EDUCATION TOUR COMPANION STUDY GUIDE & ACTIVITIES

SHAKESPEARE FESTIVAL ST. LOUIS

TWELFTH NIGHT

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TABLE OF CONTENTSSources & First Production.............................................1Important to Know........................................................2What’s In A Name?........................................................3Character Descriptions.................................................3Synopsis.......................................................................4Women Who “Pulled a Viola”........................................5Pre-Show & Post-Show Questions.................................6Activities for Grades 4-8...............................................7Activities for Grades 9-12.............................................9Bullying Worksheet.....................................................11Further Resources.......................................................12

CONTRIBUTING WRITERSChristopher Limber

Elana Kepner

SHAKESPEARE FESTIVAL ST. LOUIS5715 Elizabeth Ave.St. Louis, MO 63110

PHONE: (314) 531-9800 | FAX: (314) 531-9805SFSTL.com

Rick Dildine, Executive Director: [email protected] Limber, Education Director: [email protected] Wolownik, Assistant Director: [email protected]

This collection of resources was developed to accompany our 2013 Education Tour production QUICK DELIGHT TWELFTH NIGHT. It contains information and activities you can use in your classroom to prepare your students for the performance, and to follow up with them afterwards.

The goal of all Festival education programs “In the Schools” is to deepen our community’s appreciation for and connection to Shakespeare, providing only the highest quality theatre education to inspire people of all ages - to creatively engage, explore, and delight in the works of William Shakespeare. Shakespeare’s poetry and plays are a primary element in any process of lifelong learning. In the 2011-12 season, more than 40,000 students in area schools and community venues experienced Shakespeare through the Festival’s education programs. We welcome as many as 66,000 people annually to our mainstage production in Shakespeare Glen in Forest Park.

Through the Festival’s education programs, students are challenged and engaged while enhancing their ability to read, watch, and perform Shakespeare. We appreciate this opportunity to Share the Shakespearience with your students and faculty. Thank you for bringing the Festival to your school!

CHRISTOPHER LIMBEREducation DirectorShakespeare Festival St. Louis

SFSTL EDUCATION TOUR 2013 SPONSORSMISSOURI ARTS COUNCIL ARTS & EDUCATION COUNCIL REGIONAL ARTS COMMISSION

SINQUEFIELD CHARITABLE FOUNDATION MONSANTO FUNDCENTENE CHARITABLE FOUNDATION DANA BROWN FOUNDATION

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SHAKESPEARE FESTIVAL ST. LOUISSTUDY GUIDE - TW

ELFTH NIGHT

Connect to Shakespeare

On

All the W

orld’s a Stage...

Classroom Connections:

Do you have some other specific information about Shakespeare I can use to prepare my students?

To begin fostering this life-long connection with Shakespeare, a general introduction is helpful for your studentsbefore viewing the in-school performance of All the World's a Stage… Our website offers materials which providea foundation about Shakespeare and his world in London:

In addition to these, we have available guides for several other Shakespeare plays, including Macbeth, The MerryWives of Windsor, Richard III, A Midsummer Night’s Dream, and more.

Visit www.ShakespeareFestivalStLouis.org and click on Education / Resources / Study Guides.

Ensemble, SFSTL 2005 production of The Tempest. Photo © J. David Levy.

To foster a life-longconnection with

Shakespeare, a generalintroduction is helpful for

your students beforeviewing

All the World’s aStage...

Grades K-8 will enjoy the cross-curricular materials and hands-on activities in

Shake Hands With William Shakespeare: A Cross-Curricular Study Guide for Grades K-8

This guide includes activities and discussions which lead students to compare and contrastShakespeare's childhood experiences with their lives today.

High school students will most appreciate reading and discussing the two study units called:

On Shakespeare & His Times: Biography, the Globe Theatre and More

and

On Shakespeare's Plays: Shakespeare's Works and Language

Quick Delight Twelfth Night.

Quick Delight Twelfth Night.

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SOURCES AND FIRST PRODUCTION At the turn of the 17th century, Shakespeare wrote his greatest tragedies, including Hamlet, King Lear, Macbeth, and Antony and Cleopatra. During a window of nearly a decade, Shakespeare wrote only one pure comedy: Twelfth Night. Twelfth Night was most likely written between 1600 and 1601, but it was not until 1602 that a production was recorded. A lawyer named John Manningham first mentions a performance of Twelfth Night in his February 2, 1602 diary entry:

“At our feast we had a play called “Twelve Night, or What You Will,” much like “The Comedy of Errors” or “Menaechmi” in Plautus, but most like and near to that in Italian called “Inganni.” A good practice in it to make the steward believe his lady-widow was in love with him, by counterfeiting a letter as from his lady, in general term telling him what she liked best in him and prescribing his gesture in smiling, his apparel, etc. and then, when he came to practice, making him believe they took him for mad.”

We can tell which part of the play Manningham found most interesting! Just as Manningham mentions, Shakespeare probably drew from a number of sources to weave Twelfth Night. Menaechmi, by Roman playwright Plautus, had already served Shakespeare well as the source for one of his earliest comedies, The Comedy of Errors. This play tells the story of twins, separated a birth and reunited as adults after being mistaken for each other. Manningham mentions another possible source, an Italian comedy of disguise, Inganni. This play involves a brother and sister who are separated, but eventually reunited. The sister dresses as a boy and is employed wooing a lady for a master she has fallen in love with. Twelfth Night was adapted and performed throughout the Restoration Period. In 1662, Samuel Pepys, a theatre critic and diarist, called Twelfth Night, “a silly play”, and yet he saw it at least three times over the next decade.

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IMPORTANT TO KNOW • Although Twelfth Night is considered a comedy (it ends with a wedding after all), the play begins with the

death of Olivia’s brother and the presumed death of Viola’s brother. The women’s mourning and deep sense of loss is important to the action of the play. The ultimate fate of Malvolio, embittered and vowing revenge, is also unusual for a comedy. Shakespeare might have been preparing his audiences for a new kind of play: a romance, where life and death, comedy and tragedy, are all mixed together, more like real life. His later plays (The Tempest, Cymbeline, Pericles, The Winter’s Tale) fall into this genre.

• Twelfth Night is one of five Shakespeare plays where the female protagonist dresses as a man. The leading ladies in As You Like It, The Merchant of Venice, Cymbeline, and The Two Gentlemen of Verona also dress as men, but Viola spends more time in pants than Rosalind, Portia and Nerissa, Imogen, or Julia. After her first scene, she is “Cesario” until the final moments of the play.

• Antonio is one of the most popular names in Shakespeare. Of the five major characters named Antonio in Shakespeare’s plays, three of them are involved in shipwrecks (in Twelfth Night, The Merchant of Venice and The Tempest). A bit of advice: Don’t get on a boat in a Shakespeare play if a guy named Antonio is around.

• Twelfth Night features a set of twins, a boy and a girl, the boy thought dead. Shakespeare’s 11 year old son Hamnet died in 1596, leaving behind his twin sister Judith. The Shakespeare’s grief over the loss of his son is evident in Viola’s reaction to her brother’s death.

• The title Twelfth Night makes reference to the Festival of Epiphany, held on the twelfth night after Christmas, January 6. The play may have premiered on this date or been commissioned for Twelfth Night festivities, although we have no record to validate this theory. In Shakespeare’s time, Epiphany was even more important than Christmas as it commemorated not only the coming of the Magi, but also Christ’s Baptism and the miracle at Cana. The title’s real significance, however, lies in the Festival of Twelfth

Night’s ties to the ancient Roman holiday of Saturnalia. Saturnalia was celebrated by role reversal between master and servant, role playing, and mask-wearing. By Shakespeare’s time, Twelfth Night was celebrated, much to the chagrin of the church, by abandoning many of the normal rules of life, with singing, revelry, and excessive eating and drinking.

• Twelfth Night is the only play that Shakespeare subtitled. “What You Will” may be an invitation to retitle the play as the reader might choose, much in the spirit of the Festival of Twelfth Night. At the time of writing, the word “will” meant “wish” or “inclination,” but could also mean “irrational desire” or “passion uncontrolled by judgment.” Many of the characters in the play give over to their passions, both positive and negative.

• Twelfth Night is set in the fictional kingdom of Illyria. Shakespeare mentions Illyria previously in Henry IV, Part 2 as the home of an infamous pirate. Shakespeare may have been inspired by the play Menaechmi by Roman playwright Plautus, which is also about twins and mistaken identities. Menaechmi was set in Epidamnus, a city in the ancient Roman region of Illyria, on the eastern shore of the Adriatic Sea, covering present-day Croatia and Albania.

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ELFTH NIGHT

CHARACTER DESCRIPTIONS VIOLA: a young noblewoman who is shipwrecked on the shores of Illyria. Believing her twin brother, Sebastian, to have perished in the shipwreck, Viola disguises herself as a boy and calls herself “Cesario” in order to obtain a position in Duke Orsino’s court.

ORISINO: the Duke of Illyria, who believes himself to be love with Olivia. He is actually in love with the idea of being in love, and enjoys the heartache and anguish of pursing a woman who is not interested in him.

COUNTESS OLIVIA: a noblewoman of Illyria, in mourning for her brother. She is growing tired of Orsino’s wooing, but the new suitor sent to her by the Duke piques her interest.

MALVOLIO: Olivia’s puritanical butler, who is secretly in love with her. Malvolio imagines that he is superior to the other servants of the household, and even looks down on Sir Toby and Sir Andrew.

FESTE: a witty fool. He is allowed to poke fun at those of higher social status within the play. Feste sets the established social order on its head, mirroring the celebration of the Festival of Twelfth Night.

SIR TOBY BELCH: Olivia’s uncle; a connoisseur of fun, practical jokes, wine and partying. Sir Toby refuses to take any responsibility and defies societal conventions to woo Maria.

MARIA: a lady in waiting who serves as secretary, confidant, and lady’s maid to Olivia. She holds a grudge against Malvolio because of his superior behavior and is ready to take revenge.

SIR ANDREW AGUECHEEK: a friend of Sir Toby; a suitor to Olivia. Andrew is young, silly, gullible, and easily influenced by Sir Toby and Maria. He is supposed to be wooing Olivia, but spends most of his time drinking and carousing with Sir Toby.

SEBASTIAN: Viola’s twin brother, rescued from the shipwreck by Antonio. He believes his sister is dead and comes to Illyria by chance.

ANTONIO: Sebastian’s rescuer and friend. Antonio is a wanted man in Illyria.

A SEA CAPTAIN: the captain of the wrecked ship. The Captain helps Viola disguise herself as a man and find a position in Orsino’s court.

FABIAN: a servant at Olivia’s estate. Has a bone to pick with Malvolio, and is glad to be a part of a plan to bring the butler down a peg.

VALENTINE and CURIO: gentlemen serving in Orsino’s court.

WHAT’S IN A NAME? Many of the characters in Twelfth Night have names with double meanings.

MALVOLIO - with the root “mal,” meaning “bad” or “evil,” Malvolio’s name means “bad will or humor.”

ORSINO - the literal meaning of this name is “little bear,” but the Duke also shares the name of the Spanish ambassador to England at the time the play was written. The English and Spanish were not on the best of terms, so Shakespeare may have jumped at the chance to mock the ambassador by naming a foolish character after him, or he may have been trying to flatter the ambassador with a tribute of sorts.

SIR TOBY BELCH - a “Toby jug” was a pottery beer mug made in the form of a seated person, and “belch” is a synonym for “burp.” As a man who likes his beer, Sir Toby is very appropriately named.

FESTE - from the same root as “festival,” although Feste is more of a somber fool.

SIR ANDREW AGUECHEEK - “Ague” means “fever” or “fit,” so essentially Sir Andrew is “Sir Andrew Feverface.”

OLIVIA - First written in this spelling by Shakespeare in Twelfth Night. This name can relate to the olive branch which is the symbol of peace, but Shakespeare might have been playing on the Latin root “voli,” which means “will” or “wish.”

VIOLA - a small flower or a musical instrument, but also another take on “voli”.

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SYNOPSISTwins Viola and Sebastian are separated when their ship capsizes. Each believes that the other has drowned. Viola washes ashore on the coast of Illyria. To survive, she disguises herself as a man and assumes the name “Cesario.” In her disguise, she can take a position in the court of the melancholy Duke Orsino, who is in love with the Lady Olivia. Lady Olivia is in mourning for the deaths of her brother and father, and, as she is grieving, refuses Orsino’s overstated attentions. Orsino, having already exhausted all other options, sends “Cesario” as an emissary to Olivia. Viola (as “Cesario”), pleads of Orsino’s case to Olivia so poetically and fervently that Olivia falls in love with “Cesario.” Of course, “Cesario,” really a woman, has fallen head over heels in love with Orsino, and must keep her love a secret.

Visiting Olivia’s estate is the foppish knight Sir Andrew Aguecheek. He is rich and has been fooled into seeking Olivia’s love by her cousin, Sir Toby Belch, who is freeloading at the estate. They drink, carouse, and defy the atmosphere of grief in the house. With the help of Olivia’s trusted maid Maria, and the philosophical fool Feste, a plot is made to embarrass the dour Malvolio, a steward with no tolerance for frivolity. They fool Malvolio into thinking that Olivia desires him, and when he confesses his love (complete with yellow, cross-gartered stockings), Olivia orders him imprisoned as a madman.

Meanwhile, Sebastian (Viola’s twin brother) was saved from the shipwreck by a pirate, Antonio, who is wanted for treason in Illyria. Loyal to Sebastian, Antonio vows to stay and help him, and gives him money so Sebastian can enjoy Illyria while Antonio stays hidden from the law. While Sebastian explores, he chances to meet Olivia. The two quickly fall in love (all while Olivia believing Sebastian to be “Cesario”) and wed quickly and secretly. Sir Toby and another sidekick, Fabian (who works on the estate) trick Sir Andrew and “Cesario” into challenging each other to a hilarious duel over Olivia.

The pirate Antonio is captured and brought to Orsino, who is at Olivia’s estate, where he encounters Viola as “Cesario.” Soon the twins run into each other, and all are reunited. Malvolio is set free and vows revenge. Once he leaves, all are paired with their true loves and are married: Orsino and Viola, Olivia and Sebastian, and Maria and Sir Toby.

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ELFTH NIGHT

AWESOME WOMEN WHO “PULLED A VIOLA”

Throughout history, women have dressed as or even lived their entire lives as men for various reasons: to pursue a career closed to women in their time, to protect themselves or their families, to enjoy freedom from a repressive society, or simply because they identified more as men than women.

• HUA MULAN (Yes, she inspired the Disney movie) Mulan may or may not have been a real woman who lived sometime during the fifth or sixth century in China. She posed as a man so she could join the army in order to serve in the place of her aging father.

• CATALINA DE ERAUSO (1592-1650) Catalina escaped from a convent in Spain, disguised herself as a man, and ran off to the New World in search of adventure. She had a successful career in the military. When it was discovered she was a woman, scandal broke out, but she had served her country so bravely that she was granted special permission from the pope to wear men’s clothing. She then changed her name to Antonio de Erauso and served in the army until her death.

• CHARLEY PARKHURST (1812-1879) Mary Parkhurst grew up as an orphaned stable hand, and started dressing as a boy early in life. Eventually she took the name Charley and lived the rest of her life as a male. She became one of Wells Fargo’s top stagecoach drivers and lost an eye in an accident. A “Charley Darkey Parkhurst” is listed on the Santa Cruz, California official poll list for the 1868 election, so Charley might have been the first woman to vote. Her gender was not discovered until her death.

• DOROTHY LAWRENCE (1896-1964) Dorothy was a British journalist who posed as a man so she could join the army and report from the front lines of World War I. Fearing that her gender would be discovered and endanger the men with whom she served, she turned herself in to the military. She was interrogated as a spy and eventually was forced to sign an affidavit swearing never to write about her experiences. Her account was eventually published.

• BILLY TIPTON (1914-1989) Born as Dorothy Tipton, she distinguished herself as a jazz musician, but was barred from joining bands because she was a woman. Encountering prejudice at every turn, she decided to adopt a male persona to get gigs. Eventually, she became “Billy” full-time and had a successful career as a jazz musician and bandleader. Besides Dorothy’s birth family, no one, not even Billy’s five wives or adopted children suspected that Billy was born female.

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PRE-SHOW QUESTIONS • What do you know about Shakespeare? Do you know

where he was from? Where he worked? Does anyone know his nickname?

• Do you know what Shakespeare’s theater was called? Do you know what it looked like? Does anyone know what a groundling is? Does anyone know what Shakespeare’s theater company was called?

• What do you know about the play Twelfth Night? Do you know any of the main characters?

• Shakespeare wrote his plays in verse. Does anyone know what this is? Have you ever heard of iambic pentameter? Do you know what characterizes this type of meter?

• What is a comedy? What makes it different from a tragedy? Can anyone think of other types of plays?

• Have you ever been bullied? Have you ever bullied anyone?

• Have you ever watched someone being bullied? What did you do?

• How would you explain a villain to somebody who has never heard that term?

• How about a hero? Do you know the literary terms for these characters?

• Have you ever wanted to get back at someone who was mean to you?

• What do you know about play themes? Can anyone give an example? From what you’ve heard of Twelfth Night what do you think the themes might be?

• Has anyone seen another Shakespeare play before? Which one? What do you remember thinking about that show?

• Are you all excited for the show? Nervous? Any questions you want to ask before we all go to see the play?

POST-SHOW QUESTIONS • What did you think about the play? Was it what you

expected? Is there anything you particularly liked or disliked about the show?

• Did you relate strongly to any particular character? Who? Why? Were there characters you didn’t understand?

• What did you think of the production aspects of this show, such as the set, sound, and costumes? Did they help you understand the show? Did they distract from the action?

• How was the language for you? Did you find it difficult to understand? Were there parts you understood better than others? Can you explain what made the difference?

• Do you think that Maria and Sir Toby were justified in how they treated Malvolio? Do you think Maria and Sir Toby felt better when they got their revenge? Why or why not?

• Do you think Malvolio’s punishment is harsh, or do you think he deserved what he got because of his behavior?

• The actors in the tour play more than one role each. Was there any part of the doubling that was interesting to you, or confusing? In Shakespeare’s day, all the roles were played by men. How did having a woman play both Viola and Sebastian change the play, or change the way you thought about the play?

• We talked about Shakespeare’s New Globe Theatre before the play. How is the New Globe different from Shakespeare’s original? How is it similar? How do you think the different spaces would impact the play?

• How important is music in the play? What did the music tell you about the play and the characters?

• Now that you’ve seen the play, what do you think are the major themes? Why? How do these themes impact the main characters?

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ELFTH NIGHT

ACTIVITIES FOR GRADES 4-8 ACTIVITY 1 - PRE-SHOW RESEARCH (R.1.H)

Students will compare the text to the real world, examining how the historical period of the work influenced the content.

MATERIALS: Note cards, computer/library access.

Before reading Twelfth Night, give each student a note card. Then, via library or computer, have them find one unique fact about Shakespeare, Twelfth Night or Elizabethan England. Have each student read theirs aloud and then collectively, with the help of additional resource material, create a timeline across the room. For example, if a student’s fact is that Elizabeth I was the Queen of England, her card goes before someone with Shakespeare’s birth date, which goes before a card with the date Twelfth Night was written. If possible, leave this timeline up as a reference point while you study the rest of the text.

ACTIVITY 2 – SHAKESPEARE BEE (R.1.E)

Students will develop vocabulary skills using context and the aid of the dictionary or other reference.

MATERIALS: Two copies of Twelfth Night, bookmarking tabs, Shakespearean dictionary (if unavailable, you can use a regular dictionary and a copy of the play with the words defined in text).

Divide the class into two groups, giving each half a copy of Twelfth Night. Let each group come up with a list of words found in the text that they don’t think the other team will know. Each team should find as many words as there are players on the other team. Have them mark where these words are found in the text with book-marking tabs.

PLAYING THE GAME: team one gives one of their words, which team two then has to attempt to define or explain. The teacher should provide the ultimate ruling on each word: if the guessing team has the right idea, they get one point. Then the teams switch, and

team two provides the word while team one guesses. Continue until all words have been used – the team with the most points wins!

ACTIVITY 3 – VERSE VS. PROSE (R.2.B, LS.1.A)

Students will analyze literature based using poetic sound devices (meter). Students will listen for a variety of purposes (distinction).

MATERIALS: Copies of Twelfth Night.

Shakespeare wrote both in verse (a kind of rhymed poetry that utilized the 10-syllable iambic pentameter) and prose (an unrhymed way of speaking which is more similar to everyday speech). An example of iambic pentameter: “I don’t know why I like this play so much.” Iambic pentameter is interesting because the flow of the words is supposedly similar to a heartbeat, creating a familiar sound for the audience.

INSTRUCTIONS: Give each student a copy of the play and instruct them to find one passage in verse and another in prose. Remain available, as some students may still have difficulty telling the difference. When everyone has found these two passages, ask for volunteers to read them out loud, so the students can hear the difference. When the differences have been established, let this turn into a discussion of why Shakespeare did or did not use verse. Ask them which of the characters spoke in verse and which did not. Ask what the emotional and psychological differences may have been between the two.

ACTIVITY 4: CHARACTER WORK

Part 1) Journaling.

MATERIALS: Paper, writing utensils, art supplies.

As an actor, it’s really important to get to know who the characters are, so you can better pretend to be that character. Now it’s your turn to try to understand one of the characters in Twelfth Night. Pick your favorite character from the play. Now, write a journal entry as if you were that person. It can be that character

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before the play, during the play or even afterwards. Try to make up some details that you don’t already know. What is your character’s favorite color? Who is their best friend? What is their favorite childhood memory?

Part 2) Improv

Split up into groups of three or four students. Now, pick a time and a place. As the characters you just wrote about, create a scene that shows them interacting outside the play. When you are ready, perform this for the rest of your class!

TEACHER NOTE: If you have younger students, scale down the activity. Instead of writing about their character, let them draw pictures. And instead of creating a scene, let them have some supervised playtime, encouraging them to pretend to be their characters.

ACTIVITY 5: TEXT WORK (R.2.C)

Students will examine a work and analyze the presentation of the characters. Before you begin to discuss the play, write the names of the main characters on the board or on large sheets of paper: Viola, Olivia, Orsino, Malvolio and Sebastian are the suggested characters to focus on. Ask students to list everything they know about these characters based only on their reading before discussing the text. Encourage them to list how they feel about the characters, as well as any factual information. As you discuss the text, add new discoveries about the characters to the board, creating a list. When you’re done with the discussion, draw the student’s attention back to their character lists. Have them add their final feelings and impressions about each one. Note how they have changed as everyone discovered new information. How does this impact the understanding of the play?

ACTIVITY 6: RETELLING THE STORY (R.1.H, R.2.C)

Students will compare text to world, examining how the historical period of the work influenced the content (and how it changes in a different context). Students will analyze themes in a work. Shakespeare’s stories are often retold using other artistic forms and set in other time periods. Now it’s your turn to recreate the story behind Twelfth Night. The main themes in Twelfth Night are love, disguise, and misrule. Secondary themes are bullying and status. Keeping these main points in mind, as well as the overall plot arc, retell the story of Twelfth Night putting it in a modern context. Create it as if Twelfth Night was happening today. Feel free to use whatever artistic medium you are most comfortable with. You could write a play, like Shakespeare, or if you’re a dancer, you could imagine or choreograph a dance. You could write a story or a poem or you can draw a picture of what Twelfth Night might look like today. If you like, you can even write an essay or a list of things that would be different or similar if they happened today.

TEACHER NOTE: The idea behind this activity is to encourage students to think creatively. Provide a supportive environment – hang the artwork of those who draw pictures, encourage those who write plays to stage them for the class, or let other authors read their own writing or explain their thoughts on the matter. If students need inspiration, have them go online to look up material that uses Twelfth Night in a non-traditional manner.

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ACTIVITIES FOR GRADES 9-12 ACTIVITY 1

WORD POWER: MOST IMPORTANT WORDS (DESE: PP1.B) (Show-Me Goal 2.1)

Provide each student with the below passage from Twelfth Night. Have 22 students each take one line. Standing in a circle, closed against the rest of the class, ask them to read their lines in order. They should do it a second time, faster. Now, ask them to choose one word from their line that they feel is most important. The third read-through should be just the words deemed most important in each line. A fourth time should be the same, only faster.

1. Where goes Cesario?

2. After him I love

3. More than I love these eyes, more than my life,

4. More, by all mores, than e’er I shall love wife.

5. If I do feign, you witnesses above

6. Punish my life for tainting of my love!

7. Ay me, detested! how am I beguiled!

8. Who does beguile you? who does do you wrong?

9. Hast thou forgot thyself? is it so long?

10. Call forth the holy father.

11. Come, away!

12. Whither, my lord? Cesario, husband, stay.

13. Husband!

14. Ay, husband: can he that deny?

15. Her husband, sirrah!

16. No, my lord, not I.

17. Alas, it is the baseness of thy fear

18. That makes thee strangle thy propriety:

19. Fear not, Cesario; take thy fortunes up;

20. Be that thou know’st thou art, and then thou art

21. As great as that thou fear’st.

ACTIVITY 2 - PUNS (DESE-R2.B) A pun is play on words based on the similarity of sound between two different words with different meanings. Puns are as common a source of jokes today as they were when Shakespeare wrote Twelfth Night. Have the students keep a running list of the puns they notice as they read Twelfth Night and who said them. What do the puns tell us about the characters who said

them? In one column, list some (if not all) of the puns used throughout the play. In another column, have the students record the meaning of the pun - why is it funny/important? For example, in Act 1, Scene 1, Orsino and Curio have an exchange about hunting a hart (a deer) and the heart. (For younger students, you can identify and discuss them together; for older students, have them do this on their own.)

ACTIVITY 3 MUSIC VIDEO FOR FESTE’S SONGS

(DESE-Interdisciplinary Connections 1.A) (Show-Me Goal 2.5)

AUTHOR: Susan M. Kochman, Hempfield Area High School, Greensburg, PA.

Songs are often overlooked in Shakespeare’s plays; this lack of attention will be addressed having students dramatize one of Feste’s songs. Creating a choral reading, singing and performing the song, or staging a music video will help students recognize how music and lyrics contribute to the mood and meaning of a scene. The students’ creativity and active participation in whatever form the lesson takes will make both the song and scene more memorable. This lesson will take one to two class periods.

INSTRUCTIONS

1. Ask students to recall any plays they have read or seen that have songs or music in them. (If they can’t think of any plays, resort to movies.) Discuss specific examples and their responses to these songs or music, and note what affects the songs produced on the audience.

2. Tell students that they will create a performance of a song in Twelfth Night.

3. Divide students into groups of four or five and have them prepare a dramatization of Feste’s song. Have each group “script” the song, parceling out lines and phrases to different students, or perhaps saying or singing certain lines all together. Each person in the group must contribute either by reading, singing, acting out a part, or adding sound effects. Encourage the students to be creative in scripting their choral reading. They may also choose to set the words to a modern tune or write their own music for the song. You may ask which modern artist they think this song would be fitting for.

4. Each group will present its version of the song to the class. When all the groups have performed, discuss what the students discovered throughout the process, noting differences among groups in performance and interpretation, and determining what the song contributes to the scene.

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ACTIVITY 4 - CHARACTERIZATION (DESE-R2.C) Through each character’s speech and actions, we learn about the character’s desires, intentions, motivations, and dreams. Divide the class into groups and assign each group an act. Allow the group to select one major character that frequently appears in that act. Have them analyze the speech and actions of the character and list what each speech and/or action tells us about the character’s motivation and desires. They should divide the paper in half and list on the left, the lines or behavior in the act, and on the right list what the lines or behavior tells us about the character’s desires. After each group has completed this exercise, have them create an internal monologue based on one or more of the speeches of the character in the selected act. In an internal monologue, the character speaks directly to the audience or him/herself about her/his desires and motivations. The group then presents their internal monologue to the class as a dramatic reading or recitation.

Understanding the “minor” characters and the roles they play leads students to a clearer sense of how to analyze characters in general. The following exercise helps students think about the minor characters and what they add to the understanding of the play.

INSTRUCTIONS

• Choose one of the secondary characters—NOT Viola, Olivia, Orsino, or Malvolio.

• Write a journal entry in the voice of the minor character after s/he encounters one of the three main characters.

• Explain what happened in the encounter and how the character feels about it. This should be based on what you know about that character from the play. For example, choose the scene in which Maria and Sir Toby plan their revenge on Malvolio. As Maria, write about that encounter in your diary.

• Ask and try to answer in the journal entry questions such as: Why does Maria come up with such an elaborate plan? What has Malvolio done to deserve this treatment? Use only information from earlier in the play in your entry. Now select a scene from later in the play to contrast or compare with the earlier one. For example, write from Maria’s perspective at the end of the play. How does her plan for revenge turn out? Does she feel better? What makes her take pity on Malvolio and let him go? Quote Maria’s lines from the play in the entry, to support her belief.

ACTIVITY 5: CULTURAL CONTEXT (DESE- R1.I; Product/Performance 1.A)

(DESE-PP1.C/Elements and Principles 1.C)(DESE-Listening Skills 2.A)

Have students rewrite the play as a contemporary soap opera, perhaps through a week of episodes. After the script has been drafted, they might perform and record or film it. The recording or film can be shown in class or placed in a classroom media library..

Have students stage an episode of a daytime talk show on which Malvolio confronts Maria, Sir Toby, Sir Andrew and Olivia. Who appears and in which order? What is the headline for that day’s show? What questions does the host ask? What questions do members of the audience ask?

Have students design, either by hand or on the computer, costumes for each of the characters. The costumes should reveal knowledge of the historical period and analysis of the personality of the character. These ‘sketches’ can be presented to the class or posted.

ACTIVITY 6 - MAPPING BULLYING IN TWELFTH NIGHTWe all play one of three roles in any bullying situation: the TARGET of the bullying, the person BULLYING, or the BYSTANDER. Bystanders are disengaged or undecided about what to do, HENCHMEN who go along with and contribute to the bullying, or DEFENDERS who step in to help the target. Match the following characters to their role(s) in the bullying that takes place throughout the play:

Malvolio Target

Sir Toby Bystander

Sir Andrew Person Who Bullies

Maria

Olivia

Do the characters play more than one role as the play progresses? How does bullying lead to more bullying? Remember bulling can be physical, verbal (including spreading rumors), social exclusion, or online (cyber) bullying (or. as in Twelfth Night, via letter).

ACTIVITY 7 - BULLYING WORKSHEET (adapted from Colorado Shakespeare Festival)

A bullying incident includes one person hurting another intentionally and there is usually an imbalance of power. Take a look at a few moments in the play and break down what is happening using the bullying terminology listed below. Identify the incident, the person who bullies, and the target. Then propose an alternate solution that would have prevented the incident.

EXAMPLE ON NEXT PAGE

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ACTIVITY 7 - BULLYING WORKSHEET

INCIDENT PERSON WHO BULLIES TARGET ALTERNATIVE SOLUTIONExample: Feste visits Malvolio while he is imprisoned and pre-tends to be “Sir Topaz”

Feste Malvolio Feste could have refused to play along when Sir Toby pressured him to be a part of the bullying, or reported him to Olivia.

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retold: As You Like It, Hamlet, King Lear, Macbeth, AMidsummer Night's Dream, Much Ado About Nothing,Othello, Romeo and Juliet, The Tempest, and TwelfthNight. Grades 5-9. Scholastic. 192 pages. © 2004.

The Complete Works ofWilliam Shakespeare;revised edition, edited byHardin Craig and DavidBevington; Scott, Foresmanand Co.

A Shakespeare Glossary,C.T. Onions, Oxford at theClarendon Press.

The ShakespeareCompanion, Gareth and Barbara Lloyd Evens, CharlesScribner's Sons, New York

The following works are out of print, but may beavailable at the library:

Shake Hands With Shakespeare, Eight Plays forElementary School; Albert Cullum, Citation Press, NewYork.

A Shakespeare for Children, Inez Specking, VantagePress, New York.

Shakespeare in Tale or Verse; Lois Grosvenor, TheMacmillan Company.

Shakespeare: TheAnimated Tales. Nowavailable on DVD, thisinternationally producedseries was conceived inWales, adapted inEngland, animated inRussia and Armenia,and financed in Europe,Japan, and the UnitedStates. Featuredoriginally on HBO in theUSA and on BBC2 inGreat Britain in 1992,these condensed,

animated renditions of Shakespeare's timeless tales aredesigned to capture the interest and enthusiasm of youngstudents and make them Shakespeare fans for life.

Written Source Material & DVDs

As you may know, not much exists about Shakespeare'sprocess. There was no autobiography, and little historicalmaterial aside from the plays themselves. It is as ifShakespeare wanted his work to tell his story and in manyways it does. There are many biographies and recently awealth of very accessible critical writing which usesexhaustive historical research to imagine and offertheories about what Shakespeare might have been likeand why he made the artistic and business choices he did.

New books for young people include:

Ready to Use Activities for Teaching - "A MidsummerNight's Dream" "Romeo and Juliet" "The Tempest""Twelfth Night" by John Wilson Swope. Center forApplied Research in Education - 1997.http://www.pearsonschool.com/

Shakespeare Set Free by PeggyO'Brien. The Folger Library,Washington Square Press - 1993.www.SimonSays.com

Teaching Shakespeare --Yes YouCan! Grades 5 and up, byLorraine Hopping Egan.Scholastic Professional Books.Scholastic Inc, 2931 McCarthyStreet, Jefferson City, MO 65102

More wonderful resources can be ordered from:www.writingco.com. Here's the Shakespeare Section --click on the play you want:http://www.writingco.com/c/featuredproduct.html?subject@Shakespeare+s@IIfn9ZRJrQiUg

Tales from Shakespeareby Tina Packer. Thiswidely-praised winner ofa Parents Choice Awardretells ten plays.Exquisite full-colorillustrations accompanyone-paragraphintroductions to the play'ssituation, lists identifyingkey characters, and theretellings in which Packeruses simple sentencestructures but a rich

vocabulary that includes direct, juicy quotes. Plays

Resources

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Classroom Connections: Page 17

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BOOKS ON SHAKESPEARE AND TEACHING SHAKESPEARE• Asimov, Isaac. Asimov’s Guide to Shakespeare. Doubleday,

1978.• Bryson, Bill. Shakespeare. HarperCollins, 2009.• Epstein, Norrie. The Friendly Shakespeare. Penguin Books,

1993.• Gibson, Rex. Teaching Shakespeare. Cambridge University

Press, 1998.• Kermode, Frank. Shakespeare’s Language. Allen Lane, The

Penguin Press, 2000.• Linklater, Kristin. Freeing Shakespeare’s Voice. Theatre

Communications Group, 1992.• Pritchard, R. E. Shakespeare’s England. Sutton Publishing

Limited, 1999.• Papp, Joseph and Elizabeth Kirkland. Shakespeare Alive.

Bantam Books, 1988.• Reynolds, P. Teaching Shakespeare. Oxford University Press,

1992.

SHAKESPEARE WEBSITES• Mr. William Shakespeare and the Internet: www.shakespeare.palomar.edu• The Shakespeare Resource Center: www.bardweb.net• Shakespeare’s Globe Center USA: www.sgc.umd.edu• Shakespeare: A Virtual Field Trip: www.hrsbstaff.ednet.ns.ca/engramja/Svtour.html• Life in Elizabethan England: elizabethan.org/compendium• Shakespeare Birthplace Trust: www.shakespeare.org.uk• Shakespeare Lite:

library.thinkquest.org/23293• Shakespeare Magazine: www.shakespearemag.com• Absolute Shakespeare: absoluteshakespeare.com• Everything Shakespeare: www.field-of-themes.com/shakespeare/indexmain.html• Ready to Use Activities for Teaching: www.pearsonschool.com• Shakespeare Curriculum Resources from The Center for

Learning: www.centerforlearning.org/c-41-shakespeare.aspx

ONE MORE ACTIVITYWrite and let me know your thoughts. YOU are the reason we do what we do, and it’s your responses thathelp us to provide theatre experiences that are exciting, meaningful and educational. Write care of:

Christopher Limber, Education DirectorShakespeare Festival St. Louis5715 Elizabeth Ave.St. Louis, MO, 63110Email: [email protected]

Cover Photo:Daniel John Kelly in ALL THE WORLD’S A STAGE (photo: J. David Levy)

Inside Cover:Anna Blair*, Khnemu Menu-Ra*, Michael B. Perkins, Drew Pannebecker, Laura Sexauer in CRUEL TO BE KIND? (photo: J. David Levy)

EDUCATION TOUR COMPANION STUDY GUIDE & ACTIVITIES

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