill. |

|HERMIA |I give him curses, |

| |Yet he gives me love |

| | |

|HELENA |O, that my prayers could such affection move. |

| | |

|HERMIA |The more I hate, the more he follows me |

| | |

|HELENA |The more I love, the more he hateth me. |

| | |

|HERMIA |His folly, Helen, is no fault of mine. |

| | |

|HELENA |None, but your beauty, |

| |Would that fault be mine. |

| | |

|HERMIA |Take comfort. He no more shall see my face. |

| |Lysander and myself will fly this place. |

| | |

|LYSANDER |To you our minds we will unfold, |

| |Tomorrow night, through Athens’s gates |

| |Have we devised to steal. |

| | |

|HERMIA |And in the wood. |

| |There my Lysander and myself shall meet. |

| |And thence from Athens turn away our eyes. |

| |Pray thou for us, |

| |And good luck grant thee thy Demetrius |

| |Helena Adieu |

9: Forrest scene with Puck and Oberon. (all confusion after the poison has been placed in the wrong persons eyes)

|Act 2 Scene 1 |

|OBERON |Hast thou the flower? |

| | |

|PUCK |Ay, There it is. |

| | |

|OBERON |I pray thee give it me |

| |I know a bank where the wild thyme grows |

| |There sleeps Titania sometime of the night with the Juice of this I’ll steer her eyes, |

| |And make her full hateful fantasies |

| |Take thou some of it and seek through the grove |

| |A sweet Athenian lady is in love with a disdainful youth. |

| |Anoint his eyes, |

| |But, do it when the next thing he |

| |Spies may be the lady look thou meet me |

| |Ere the first cock crow |

|PUCK |Fear not my lord, Your servant shall do so |

|Act 2 Scene 2 |

|PUCK |Through the forest have I gone, |

| |But Athenian found I none. |

| |Who is here? |

| |This is he my master said! |

| | |

| |And here the maiden sleeping sound |

| |On the dark dirty ground |

| |Churl, upon thy eyes I throw |

| |All the power this charm doth owe |

| |(He drops the juice on LYSANDER’S eyes) |

| | |

| |I must now to Oberon |

|Act 2 Scene 2 cont… |

|HELENA |Stay, though thy kill me, sweet Demetrius |

| | |

| | |

|DEMETRIUS |I charge thee hence and do not haunt me this, |

| |Stay on thy peril, I, alone will go |

| | |

| |(Exit DEMETRIUS |

| | |

|HELENA |Oh, I am out of breath in this fond chase |

| |Happy is HERMIA |

| |For she hath blessed and attractive eyes, |

| |How come her eyes are oftener was than hers |

| |(Look into Pond) |

|HELENA |No, no, I am as ugly as a bear |

|(Continued) |For beasts that meet me run with fear |

| |But who is here? |

| |Lysander? On the ground? |

| |Dead or asleep? |

| |I see no blood no wound |

| |Lysander, good Sir, awake |

| | |

|LYSANDER | |

| |And run through fire I will for thy sweet sake |

| |Where is Demetrius |

| |(Jump up and draws his sword) |

| |Oh how fit a word |

| |Is that vile name to perish on my sword |

| | |

|HELENA |Do not say so, Lysander |

| |Hermina still loves you there be content |

| | |

|LYSANDER |Content with Hermia, No, I do repent |

| |The tedious minutes I with her have spent |

| |Not Hermia but Helena I love |

| | |

|HELENA |Wherefore was I to this mockery born? |

| |When at your hands did I deserve this scorn? |

| |Oh, that a lady of one man refused |

| |Should of another be abused! |

| |(Exit HELENA in shock) |

| | |

|LYSANDER |(Turns to Hermia) |

| |She still sleeps |

| |Sleep thou there |

| |And never may thy come Lysander near |

| |I honor Helen and would be her knight |

| | |

|(Exit LYSANDER casing after HELENA) |

| | |

| |Help me Lysander, Help me! | |

|Hermia |Ay, me, what a dream was here Lysander | |

| |What removed? | |

| | | |

| |Lysander out of hearing? | |

| |No sound, no word? | |

| |Where are you? No? | |

| | | |

| |The I perceive you are not nigh | |

| |(Exit HERMIA) |

|Act 3 Scene 2 |

|HERMIA |If thou hast slain Lysander in his sleep, |

| |Then kill me too |

| |Where is Lysander? |

|DEMETRIUS |I am not guilty of Lysander’s blood, |

| |Nor is he dead for aught that I can tell |

|HERMIA |A privilege never to see me more |

| |And from thy hated presence part I so, |

| |See me no more, whether he be dead or no! |

| |(Exit) |

|DEMETRIUS |There is no following her in this fierce vein |

| |Here therefore for a while I will remain. |

| |(He lies down and sleeps) |

|OBERON |What hast thou done? Thou hast mistaken quite, and laid the love juice on some loves sight. |

| |About the wood go, swifter than the wind, |

| |and Helena of Athens look thou find. |

| |By some illusion, loving her here |

| |I’ll charm his eyes against she do appear. |

|PUCK |I go, I go, look how I go. (Exit) |

|OBERON |Flower of this purple dye |

| |Hit with Cupid’s archery (Squeeze juice on eyes) |

| |(Re-enter PUCK) |

|PUCK |Captain of our fairy band |

| |Helena is here at hand |

|OBERON |Stand aside |

|(Enter HELENA followed by LYSANDER) |

|LYSANDER |Why should you think that I should woo you in scorn? |

|HELENA |You do advance your cunning more and more |

| |Your vows are Hermia’s. |

|LYSANDER |I had no judgment when to her I swore |

|HELENA |Now none, in my mind, now you give her o’er. |

|LYSANDER |Demetrius loves her, and he loves you not. |

|DEMETRIUS |O Helen, goddess, nymph, perfect, divine! |

| |To what, my love shall I compare thine eyne? |

| |O, let me kiss |

| |This princess of pure white, this seal of bliss! |

|HELENA |O, spite! O, Hell! I see you all are betn |

| |To set against me for your merriment. |

| |If you were men, as men you are in show, |

| |You would not sure a gentle lady so: |

| |Your both are rivals, and love Hermia; |

| |And now both rivals, to mock Helena. |

|LYSANDER |Demetrius; |

| |In Hermia’s love I yield you up my part. |

| |And yours of Helena to me bequeath, |

| |Whom I do love and will do till my death. |

|HELENA |Never did mockers more idle breath. |

|DEMETRIUS |Lysander, keep thy Hermia I will none. |

| |Look where thy love comes; yonder is thy dear. |

|(Enter HERMIA ) |

|HERMIA |Lysander! Why unkindly didst thou leave me so? |

|LYSANDER |Why should he stay whom love doth press to go? |

|HERMIA |What love could press Lysander from my side? |

|LYSANDER |Why seeks’t thou me? |

| |Could not this make thee known |

| |the hate I bare thee made me leave thee so? |

|HERMIA |You speak not as you think; it cannot be |

|HELENA |Lo, she is one of this confederacy! |

| |Now, I perceive they have conjoined all three |

| |To fashion this false sport in spite of me. |

| |Injurious Hermia! Most ungrateful maid! |

| |Have you conspir’d have you with these contriv’d |

| |To bait me with this foul derision? |

|HERMIA |I am amazed at your passionate words; |

| |I scorn you not; it seems that you scorn me. |

|HELENA |Have you not set Lysander, as in scorn, |

| |To follow me and praise my eyes and face? |

| |And made your other love, Demetrius, |

| |Who even but now did spurn me with his foot, |

| |To call me goddess, nymph, divine and rare, |

| |Precious, celestial? Wherefore speaks he this |

| |But by your setting on, by your consent? |

|HERMIA |I understand not what you mean by this. |

|HELENA |Ay, do! Persevere, counterfeit sad looks, |

| |Make mouths upon me when I turn my back. |

| |But fare ye well; ‘tis partly my own fault, |

| |Which death, or absence, soon shall remedy. |

|LYSANDER |Stay, gentle Helena; hear my excuse; |

| |My love, my life, my soul, fair Helena! |

|HELENA |O, excellent! |

|HERMIA |Sweet, do not scorn her so. |

|DEMETRIUS |If she cannot entreat, I cannot compel. |

|LYSANDER |Thou canst compel no more than she entreat; |

| |They treats have no more strength than she entreat; |

| |Thy threats have no more strength than her weak prayers |

| |Helen, I love thee, by my life I do. |

|DEMETRIUS |I say I love thee more than he can do. |

|LYSANDER |If thou say so, withdraw, and prove it too. |

| | |

|DEMETRIUS |Quick, come. |

|HERMIA |Lysander, whereto tends all this? |

|LYSANDER |Away, you Ethiope! |

|DEMETRIUS |No, no, he will |

| |Seem to break loose! Present that he would follow’ |

| |But yet come not. You are a coward! Go! |

|LYSANDER |Hang off, thou cat, thou burr; vile thing, let loose, |

| |Or I will shake thee from me like a serpent. |

|HERMIA |Why are you grown so rude? What change is this, Sweet love? |

|LYSANDER |Thy love! Out, tawny Tartae, out! |

| |Out, loathed med’cine! O hated potion, hence! |

|HERMIA |Do you not jest? |

|HELENA |Yes, sooth; and so do you. |

|LYSANDER |Demetrius, I will keep my word with thee. |

|DEMETRIUS |I’ll not trust your word. |

|LYSANDER |What, should I hurt her, strike her, kill her dead? |

| |Although I hate her, I’ll not harm her so. |

|HERMIA |What! Can you do me greater harm than hate? |

| |Hate me! Wherefore? O me! My love! |

| |Am not I Hermia? Are not you Lysander? |

|LYSANDER |Ay, by my life! |

| |Be certain, nothing’s truer; ‘tis not jest |

| |That I do hate thee and love Helena. |

|HERMIA |O me! You juggler! You cankerblossom! |

| |You thief of love! What! Have you come by night, |

| |And stol’n my love’s heart from him? |

|HELENA |Fine, i’ faith! |

| |Have you no modesty, no maiden shame? |

| |Fie, fie! You counterfeit, you puppet you! |

|HERMIA |“Puppet!” why so? Ay, that way goes the game. |

| |Now I perceive that she hath made compare |

| |Between our statures! |

| |And are you grown so high in his esteem |

| |Because I am so dwarfish and so low |

| |How low am I, thou painted maypole? Speak. |

| |How low am I? I am not yet so low |

| |But that my nails can reach into thine eyes. |

|HELENA |I pray you, though you mock me, gentlemen, |

| |Let her not hurt me. |

| |Let her not strike me. |

| | |

| |Good Hermia, do not be so bitter with me, |

| |You will let me quiet go. |

| |To Athens will I bear my folly, |

| |Back, and follow you no further |

| |Let me go |

|HERMIA |Why get you gone. |

|LYSANDER |Be not afraid, she shall not harm thee, Helena. |

|HELENA |O, when she is angry, she is keen and shrewd |

| |She was a vixen when she went to school, |

| |She is fierce |

|HERMIA |Why will you let her flout me thus |

| |Let me come to her |

|(She rushes to attack Helena) |

|LYSANDER |Get you gone! |

|(drags Hermia away – addressing DEMETRIUS) |

|LYSANDER |Now follow, if thou dar’st to try |

| |whose right is fit for Helena |

|(Exit LYSANDER, DEMETRIUS, with swords drawn) |

|(Exit girls in different Directions |

10. Much ado about Nothing: Beatrice and Benedick

|Act 1 Scene 1 |

|Narrator |Our play is set on Sicily, where Don Pedro, prince of Aragon has recently defeated his half brother Don John in a |

| |military engagement. They return to Messina as guests of the Governor Leonato |

|Messenger |Don Pedro is approached |

|Beatrice |(to Benedick) I wonder that you will still be talking, Signor, |

| |Nobody marks you |

|Benedick |What my lady Disdain! Are you yet living? |

|Beatrice |Is it possible , disdain should die while she hath such food to live on as Signor Benedick? |

| |Courtesy itself must convert to disdain if you come in her presence |

|Benedick |Then is courtesy a turncoat. |

| |But I am loved of all ladies only you excepted. And I wonder I could find in my heart that I had not a hard heart, for|

| |truly I love none |

|Beatrice |A dear happiness to women. They would else have been troubled with a pernicious suitor. I had rather hear my dog bark |

| |at a crow that hear a man swear he loves me. |

|Benedick |Well you are a parrot -teacher |

|Beatrice |A bird of my tongue is better than a beast of yours |

|Benedick |I would my horse had the speed of your tongue. |

|Act 2 Scene 1 (masked ball ) |

|Beatrice |Will you tell me who you are? |

|Benedick |Not now |

|Beatrice |Do you know signor Benedick said I was disdainful |

|Benedick |Who is he? |

|Beatrice |I am sure you know him well enough |

|Benedick |Not I , believe me |

|Beatrice |Did he never make you laugh? |

|Benedick |I pray you, what is he? |

|Beatrice |Why he is the Price’s jester, a very dull fool. |

|Benedick |When I know the gentleman I will tell him what you say. |

|Beatrice |Do (exit) |

|Don Pedro |Now Signor Benedick, the lady Beatrice hath a quarrel to you? |

|Benedick |Oh she misused me past the endurance of a rock. She told me, not thinking I had been myself, that I was the Prince’s |

| |jester, that I was duller than a great thaw, hurling jest upon jest with such impossible conveyance upon me that I |

| |stood like a man at a mark, with a whole army shooting at me. She speaks poniards and every word stabs. If her breath |

| |were as terrible as her terminations, there would be none living near her. |

|Don Pedro |Look here she comes |

|Benedick |Will your grace commend me any service to the world’s end. I will fetch you a tooth- picker from the furtherest inch |

| |of Asia, rather than hold three words with this harpy. |

| |You have no employment for me? |

|Don Pedro |None but to desire your good company. |

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Area of Interaction Focus

Which area will be your focus and why have you chosen this?

Human Ingenuity: Writing and performing is an art. Man is inspired by life and can create art from it. When art is based on the passions of life it endures.

Significant Concepts

What are the big ideas? What do we want our students to retain for years in the future?

Shakespeare is the father of English theater and his genius scripts are as applicable now as they were 400 years ago. He is fun and contemporary, and passionate about life.

MYP Unit question

What is passion for life?

(*Turning to Egues)

(*To Demetrius)

(*Pointing to Hermia)

(*Pointing to father)

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