Teaching Ideas

Twelfth Night - Teaching materials - Shakespeare - Literature

Twelfth Night Act 1 Scenes 1 and 2 A suggested sequence of lessons on the first three scenes, probably for a more able class. The class is divided into groups of about five or six. Each group is either A or B. Groups A are issued with the leaflet THE DUKE IN LOVE. Groups B are issued with the leaflet VIOLA AND THE CAPTAIN. In addition, specific ROLES within the groups could be allocated. Each group has the task of preparing a presentation of one of the first two scenes from Twelfth Night. Instructions are on the leaflets. This preparation will probably take two lessons, followed by one lesson for presentations. They will probably also need a homework or two in order to prepare props, familiarise themselves with their lines, etc. There is also one individual written homework, printed on the back of the leaflet, which can be set at some stage. During the preparation, the teacher can do some oral assessment, as well as popping in the odd extra question/suggestion if invention is flagging (How old do you think Orsino/the Captain is?). After the presentations, discuss with the class issues arising from the different ways of doing the scenes. Then ask the class: Which of these scenes should come first, and why? (If they have seen a production and claim to know already, tell them that the order is often inverted in production.) When they have decided that (they may not all agree), ask: How would you get from one to the other (a) on a modern stage (b) on Shakespeare‘s stage? They then write up individual answers to these questions for homework. Those who don't know the play could be asked: How might the story line develop from here? Then go on to class-teach Act 1 Scene 3, bringing out elements of contrast: prose, comedy, nature of characters, pace, etc.

Investigating Scenes From Twelfth Night THE DUKE IN LOVE Your task is to work out a presentation of this scene to an audience. Read through the script a couple of times. You will have to decide what kind of stage you are going to prepare your performance for (thrust, arena, avenue, proscenium) - and why. You are allowed to use: one prop; one piece of furniture or scenery (that can be carried); one item of costume. These are some of the questions that you will have to ask yourselves. Try out different answers and see which work best. • • • • • • • • • •

Where are the characters on the stage? Are they standing or sitting? Who is he speaking to? (It may change during a speech.) Who is listening? What response do the listeners make? If any characters aren't listening, what are they doing instead? Where are the characters looking at any given moment? When should anyone move, and how, and why? What difference would it make if he spoke the lines from somewhere else on stage? Is this part of the scene better acted close to or far away from the audience? Should the audience be able to see the character's face at this point? In the longer speeches, where should there be pauses or changes of tone or emphasis?

You will also need to consider: 1.How is the audience going to know that Orsino is a Duke, a person of importance? 2.What response do you want the audience to have to Orsino? 3.What kind of music will you use? Will you have musicians on stage or not? Enter ORSINO, Duke of Illyria, CURIO, and other LORDS.DUKE If music be the food of Love, play on, Give me excess of it: that surfeiting, The appetite may sicken, and so die. That strain again, it had a dying fall: O, it came o'er my ear, like the sweet sound That breathes upon a bank of violets; Stealing, and giving odour. Enough, no more, 'Tis not so sweet now, as it was before. O spirit of Love, how quick and fresh art thou, That notwithstanding thy capacity, Receiveth as the sea, nought enters there,

Of what validity, and pitch soe'er, But falls into abatement, and low price Even in a minute; so full of shapes is fancy, That it alone, is high fantastical. CURIO Will you go hunt my Lord? DUKE What Curio? CURIO The hart. DUKE Why so I do, the noblest that I have:

O when mine eyes did see Olivia first, Methought she purg'd the air of pestilence; That instant was I turn'd into a hart, And my desires like fell and cruel hounds, E'er since pursue me. How now what news from her? Enter VALENTINE. VALENTINE So please my Lord, I might not be admitted;

But from her handmaid do return this answer: The Element itself, till seven years' heat, Shall not behold her face at ample view: But like a cloistress she will veiled walk, And water once a day her chamber round With eye-offending brine: all this to season A brother's dead love, which she would keep fresh And lasting, in her sad remembrance. DUKE O she that hath a heart of that fine frame

To pay this debt of love but to a brother, How will she love, when the rich golden shaft Hath kill'd the flock of all affections else That live in her. When liver, brain, and heart, These sovereign thrones, are all suppli'd, and fill'd, Her sweet perfections with one self king: Away before me, to sweet beds of flowers, Love-thoughts lie rich, when canopi'd with bowers. Exeunt. THE DUKE IN LOVE: Homework Questions Write detailed answers to these questions: 1. In this scene the audience doesn‘t hear the name of the Duke. Make some suggestions why Shakespeare has kept him anonymous. 2. What sort of person do you think the Duke is? What is your evidence for your opinion?

3. Pick one part of the scene - no more than two or three lines - that you find hard to understand. Write it out, and write under it your guess as to what it means.

Group Investigation of a Scene from 'Twelfth Night' THE DUKE IN LOVE ROLES WITHIN THE GROUP Listed and described below are the various roles that are needed if your presentation is to be a success. They should be shared out among the group by general agreement. THE ACTORS ORSINO - the main speaking part CURIO VALENTINE The actors are responsible for getting to know their parts well (you might even learn your lines) and working with the others on the best possible presentation. Other non-speaking parts (the Lords) are to be played by other members of the group. THE DIRECTOR The director has the main responsibility for choices about how the scene will be acted - the positions, moves of the actors and how they will speak their speeches and relate to each other and the audience. In cases of disagreement in the group that cannot be resolved by discussion, the director has the casting vote. THE BOOK The Book assists the director by making a note of all the decisions taken so that no-one will forget. This person also keeps an eye on your task instructions to make sure that you have not missed out any of the things that you were asked to consider. The Book also has the task of watching the rehearsals from all angles from the audience's point of view and making any comments that are relevant. THE PROPS PERSON Is responsible for finding appropriate props according to the decisions taken by the group and making sure that they are available for rehearsals and performance. The responsibility for the quality of your preparation and presentation belongs equally with the whole group. Everyone is to contribute ideas and to be involved in discussion.

Investigating Scenes From Twelfth Night VIOLA AND THE CAPTAIN Your task is to work out a presentation of this scene to an audience. You will have to decide what kind of stage you are going to prepare your performance for (thrust, arena, avenue, proscenium) - and why. You are allowed to use: one prop; one piece of furniture or scenery (that can be carried); one item of costume. These are some of the questions that you will have to ask yourselves. Try out different answers and see which work best. • • • • • • • • • • •

How do the characters enter? Where are the characters on the stage? Are they standing or sitting? Who is s/he speaking to? Who is listening? How do the listeners respond to what is being said? If any characters aren't listening, what are they doing instead? Where are the characters looking at any given moment? When should anyone move, and how, and why? What difference would it make if s/he spoke the lines from somewhere else on stage? Is this better close to or far away from the audience? Should the audience be able to see his/her face at this point? In the longer speeches, where should there be pauses or changes of tone or emphasis?

You will also need to consider: 1.How are you going to show the audience that Viola and the others have just been shipwrecked? 2.Is Viola standing, sitting, lying down, walking around? Try it in different ways and choose the one that you think will work best. 3.Is she supported by the Captain and the Sailors or independent of them? 4,What response do you want the audience to have to Viola? Enter VIOLA, a CAPTAIN, and SAILORS. VIOLA

What country, friends, is this?

CAPTAIN

This is Illyria Lady.

VIOLA

And what should I do in Illyria? My brother he is in Elysium, Perchance he is not drown'd: what think you sailors?

CAPTAIN

It is perchance that you yourself were sav'd

VIOLA

O my poor brother, and so perchance may he be

CAPTAIN

True Madam, and to comfort you with chance, Assure yourself, after our ship did split, When you and those poor number sav'd with you Hung on our driving boat: I saw your brother, Most provident in peril, bind himself (Courage and hope both teaching him the practice) To a strong mast, that liv'd upon the sea: Where, like Orion on the dolphin's back, I saw him hold acquaintance with the waves, So long as I could see.

VIOLA

For saying so, there's gold: Mine own escape unfoldeth to my hope, Whereto thy speech serves for authority The like of him. Know'st thou this country?

CAPTAIN

Ay Madam well, for I was bred and born Not three hours' travel from this very place.

VIOLA

Who governs here?

CAPTAIN

A noble Duke in nature, as in name.

VIOLA

What is his name?

CAPTAIN

Orsino.

VIOLA

Orsino: I have heard my father name him. He was a bachelor then.

CAPTAIN

And so is now, or was so very late: For but a month ago I went from hence, And then 'twas fresh in murmur (as you know What great ones do, the less will prattle of) That he did seek the love of fair Olivia.

VIOLA

What's she?

CAPTAIN

A virtuous maid, the daughter of a Count That died some twelvemonth since, then leaving her In the protection of his son, her brother, Who shortly also died: for whose dear love, (They say) she hath abjur'd the sight And company of men.

VIOLA

that I serv'd that Lady, And might not be delivered to the world Till I had made mine own occasion mellow What my estate is.

CAPTAIN

That were hard to compass, Because she will admit no kind of suit, No, not the Duke's.

VIOLA

There is a fair behaviour in thee Captain, And, though that nature, with a beauteous wall Doth oft close in pollution: yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. I prithee (and I'll pay thee bounteously) Conceal me what I am, and be my aid, For such disguise as haply shall become The form of my intent. I'll serve this Duke, Thou shalt present me as an eunuch to him, It may be worth thy pains: for I can sing, And speak to him in many sorts of music That will allow me very worth his service. What else may hap, to time I will commit, Only shape thou thy silence to my wit.

CAPTAIN

Be you his eunuch, and your mute I'll be, When my tongue blabs, then let mine eyes not see.

VIOLA

I thank thee: lead me on

Exeunt VIOLA AND THE CAPTAIN: Homework Questions Write detailed answers to these questions: 1.What sort of personality do you think Viola has, and why? 2.Some impulsive choices are made in this scene. Find two, and see if you can explain why they are made. 3.Pick one part of the scene - no more than two or three lines - that you find hard to understand. Write it out neatly, and write under it your guess as to what it means.

Group Investigation of a Scene from 'Twelfth Night' VIOLA AND THE CAPTAIN ROLES WITHIN THE GROUP Listed and described below are the various roles that are needed if your presentation is to be a success. They should be shared out among the group by general agreement. THE ACTORS VIOLA - the main speaking part THE CAPTAIN Other non-speaking parts (the Sailors) are to be played by other members of the group. The actors are responsible for getting to know their parts well (you might even learn your lines) and working with the others on the best possible presentation. Other non-speaking parts (you must have some) are to be played by other members of the group. THE DIRECTOR The director has the main responsibility for choices about how the scene will be acted - the positions, moves of the actors and how they will speak their speeches and relate to each other and the audience. In cases of disagreement in the group that cannot be resolved by discussion, the director has the casting vote. THE BOOK The Book assists the director by making a note of all the decisions taken so that no-one will forget. This person also keep an eye on your task instructions to make sure that you have not missed out any of the things that you were asked to consider. The Book also has the task of watching the rehearsals from all angles from the audience's point of view and making any comments that are relevant. THE PROPS PERSON Is responsible for finding appropriate props according to the decisions taken by the group and making sure that they are available for rehearsals and performance. The responsibility for the quality of your preparation and presentation belongs equally with the whole group. Everyone is to contribute ideas and to be involved in discussion.