drama qld: fusiojn 2014 a physical introduction to … · fusion 2014 – carroll byrne – a...

Fusion 2014 – Carroll Byrne – A Physical Introduction to William Shakespeare. 1

DRAMA QLD: FUSIOJN 2014

A physical introduction to William Shakespeare by

Carroll Byrne

Please note that a number of these lessons have been appropriated from workshops with Jonathon Neelands, John O’Toole, The Royal Shakespeare Company and Bell Shakespeare.


WILLIAM SHAKESPEARE

1. List three things you know about William Shakespeare 1. 2. 3.

2. Name three of his plays. 1. 2. 3. Write a paragraph giving an overview of one of the plays you have listed above:

Fill in the graphic organizer below regarding studying Shakespeare PLUS MINUS INTERESTED


SOLILOQUY

Probably the best-known lines in all Western drama begin a soliloquy: To be or not to be.

Shakespeare’s work is full of them, from Juliet’s soliloquy on the balcony, Macbeth’s

troubled musings – indeed, about half of everything Hamlet says seems to be a soliloquy.

But what exactly are they?

A definition

A soliloquy is an extended speech, directed to the audience rather than to other

characters, in which the speaker explores their thoughts and feelings. It can deal with

big, generalised issues, such as Hamlet’s To be or not to be. (Act 3. Scene i.), in which he

considers life, death and suicide; react to events such as O what a rogue and peasant

slave am I! (Act 2, Scene ii), when he compares himself with the Player King and berates

his own inaction; or ponder future action, as in Now might I do it pat, now he is praying

(Act 3, Scene iii).

A soliloquy is not just an extended, emotional speech, however. For example, Portia’s The

quality of mercy is not strained in The Merchant of Venice (Act 4, Scene i) is not a

soliloquy, as it is delivered to Shylock, attempting to persuade him not to exact the pound

of Antonio’s flesh specified in the bond. In technical terms, this is a example of “forensic

oratory” – a persuasive speech made in court.

Soliloquies and asides

A soliloquy should also be distinguished from a "dramatic aside”, which is a comment

spoken during a passage of dialogue, though not meant to be heard by the other

characters. It usually comments on, or contrasts with, the dialogue it accompanies. For

example, Shylock’s lengthy aside beginning Yes, to smell pork (Act 1, Scene iii) is

obviously directed at Bassanio, though he is not intended to hear it, and is slotted into

the dialogue of the scene. It is also part of the time-scheme of the dialogue; there is

often a feeling in soliloquy that a character has stepped “outside time” to reflect,

whereas Shylock’s comments occupy a brief and specific moment in the dialogue.

Soliloquies on stage

Soliloquies can seem awkward or unrealistic in modern productions, as modern theatre-

goers have become used to a relatively illusionist theatre – we are uncomfortable with

characters who pretend they cannot hear what someone is saying whilst standing right


next to them, or actors who turn to take the audience into their confidence, breaking

through the “fourth wall” which separates them from the spectators. However, there

were no such problems in Shakespeare’s theatre, which made less attempt to produce

an illusion of real life, and played in full daylight on a stage which jutted out into the

audience, producing a much closer relationship between audience and actor. Under

these conditions, the soliloquy was a flexible and effective dramatic tool for a writer of

Shakespeare’s talent.

http://shakespeareantheatre.suite101.com/article.cfm/soliloquy_basics#ixzz0JCw4w7QG&D

MACBETH LESSON PLANS: 1. BOAL HANDSHAKES – Players shake hand with another player. They keep hold of that

player’s hand until they meet another player. 2. TOUCHING OBJECTS – Players run to touch five objects in the class and speak their

names as they touch them. Without planning they are to run to the same five objects and call them totally different unrelated names.

3. FRIEND AND FOE- Students are asked to move around the space at varying speeds. The LM tells them to freeze and asks them to secretly identify another player who is their friend. When the LM tells them to move again they are to try and stay as close to that friend as possible. Repeat – only this time they are to choose a foe and stay as far away from their foe as possible.

4. MACBETH’S JOURNEY: “ WHAT THE WORDS TELLS US”. The LM reads Macbeth’s speech:

Two truths are told As happy prologues to the swelling Act Of the imperial theme. – I thank you, gentlemen. (aside) This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair, And make my seated heart knock at my ribs Against the use of nature? Present fears Are less than horrible imaginings.(1) My thought, whose murder yet is but fantastical, Shakes so my single state of man That function is smothered in surmise, And nothing is but what not.(2)

1. Frightful things in the present have less effect on us than imagined horrors.

2. The power to act is annihilated by my speculations; so that the only thing that exists in the present is what does not really exist in the present – thoughts of the future


5. LM reads the speech again and asks students to echo any words from the speech that indicate that Macbeth is anxious or frightened at this point.

6. WHISPERING EXERCISE - LM then asks student to create groups of three. One player sits on the floor, while the two others whisper the speech in the seated player’s ear. One player is the hopeful side of Macbeth’s speech and they say the italicised portion of the text. The other is the fearful side and they say underlined side of the text. If both happen together, both players whisper the lines into the seated player’s ears.

7. LM then asks for responses to this exercise – How did it feel to be Macbeth? Is he uncomfortable or fearful? What is causing these feelings?

8. PUNCTUATION SHIFT – LM then instructs students to read the speech aloud to themselves and change direction on each punctuation mark. Short discussion about the physicality of Macbeth’s movement. Were they able to stride out for a while or was it short and sharp turns, quickly executed? What does this indicate about Macbeths’ emotional state and the delivery of these lines?

9. Handout Macbeth V, iii. Ask students to repeat exercise but this time to be cognizant of the speed of which they walk in conjunction with the change of direction.

10. Compare these two speeches. How has Macbeth changed in the course of the play? Discuss how the speed, rhythm and pattern of the speeches.

11. LM asks students to move into pairs A and B facing each other. LM instructs the students to throw verbally the last word of each line of speech I, iii to each other as if it were dialogue; A then B. E.g . A told B act

12. Do this exercise once more and ask students to consider if the words were balls what their size and weight would be. Students redo exercise placing the size and weight on the word.

13. LM then instructs students to split into two groups and in 30 seconds each group has to

create a statue capturing the spirit of Macbeth in the two speeches. They are then asked to name their statue: Discussion: What words would they use to describe the other statue? Does their face of Macbeth face inwards or outwards? Look up or look down? Which last words, (from the speech) reflect the statue they are viewing?

14. As the students are viewing the other group’s statue, the LM will ask the statue to come to life and make sounds for 10 seconds.

15. This is repeated with other group.


MACBETH, I, iii MACBETH

Two truths are told As happy prologues to the swelling Act Of the imperial theme. – I thank you, gentlemen. (aside) This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair, And make my seated heart knock at my ribs Against the use of nature? Present fears Are less than horrible imaginings.(1) My thought, whose murder yet is but fantastical, Shakes so my single state of man That function is smothered in surmise, And nothing is but what not.(2)


MACBETH, V , iii MACBETH Throw physic to the dogs! I’ll none of it. – Come, put mine armour on, give me my staff. Seyton, send out, ‐ Doctor, the thanes fly from me.‐ Come, sir, dispatch. – If clouds couldst, doctor, cast the water of my land, find her disease and purge it to a sound and pristine health, I would applaud thee to the very echo That should applaud again. – Pull’t off, I say. – What rhubarb, senna, or what purgative drug Would scour these English hence? Hear’st thou of them?


Macbeth – Handout. WILLIAM SHAKESPEARE

Plot Overview THE PLAY BEGINS with the brief appearance of a trio of witches and then moves to a military camp, where the Scottish King Duncan

hears the news that his generals, Macbeth and Banquo, have defeated two separate invading armies—one from Ireland, led by the

rebel Macdonald, and one from Norway. Following their pitched battle with these enemy forces, Macbeth and Banquo encounter the

witches as they cross a moor. The witches prophesy that Macbeth will be made thane (a rank of Scottish nobility) of Cawdor and

eventually king of Scotland. They also prophesy that Macbeth’s companion, Banquo, will beget a line of Scottish kings, although

Banquo will never be king himself. The witches vanish, and Macbeth and Banquo treat their prophecies skeptically until some of King

Duncan’s men come to thank the two generals for their victories in battle and to tell Macbeth that he has indeed been named thane

of Cawdor. The previous thane betrayed Scotland by fighting for the Norwegians and Duncan has condemned him to death. Macbeth

is intrigued by the possibility that the remainder of the witches’ prophecy—that he will be crowned king—might be true, but he is

uncertain what to expect. He visits with King Duncan, and they plan to dine together at Inverness, Macbeth’s castle, that night.

Macbeth writes ahead to his wife, Lady Macbeth, telling her all that has happened. Lady Macbeth suffers none of her husband’s uncertainty. She desires the kingship for him and wants him to murder Duncan in order

to obtain it. When Macbeth arrives at Inverness, she overrides all of her husband’s objections and persuades him to kill the king that

very night. He and Lady Macbeth plan to get Duncan’s two chamberlains drunk so they will black out; the next morning they will blame

the murder on the chamberlains, who will be defenseless, as they will remember nothing. While Duncan is asleep, Macbeth stabs

him, despite his doubts and a number of supernatural portents, including a vision of a bloody dagger. When Duncan’s death is

discovered the next morning, Macbeth kills the chamberlains—ostensibly out of rage at their crime—and easily assumes the kingship.

Duncan’s sons Malcolm and Donalbain flee to England and Ireland, respectively, fearing that whoever killed Duncan desires their

demise as well. Fearful of the witches’ prophecy that Banquo’s heirs will seize the throne, Macbeth hires a group of murderers to kill Banquo and his

son Fleance. They ambush Banquo on his way to a royal feast, but they fail to kill Fleance, who escapes into the night. Macbeth

becomes furious: as long as Fleance is alive, he fears that his power remains insecure. At the feast that night, Banquo’s ghost visits

Macbeth. When he sees the ghost, Macbeth raves fearfully, startling his guests, who include most of the great Scottish nobility. Lady

Macbeth tries to neutralize the damage, but Macbeth’s kingship incites increasing resistance from his nobles and subjects.

Frightened, Macbeth goes to visit the witches in their cavern. There, they show him a sequence of demons and spirits who present

him with further prophecies: he must beware of Macduff, a Scottish nobleman who opposed Macbeth’s accession to the throne; he is

incapable of being harmed by any man born of woman; and he will be safe until Birnam Wood comes to Dunsinane Castle. Macbeth is

relieved and feels secure, because he knows that all men are born of women and that forests cannot move. When he learns that

Macduff has fled to England to join Malcolm, Macbeth orders that Macduff’s castle be seized and, most cruelly, that Lady Macduff

and her children be murdered. When news of his family’s execution reaches Macduff in England, he is stricken with grief and vows revenge. Prince Malcolm,

Duncan’s son, has succeeded in raising an army in England, and Macduff joins him as he rides to Scotland to challenge Macbeth’s

forces. The invasion has the support of the Scottish nobles, who are appalled and frightened by Macbeth’s tyrannical and murderous

behavior. Lady Macbeth, meanwhile, becomes plagued with fits of sleepwalking in which she bemoans what she believes to be

bloodstains on her hands. Before Macbeth’s opponents arrive, Macbeth receives news that she has killed herself, causing him to sink

into a deep and pessimistic despair. Nevertheless, he awaits the English and fortifies Dunsinane, to which he seems to have

withdrawn in order to defend himself, certain that the witches’ prophecies guarantee his invincibility. He is struck numb with fear,

however, when he learns that the English army is advancing on Dunsinane shielded with boughs cut from Birnam Wood. Birnam Wood

is indeed coming to Dunsinane, fulfilling half of the witches’ prophecy. In the battle, Macbeth hews violently, but the English forces gradually overwhelm his army and castle. On the battlefield, Macbeth

encounters the vengeful Macduff, who declares that he was not “of woman born” but was instead “untimely ripped” from his mother’s

womb (what we now call birth by cesarean section). Though he realizes that he is doomed, Macbeth continues to fight until Macduff

kills and beheads him. Malcolm, now the king of Scotland, declares his benevolent intentions for the country and invites all to see him

crowned at Scone.


Next lesson: MACBETH IN 20 MINUTES

1. Working in trios or pairs students are allocated mini scenes until finished. Each scene can be between 1 and 30 seconds,.

2. Students are given 15 – 10 minutes to create scenes based on their handouts. They must include speaking the text assigned to their scenes in the most theatrical way possible. They can share the dialogue or assign a narrator of the story.

3. Students perform their tale of Macbeth for the last 20 minutes of the class. 4. Anything in bold italics is dialogue from the play that students should use with

their mini scenes.

1. During a big storm Three Witches plot to meet Macbeth on his way home after a battle.

When shall we three meet again? In thunder, lightning, or in rain?

2. King Duncan of Scotland hears from his sons Malcom and Donalbain of the great bravery of Macbeth, one of his lords, in the battle they have won.

For brave Macbeth/ unseamed him from the nave to the chops, and fixed his head upon our battlements

3. Returning from the war, Macbeth and another lord, Banquo, meet the three witches on a lonely moor. The way they greet him amazes Macbeth.

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 shall be King hereafter!

4. Amazed by these promises for Macbeth, Banquo asks the witches about his own future.

Third witch: Thou shalt (be)get kings, though thou be none.

5. Later, Macbeth is told that he has been made Thane of Cawdor: that part of the witches predictions has come true! He may well become King.

If chance will have me King, why, chance may crown me, Without my stir.


6. When Lady Macbeth learns what the witches have foretold she is afraid her husband is too soft to do the things he’ll have to do to become King.

I do fear thy nature; It is too full o’ th’ milk of human kindness

7. Lady Macbeth learns that the King is coming to stay the night with them and

decides she must act. They welcome the King. Macbeth is afraid of what might happen if they murder the King and he tells his wife that he has decided not to go through with it. He asks what will happen if they fail?

Lady Macbeth: We fail? But screw your courage to the sticking place,

And we’ll not fail.

8. The plan is that Lady Macbeth will get the King’s bodyguards drunk. Macbeth will then kill the King and the bodyguards, leaving the bloody daggers in the guards’ possession. Macbeth worries terribly about what he has to do. He sees visions.

Is this a dagger I see before me, The handle toward my hand?

9. Macbeth carries out the killings. His guilt makes him hear voices.

Methought I heard a voice cry “ Sleep no more! Macbeth does murder sleep!”

10. The murders are discovered. The dead King’s sons realize it is dangerous to stay in Scotland and they escape.

Where we are there’s daggers in men’s smiles.

11. The Macbeths hold a feast. Banquo says he will be late because he has a journey to make. Macbeth fears that he has murdered to get the crown only to have Banquo’s children inherit it, as the witches predicted. He therefore persuades two murderers to waylay Banquo and his son Fleance at some distance from the palace and kill them.

First murderer: Let it come down (They set upon Banquo) Banquo: O, treachery! Fly, good Fleance, fly, fly, fly!

12. As the feast starts the murderers tell Macbeth that they have killed Banquo but Fleance has escaped. Macbeth tries to be sociable throughout the evening but keeps on seeing Banquo’s ghost, though no one else does. The guests remark on Macbeth’s strangeness.

Macbeth: It will have blood, they say: blood will have blood.


13. The three witches meet again.

Double, double, toil and trouble; Fire burn and cauldron bubble.

14. Macbeth arrives and they arrange for three ghosts (apparitions) to appear, each with a message for him.

First apparition: Beware Macduff!

Second apparition: None of woman born/ Shall harm Macbeth.

Third apparition: Macbeth shall never vanquished be until Great Birnam Wood to high Dunsinane Hill shall come against him.

15. The witches disappear. Macbeth is told that Macduff has fled to England. He decides that because of the witches predictions he can afford to be cruel. He will attack Macduff’s castle and kills Lady Macduff and her children.

Give to th’ edge o’ th’ sword. His wife, his babes, and all… that trace him in his line.

16. In England, Malcolm tells Macduff that his family has been murdered by Macbeth. They decide to march against Macbeth.

Macduff: All my pretty ones? Did you say all? O hell-kite! All?

17. At Macbeth’s castle, Dunsinane, Lady Macbeth has taken to walking and talking in her sleep because of guilt. She often acts as if she is washing her hands, sometimes for a quarter of an hour or more.

Out damned spot! Out, I say!... Hell is murky.

18. Malcolm, Macduff and the invading forces are gathered near Birnam Wood, not far from Dunsinane Castle. Macbeth still isn’t worried.

I will not be afraid of death and bane till Birnam Forest come to Dunsinane.

19. Malcolm orders every soldier to cut down a branch and carry it in front of himself towards Dunsinane. Within the castle Lady Macbeth has killed herself. Meanwhile Macbeth realises that the second prediction has come true.

And now a wood/ Comes toward Dunsinane


20. Macbeth decides to fight to the last, even though most of his men have deserted him. In the fighting he comes up against Macduff and learns something about Macduff’s birth.

Macbeth: I bear a charmed life, which must not yield to one of woman born.

Macduff: Macduff was from his mother’s womb untimely ripped.

21. Macduff emerges carrying Macbeth’s head. Victory is won, and Malcolm is King.

Hail, King of Scotland!!

NB: Upon completion of Macbeth in 20 minutes, LM can ask students to form groups of 4 and each person under the guise of a character; Macbeth, Lady Macbeth, Macduff and Banquo, tells the story really quickly from their perspective. This is an excellent way to reinforce that students have the gist of the plot.

LM can also hand out Shakespeare Made Easy animations and ask the students in a group of four to create the story with the images; make sure numbers are removed first. I have included these for Macbeth. You can find these for most of Shakespeare’s plays.

MOVING ON TO HAMLET FUSED WITH PHYSICAL THEATRE:

When introducing students to Shakespeare it is important to experientially engage them from the outset. This lesson plan aims to introduce the plot of Hamlet in a very engaging workshop that allows students to access the play in a kinesthetic manner.


Drama Shakespeare – Hamlet OBJECTIVES TEACHER ACTIVITY STUDENT ACTIVITY TIME RESOURCES ASSESSME

NT Students will engage in: Exploration

of the plot line of Hamlet.

Investigation of characters in the play.

Devising using story line

Devising using original text.

The object of

this lesson is to demystify Shakespearian texts. To make student fall in love with the story line of Hamlet and to

then make decisions for themselves about the characters and their actions. To then apply

their knowledge of the story to the original text.

Warm Up Exercises: Suzuki stomping – to gain focus. Teacher asks students to stand in one corner of the room and to march with knees high focussing on the opposite wall. CD # 2. Teacher models for students Teacher then asks students to slow down. CD # 6. Teacher then asks students to say part of a verse while moving through the space slowly and with focus. Teacher then asks students to lie on the floor wherever they are comfortable and to close their eyes if they wish. Teacher then reads a story to the students with a great deal of emphasis on the story telling.

Once upon a time…… Teacher finishes story and asks students to get up slowly at their own pace. They are now to make a decision about whether they think Hamlet was a good guy or a loser and to stand on a opinion line in the place that they think is appropriate for them. Right hand side is Hamlet is great. Middle you are undecided. Left- he is a loser.

Students watch teacher model Suzuki and then try. Students slow down to focus. Students repeat after teacher lines of verse from Hamlet. Students take a position on the floor where they are comfortable and if they wish close their eyes. Students listen to story. Students get up and now make a decisions whether they like Hamlet or not. They then stand on the opinion line in the position that best suits their opinion of Hamlet.

5 mins 8 mins 7 mins 10 mins

CD – Music from around the world. Verse from Hamlet. Oh wretched state… CD – Elizabethan music to play softly in the background.


Teacher then engages students in a discussion about why they think what they do about Hamlet. Teacher then gives handout to students which is the synopsis of the story that has just been read. Teacher then asks students to get into groups of 4 and to look at handout . They are to select a part of the story which appeals to them and to form a freeze frame or tableaux representing that part of the story. Teacher then asks students to present their freeze frame to the class. Class engages in discussion about which part of the plot they think the groups are representing. Teacher then asks students to go back to their group that they formed a freeze frame in and they are to work on a scene from the original text which is to be presented with the body as the primary tool of communication. The dialogue in the scene is to be reduced to only 10 words and these are the only dialogue that can be spoken when presenting the scene. Teacher then asks students to present their scene to the class.

Students discuss what they think about Hamlet. Students look at handout. Students get into groups of 4 and form a freeze frame of part of the story. Students present freeze frame. Students discuss why they think it is that part of the story. Students now go back to groups and form a presentation piece with the original script as a re-enactment of the crime scene, reducing the scene to only 10 words and using the body as the primary tool for communication. Students present pieces to the class.

5 mins 5 mins 5 mins 15 mins 15 mins. 5 mins.

Hamlet Synopsis – hand out. Original Hamlet scripts – Selected scenes. Refer to page# Ingredients for great Compositions


Once upon a time in a country far across the sea there lived a beautiful Queen named Gertrude, she was married to a handsome King and they had a beautiful little boy called Hamlet. Hamlet was an only child and was doted on by both of his parents. He had a wonderful life and loved his parents very much but he had a special fondness for his father and the wonderful hunting trips they went on together. As Hamlet matured into a fine young man he met and fell in love with his father’s counselor’s daughter. Her name was Ophelia. They could not however marry because Hamlet was heir to the throne and she was a commoner so Ophelia was instructed by her father never to see Hamlet again. This did not please the young man. The second blow came when he learned of his father’s death. It appeared that he had died in his sleep one afternoon. Hamlet stood beside his father’s tomb at the funeral beyond words, beyond emotions. He could not fathom how God could be so cruel as to take his father in his sleep when he was in the prime of his life. His mother, Gertrude stood at his right hand side and wailed, her heart broken by the untimely death of her beloved husband. Hamlet began to retreat into himself. Nothing would ever be the same for him from that day on. Within only a few weeks Hamlet discovered his mother intended to marry his uncle, the brother of his father. Hamlet could not believe it, it had not even been 2 months since his father had died. He was distraught, he turned to his friend Horatio who told Hamlet that life had to move on. Horatio then told Hamlet that he had something to tell him, but he was sure he would not believe him. Hamlet pleaded with his friend to tell him what was on his mind. Horatio then revealed that Hamlet’s father, the King had appeared to him in a ghost like form. Hamlet , of course was full of questions. Where? When? Horatio told

Teacher asks students about their learning experience of Hamlet. What did they find out about Shakespeare’s Hamlet? What did they enjoy? Can use PMI graphic organizer if you wish.

Students discuss their experience of Hamlet.


Hamlet all the details, missing nothing. Hamlet knew he had to wait in exactly the same spot in case his father should show himself again. So Hamlet waited and waited the next night for the vision of his dead father to appear. Finally the King came, Hamlet could not believe his eyes, there in front of him stood the apparition of the man he had loved so dearly. “Father”, he cried awash with emotions. “ Why have you come here? What is it you want?”. “Listen carefully!” his father told him. “There is a serpent within our orchard, someone who is deceitful and has already taken my life from me. He now occupies my throne and my bed with the woman I love. The one I speak of is none other than my very own brother, your uncle. He took my life with poison as I napped in the garden and now he has taken my wife and my life.” Hamlet was mortified, his own uncle. “What is it you would have me do?” he asked of his father. Who replied, “Take vengeance on the reptile who now resides on my throne!” As Hamlet contemplated this, his father disappeared. Hamlet was horrified, could it really have been his father or did he just meet the devil cloaked in his father’s image. Hamlet quickly found Horatio and made him swear on his sword that he would not utter a word about what had happened. He then began to formulate a plan of attack. With the weight of this information on his mind he began to act somewhat strangely and everyone assumed that he was distraught over the death of his father. Polonius tried to tell the King and Queen that this was not the case, he had found Hamlet’s love letters to his daughter and claimed that Hamlet had gone mad because of his unrequited love for Ophelia. The King, the Queen and Polonius decided to test Hamlet, they would set up a scene where he would meet Ophelia in the court yard and they would watch the interaction between them. Hamlet met Ophelia and in his dismay at losing both her and his beloved father he ranted and raved at her that he had never really loved her and that she should run off to a nunnery because she would never find happiness. The others viewing this scene decided that Hamlet had indeed gone mad and he must be sent far away from the Royal Palace. England would be best. The King then sent for 2 of Hamlet’s school mates to accompany him. Hamlet was extremely suspicious when these men arrive unexpectedly. Hamlet had decided on a course of action, he would test his uncle. To do this he enlisted the help of a troupe of actors who he asked to devise a play about a man who kills his own brother and then marries his wife and takes over his throne. This he thought, would make his uncle feel very uncomfortable, if what the ghost had told him had been true. On the night of the performance, the actors came and played out their devious scene. The King consumed with guilt ran from the court claiming he needed air. As Hamlet watched, he became sure that his uncle was indeed guilty of the heinous crime against his father. Revenge would be his.


Wishing to inform his mother of the information he had recently received, he made his way to her chambers where she had been talking to Polonius, Ophelia’s father about the recent events. Polonius heard Hamlet coming and quickly hid behind the curtains. As Hamlet and his mother’s conversation got more heated, Polonius fearful for the Queen moved behind the curtains. Hamlet, thinking it is the wicked King kills him with his sword. As a result of this murder the King states he has no choice but to send Hamlet away. Hamlet sets sail with Rosencrantz and Guildenstern, knowing that his uncle wishes to kill him. He finds the letter that condemns him to death and substitutes another condemning Rosencrantz and Guildenstern to death. On their arrival in England his two friends are arrested and beheaded. Hamlet returns to Denmark to find that Ophelia had gone mad and subsequently killed herself. Her brother is out for blood and challenges Hamlet to a dual. On the day of the dual, Laertes, Ophelia’s brother, puts poison on his sword in order to kill Hamlet. The evil King also places poison in a wine goblet should the sword be unsuccessful, not knowing this the Queen drinks the poison. Laertes manages to cut Hamlet while he is trying to assist his mother. Then Hamlet uses Laertes’ sword on him. As the queen is dying she tells Hamlet of the poison and he makes the King drink the potion. The Queen dies, Laertes dies after asking Hamlet for forgiveness and then Hamlet dies as the poison takes hold. That is the tragic story of Hamlet the Prince of Denmark. Copyright Carroll Byrne 2006.


BY WILLIAM SHAKESPEARE.

THE SYNOPSIS:

Hamlet’s father; the King of Denmark dies.

His uncle marries his mother; the Queen within 2 months of his father’s death.

Ophelia loves Hamlet but is told to stop seeing him because of his position as heir to the throne and she is only a counsellor’s daughter.

The ghost of the King appears to Horatio who informs Hamlet.

Hamlet thinks there must be foul play for his father’s spirit not to have passed on.

He waits for his father’s ghost to appear where Horatio claims he had seen it.

The ghost appears.

He wants to follow the ghost but his friends are reluctant to let him, however he continues on.

The ghost of the King asks Hamlet to revenge his murder – He informs Hamlet that his own brother, Hamlet’s uncle, poisoned him while he took a nap.

Hamlet is horrified and makes his friends swear that they will tell no one about the ghost’s visit.

They swear they won’t tell a soul.

Hamlet begins to act unusual – People assume he has gone mad.

Polonius (Ophelia’s father) reads Hamlet’s love letters to the King and Queen stating that Hamlet is mad due to his unrequited love for Ophelia.

They plan to observe Hamlet in an encounter with Ophelia.

In the encounter Hamlet tells Ophelia he has never loved her.

The King having watched Hamlet’s behaviour decides to send Hamlet to England.

Rosencranzt and Guildenstern – 2 school chums of Hamlet are sent for to escort Hamlet to England. They arrive and Hamlet is suspicious of their arrival.

*Hamlet engages a troupe of actors to do a play for the court about a man who kills his brother with poison and then marries his wife. This is a test for his uncle as he is going to observe his behaviour in order to decide whether he is guilty or not. He is also wary that the apparition of his father may the devil in disguise. Page 2.

He enlists Horatio’s help to observe his uncle’s reactions to the players.

The King reacts to the play.

Hamlet is overjoyed with the results. He now knows that the King is guilty.

Hamlet plans his revenge.


He goes to his mothers room to inform her of the goings on that he is now aware of. When he is mid speech Polonius moves behind her curtains. Hamlet thinking it is the King hiding, kills the person behind the curtain; Polonius – Ophelia’s father.

The King appears to Hamlet at this point and when he starts talking to the ghost, Hamlet’s mother thinks he really is mad.

The King calls the guards to find Hamlet who has taken off with the body of Polonius.

The King then banishes Hamlet to England where he is to be executed.

Hamlet has a notion that this is the case! He sets sail with Rosencrantz and Guildenstern to England.

Ophelia goes mad when she finds out about her father.

Hamlet swaps his death sentence letter with one stating that Rosencrantz and Guildenstern are the ones who are to be executed. They are beheaded.

Polonius’s son returns to avenge his father’s death. He is horrified by his sister’s demise.

Ophelia then kills herself.

Hamlet returns from England in time for her funeral where he has an altercation with Laertes , the brother.

The King enlists Laertes to kill Hamlet.

Laertes challenges Hamlet to a wager(dual).

Laertes puts poison on the tip of his sword so that all he has to do is cut Hamlet and he will die from the poison.

When the dual begins the King drinks a toast to Hamlet from a wine goblet, he then places a pearl in the wine which is dipped in poison so that when Hamlet drinks he will die.

Hamlet wins the 2nd round of the dual and the Queen picks up the wine goblet and drinks to his good health. The King does not warn her as he is afraid he will be found out.

The Queen then realises the King has poisoned the wine but it is too late.

Laertes cuts Hamlet with the poisoned sword.

Hamlet then grabs the sword and cuts Laertes.

The Queen as she is dying warns Hamlet of the poison in the wine.

Laertes exchanges forgiveness with Hamlet telling him the King is responsible and that the sword is poisonous.

Hamlet makes the King drink the wine. He dies.

Laertes dies.

Hamlet dies. THE END.


Act V, Scene 2

Elsinore. A hall in the Castle.

Enter Hamlet and Horatio.

Hamlet. So much for this, sir; now shall you see the other. 3650 You do remember all the circumstance?

Horatio. Remember it, my lord!

Hamlet. Sir, in my heart there was a kind of fighting That would not let me sleep. Methought I lay Worse than the mutinies in the bilboes. Rashly- 3655 And prais'd be rashness for it; let us know, Our indiscretion sometime serves us well When our deep plots do pall; and that should learn us There's a divinity that shapes our ends, Rough-hew them how we will- 3660

Horatio. That is most certain.

Hamlet. Up from my cabin, My sea-gown scarf'd about me, in the dark Grop'd I to find out them; had my desire, Finger'd their packet, and in fine withdrew 3665 To mine own room again; making so bold (My fears forgetting manners) to unseal Their grand commission; where I found, Horatio (O royal knavery!), an exact command, Larded with many several sorts of reasons, 3670 Importing Denmark's health, and England's too, With, hoo! such bugs and goblins in my life- That, on the supervise, no leisure bated, No, not to stay the finding of the axe, My head should be struck off. 3675

Horatio. Is't possible?

Hamlet. Here's the commission; read it at more leisure. But wilt thou bear me how I did proceed?

Horatio. I beseech you.

Hamlet. Being thus benetted round with villanies, 3680


Or I could make a prologue to my brains, They had begun the play. I sat me down; Devis'd a new commission; wrote it fair. I once did hold it, as our statists do, A baseness to write fair, and labour'd much 3685 How to forget that learning; but, sir, now It did me yeoman's service. Wilt thou know Th' effect of what I wrote?

Horatio. Ay, good my lord.

Hamlet. An earnest conjuration from the King, 3690 As England was his faithful tributary, As love between them like the palm might flourish, As peace should still her wheaten garland wear And stand a comma 'tween their amities, And many such-like as's of great charge, 3695 That, on the view and knowing of these contents, Without debatement further, more or less, He should the bearers put to sudden death, Not shriving time allow'd.

Horatio. How was this seal'd? 3700

Hamlet. Why, even in that was heaven ordinant. I had my father's signet in my purse, Which was the model of that Danish seal; Folded the writ up in the form of th' other, Subscrib'd it, gave't th' impression, plac'd it safely, 3705 The changeling never known. Now, the next day Was our sea-fight; and what to this was sequent Thou know'st already.

Horatio. So Guildenstern and Rosencrantz go to't.

Hamlet. Why, man, they did make love to this employment! 3710 They are not near my conscience; their defeat Does by their own insinuation grow. 'Tis dangerous when the baser nature comes Between the pass and fell incensed points Of mighty opposites. 3715

Horatio. Why, what a king is this!

Hamlet. Does it not, thinks't thee, stand me now upon-


He that hath kill'd my king, and whor'd my mother; Popp'd in between th' election and my hopes; Thrown out his angle for my proper life, 3720 And with such coz'nage- is't not perfect conscience To quit him with this arm? And is't not to be damn'd To let this canker of our nature come In further evil?

Horatio. It must be shortly known to him from England 3725 What is the issue of the business there.

Hamlet. It will be short; the interim is mine, And a man's life is no more than to say 'one.' But I am very sorry, good Horatio, That to Laertes I forgot myself, 3730 For by the image of my cause I see The portraiture of his. I'll court his favours. But sure the bravery of his grief did put me Into a tow'ring passion.

Horatio. Peace! Who comes here? 3735

Enter young Osric, a courtier.

Osric. Your lordship is right welcome back to Denmark.

Hamlet. I humbly thank you, sir. [Aside to Horatio] Dost know this waterfly?

Horatio. [aside to Hamlet] No, my good lord. 3740

Hamlet. [aside to Horatio] Thy state is the more gracious; for 'tis a vice to know him. He hath much land, and fertile. Let a beast be lord of beasts, and his crib shall stand at the king's mess. 'Tis a chough; but, as I say, spacious in the possession of dirt.

Osric. Sweet lord, if your lordship were at leisure, I should impart 3745 a thing to you from his Majesty.

Hamlet. I will receive it, sir, with all diligence of spirit. Put your bonnet to his right use. 'Tis for the head.

Osric. I thank your lordship, it is very hot.


Hamlet. No, believe me, 'tis very cold; the wind is northerly. 3750

Osric. It is indifferent cold, my lord, indeed.

Hamlet. But yet methinks it is very sultry and hot for my complexion.

Osric. Exceedingly, my lord; it is very sultry, as 'twere- I cannot tell how. But, my lord, his Majesty bade me signify to you that he has laid a great wager on your head. Sir, this is the matter- 3755

Hamlet. I beseech you remember.

[Hamlet moves him to put on his hat.]

Osric. Nay, good my lord; for mine ease, in good faith. Sir, here is newly come to court Laertes; believe me, an absolute gentleman, full of most excellent differences, of very soft society and 3760 great showing. Indeed, to speak feelingly of him, he is the card or calendar of gentry; for you shall find in him the continent of what part a gentleman would see.

Hamlet. Sir, his definement suffers no perdition in you; though, I know, to divide him inventorially would dozy th' arithmetic of 3765 memory, and yet but yaw neither in respect of his quick sail. But, in the verity of extolment, I take him to be a soul of great article, and his infusion of such dearth and rareness as, to make true diction of him, his semblable is his mirror, and who else would trace him, his umbrage, nothing more.

Osric. Your lordship speaks most infallibly of him. 3770

Hamlet. The concernancy, sir? Why do we wrap the gentleman in our more rawer breath?

Osric. Sir?

Horatio. [aside to Hamlet] Is't not possible to understand in another tongue? You will do't, sir, really. 3775

Hamlet. What imports the nomination of this gentleman?

Osric. Of Laertes?

Horatio. [aside] His purse is empty already. All's golden words are


spent.

Hamlet. Of him, sir. 3780

Osric. I know you are not ignorant-

Hamlet. I would you did, sir; yet, in faith, if you did, it would not much approve me. Well, sir?

Osric. You are not ignorant of what excellence Laertes is-

Hamlet. I dare not confess that, lest I should compare with him in 3785 excellence; but to know a man well were to know himself.

Osric. I mean, sir, for his weapon; but in the imputation laid on him by them, in his meed he's unfellowed.

Hamlet. What's his weapon?

Osric. Rapier and dagger. 3790

Hamlet. That's two of his weapons- but well.

Osric. The King, sir, hath wager'd with him six Barbary horses; against the which he has impon'd, as I take it, six French rapiers and poniards, with their assigns, as girdle, hangers, and so. Three of the carriages, in faith, are very dear to fancy, 3795 very responsive to the hilts, most delicate carriages, and of very liberal conceit.

Hamlet. What call you the carriages?

Horatio. [aside to Hamlet] I knew you must be edified by the margent ere you had done. 3800

Osric. The carriages, sir, are the hangers.

Hamlet. The phrase would be more germane to the matter if we could carry cannon by our sides. I would it might be hangers till then. But on! Six Barbary horses against six French swords, their assigns, and three liberal-conceited carriages: that's the French 3805 bet against the Danish. Why is this all impon'd, as you call it?

Osric. The King, sir, hath laid that, in a dozen passes between yourself and him, he shall not exceed you three hits; he hath


laid on twelve for nine, and it would come to immediate trial if your lordship would vouchsafe the answer. 3810

Hamlet. How if I answer no?

Osric. I mean, my lord, the opposition of your person in trial.

Hamlet. Sir, I will walk here in the hall. If it please his Majesty, it is the breathing time of day with me. Let the foils be brought, the gentleman willing, and the King hold his purpose, 3815 I will win for him if I can; if not, I will gain nothing but my shame and the odd hits.

Osric. Shall I redeliver you e'en so?

Hamlet. To this effect, sir, after what flourish your nature will.

Osric. I commend my duty to your lordship. 3820

Hamlet. Yours, yours. [Exit Osric.] He does well to commend it himself; there are no tongues else for's turn.

Horatio. This lapwing runs away with the shell on his head.

Hamlet. He did comply with his dug before he suck'd it. Thus has he, and many more of the same bevy that I know the drossy age dotes 3825 on, only got the tune of the time and outward habit of encounter- a kind of yesty collection, which carries them through and through the most fann'd and winnowed opinions; and do but blow them to their trial-the bubbles are out,

Enter a Lord.

Lord. My lord, his Majesty commended him to you by young Osric, who brings back to him, that you attend him in the hall. He sends to know if your pleasure hold to play with Laertes, or that you will take longer time.

Hamlet. I am constant to my purposes; they follow the King's pleasure. 3835 If his fitness speaks, mine is ready; now or whensoever, provided I be so able as now.

Lord. The King and Queen and all are coming down.


Hamlet. In happy time.

Lord. The Queen desires you to use some gentle entertainment to 3840 Laertes before you fall to play.

Hamlet. She well instructs me.

[Exit Lord.]

Horatio. You will lose this wager, my lord.

Hamlet. I do not think so. Since he went into France I have been in 3845 continual practice. I shall win at the odds. But thou wouldst not think how ill all's here about my heart. But it is no matter.

Horatio. Nay, good my lord—

Hamlet. It is but foolery; but it is such a kind of gaingiving as would perhaps trouble a woman. 3850

Horatio. If your mind dislike anything, obey it. I will forestall their repair hither and say you are not fit.

Hamlet. Not a whit, we defy augury; there's a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: 3855 the readiness is all. Since no man knows aught of what he leaves, what is't to leave betimes? Let be.

Enter King, Queen, Laertes, Osric, and Lords, with other

Attendants with foils and gauntlets.

A table and flagons of wine on it.

Claudius. Come, Hamlet, come, and take this hand from me.

[The King puts Laertes' hand into Hamlet's.]

Hamlet. Give me your pardon, sir. I have done you wrong; But pardon't, as you are a gentleman. This presence knows, 3865 And you must needs have heard, how I am punish'd With sore distraction. What I have done That might your nature, honour, and exception Roughly awake, I here proclaim was madness.


Was't Hamlet wrong'd Laertes? Never Hamlet. 3870 If Hamlet from himself be taken away, And when he's not himself does wrong Laertes, Then Hamlet does it not, Hamlet denies it. Who does it, then? His madness. If't be so, Hamlet is of the faction that is wrong'd; 3875 His madness is poor Hamlet's enemy. Sir, in this audience, Let my disclaiming from a purpos'd evil Free me so far in your most generous thoughts That I have shot my arrow o'er the house 3880 And hurt my brother.

Laertes. I am satisfied in nature, Whose motive in this case should stir me most To my revenge. But in my terms of honour I stand aloof, and will no reconcilement 3885 Till by some elder masters of known honour I have a voice and precedent of peace To keep my name ungor'd. But till that time I do receive your offer'd love like love, And will not wrong it. 3890

Hamlet. I embrace it freely, And will this brother's wager frankly play. Give us the foils. Come on.

Laertes. Come, one for me.

Hamlet. I'll be your foil, Laertes. In mine ignorance 3895 Your skill shall, like a star i' th' darkest night, Stick fiery off indeed.

Laertes. You mock me, sir.

Hamlet. No, by this hand.

Claudius. Give them the foils, young Osric. Cousin Hamlet, 3900 You know the wager?

Hamlet. Very well, my lord. Your Grace has laid the odds o' th' weaker side.

Claudius. I do not fear it, I have seen you both;


But since he is better'd, we have therefore odds. 3905

Laertes. This is too heavy; let me see another.

Hamlet. This likes me well. These foils have all a length?

Prepare to play.

Osric. Ay, my good lord.

Claudius. Set me the stoups of wine upon that table. 3910 If Hamlet give the first or second hit, Or quit in answer of the third exchange, Let all the battlements their ordnance fire; The King shall drink to Hamlet's better breath, And in the cup an union shall he throw 3915 Richer than that which four successive kings In Denmark's crown have worn. Give me the cups; And let the kettle to the trumpet speak, The trumpet to the cannoneer without, The cannons to the heavens, the heaven to earth, 3920 'Now the King drinks to Hamlet.' Come, begin. And you the judges, bear a wary eye.

Hamlet. Come on, sir.

Laertes. Come, my lord. They play.

Hamlet. One. 3925

Laertes. No.

Hamlet. Judgment!

Osric. A hit, a very palpable hit.

Laertes. Well, again!

Claudius. Stay, give me drink. Hamlet, this pearl is thine; 3930 Here's to thy health. [Drum; trumpets sound; a piece goes off [within].] Give him the cup.

Hamlet. I'll play this bout first; set it by awhile.


Come. [They play.] Another hit. What say you? 3935

Laertes. A touch, a touch; I do confess't.

Claudius. Our son shall win.

Gertrude. He's fat, and scant of breath. Here, Hamlet, take my napkin, rub thy brows. The Queen carouses to thy fortune, Hamlet. 3940

Hamlet. Good madam!

Claudius. Gertrude, do not drink.

Gertrude. I will, my lord; I pray you pardon me. Drinks.

Claudius. [aside] It is the poison'd cup; it is too late.

Hamlet. I dare not drink yet, madam; by-and-by. 3945

Gertrude. Come, let me wipe thy face.

Laertes. My lord, I'll hit him now.

Claudius. I do not think't.

Laertes. [aside] And yet it is almost against my conscience.

Hamlet. Come for the third, Laertes! You but dally. 3950 Pray you pass with your best violence; I am afeard you make a wanton of me.

Laertes. Say you so? Come on. Play.

Osric. Nothing neither way.

Laertes. Have at you now! 3955

[Laertes wounds Hamlet; then] in scuffling, they change rapiers, [and Hamlet wounds Laertes].

Claudius. Part them! They are incens'd.

Hamlet. Nay come! again! The Queen falls.


Osric. Look to the Queen there, ho!

Horatio. They bleed on both sides. How is it, my lord? 3960

Osric. How is't, Laertes?

Laertes. Why, as a woodcock to mine own springe, Osric.I am justly kill'd with mine own treachery.

Hamlet. How does the Queen?

Claudius. She sounds to see them bleed.

Gertrude. No, no! the drink, the drink! O my dear Hamlet! 3965 The drink, the drink! I am poison'd. [Dies.]

Hamlet. O villany! Ho! let the door be lock'd. Treachery! Seek it out.

[Laertes falls.]

Laertes. It is here, Hamlet. Hamlet, thou art slain; 3970 No medicine in the world can do thee good. In thee there is not half an hour of life. The treacherous instrument is in thy hand, Unbated and envenom'd. The foul practice Hath turn'd itself on me. Lo, here I lie, 3975 Never to rise again. Thy mother's poison'd. I can no more. The King, the King's to blame.

Hamlet. The point envenom'd too? Then, venom, to thy work. Hurts the King.

All. Treason! treason! 3980

Claudius. O, yet defend me, friends! I am but hurt.

Hamlet. Here, thou incestuous, murd'rous, damned Dane, Drink off this potion! Is thy union here? Follow my mother. King dies.

Laertes. He is justly serv'd. 3985 It is a poison temper'd by himself. Exchange forgiveness with me, noble Hamlet. Mine and my father's death come not upon thee,


Nor thine on me! Dies.

Hamlet. Heaven make thee free of it! I follow thee. 3990 I am dead, Horatio. Wretched queen, adieu! You that look pale and tremble at this chance, That are but mutes or audience to this act, Had I but time (as this fell sergeant, Death, Is strict in his arrest) O, I could tell you- 3995 But let it be. Horatio, I am dead; Thou liv'st; report me and my cause aright To the unsatisfied.

Horatio. Never believe it. I am more an antique Roman than a Dane. 4000 Here's yet some liquor left.

Hamlet. As th'art a man, Give me the cup. Let go! By heaven, I'll ha't. O good Horatio, what a wounded name (Things standing thus unknown) shall live behind me! 4005 If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And in this harsh world draw thy breath in pain, To tell my story. [March afar off, and shot within.] What warlike noise is this? 4010

Osric. Young Fortinbras, with conquest come from Poland, To the ambassadors of England gives This warlike volley.

Hamlet. O, I die, Horatio! The potent poison quite o'ercrows my spirit. 4015 I cannot live to hear the news from England, But I do prophesy th' election lights On Fortinbras. He has my dying voice. So tell him, with th' occurrents, more and less, Which have solicited- the rest is silence. Dies. 4020

Horatio. Now cracks a noble heart. Good night, sweet prince, And flights of angels sing thee to thy rest! [March within.] Why does the drum come hither? Enter Fortinbras and English Ambassadors, with Drum, Colours, and Attendants. 4025


Fortinbras. Where is this sight?

Horatio. What is it you will see? If aught of woe or wonder, cease your search.

Fortinbras. This quarry cries on havoc. O proud Death, What feast is toward in thine eternal cell 4030 That thou so many princes at a shot So bloodily hast struck.

Ambassador. The sight is dismal; And our affairs from England come too late. The ears are senseless that should give us hearing 4035 To tell him his commandment is fulfill'd That Rosencrantz and Guildenstern are dead. Where should we have our thanks?

Horatio. Not from his mouth, Had it th' ability of life to thank you. 4040 He never gave commandment for their death. But since, so jump upon this bloody question, You from the Polack wars, and you from England, Are here arriv'd, give order that these bodies High on a stage be placed to the view; 4045 And let me speak to the yet unknowing world How these things came about. So shall you hear Of carnal, bloody and unnatural acts; Of accidental judgments, casual slaughters; Of deaths put on by cunning and forc'd cause; 4050 And, in this upshot, purposes mistook Fall'n on th' inventors' heads. All this can I Truly deliver.

Fortinbras. Let us haste to hear it, And call the noblest to the audience. 4055 For me, with sorrow I embrace my fortune. I have some rights of memory in this kingdom Which now, to claim my vantage doth invite me.

Horatio. Of that I shall have also cause to speak, And from his mouth whose voice will draw on more. 4060 But let this same be presently perform'd, Even while men's minds are wild, lest more mischance On plots and errors happen.


Fortinbras. Let four captains Bear Hamlet like a soldier to the stage; 4065 For he was likely, had he been put on, To have prov'd most royally; and for his passage The soldiers' music and the rites of war Speak loudly for him. Take up the bodies. Such a sight as this 4070 Becomes the field but here shows much amiss. Go, bid the soldiers shoot.

Exeunt marching; after the which a peal of ordnance are shot off.

THE END

HANDOUT

HamletActIII,sceneiii

Oh, wretched state! O bosom black as death! O limed soul, that struggling to be free Art more engaged! Help, angels! Make assay!


WHATISPHYSICALTHEATRE?1. The Body is the Primary Tool of Communication: Physical theatre is theatre which

privileges the physical text (movement) over the spoken text (words) in the act of communication.

2. A Physical Skills Base: Physical Theatre actors train their bodies on a regular and ongoing basis in much the same way that dancers and athletes do. Physical Theatre performers in Australia acquire their skill bases in a number of diverse training areas:

Circus – acrobatics, aerials, juggling, wire-walking Dance – contemporary, ballet, jazz, flamenco Asian Dance – Theatre: Butoh, Kathakali, Legong European Theatre – Mask, Mime, Clown, Commedia Martial Arts – Kung Fu, Aikido, Kendo

3. Narrative/ Thematic Throughline: Physical Theatre performances are not just displays of physical skills. Instead, Physical Theatre actors use their skills to tell a story or communicate a theme to the audience. To achieve this Physical Theatre uses dramatic conventions such as narrative, character and conflict.

INGREDIENTS FOR GREAT COMPOSITIONS

Skilful use of Viewpoints: sensitivity to the dramatic manipulation of time and space.

Theatrical poetry – a non-realistic event that reverberates on many layers. It points to truth rather than copying it. Allows the audience to meet it halfway and fill in the picture with their own imagination.

Broken expectations Surprise Entrances Revelation of Object/ Transformation of Recognisable Object Revelation of Space Revelation of Character Off-stage Action Humour! The Elements of Air, Fire, Earth and Water. Emotion expressed through Action Creative use of Recognisable Image Simultaneous Action Juxtaposition/ Contrast Frantic Action into Abrupt Stop Music Taking the Audience on A Journey Sex & Death & Food


Extreme Chaos & Extreme Calm The Whoosh Factor (often facilitated by WOW Moments)

STRUCTURE STRONG BEGINNING

INCITING INCIDENT

CLIMATIC MOMENT

STRONG ENDING

IS THERE A JOURNEY?

ARE THE VIEWPOINTS USED WELL?

IS THERE TRANSFORMATION?

IS THERE CONFLICT ( INNER,

PERSONAL, SOCIAL)?


HANDOUT Hamlet To be, or not to be, that is the question: Whether 'tis Nobler in the mind to suffer The Slings and Arrows of outrageous Fortune, Or to take Arms against a Sea of troubles, And by opposing end them: to die, to sleep No more; and by a sleep, to say we end The heart-ache, and the thousand Natural shocks That Flesh is heir to? 'Tis a consummation Devoutly to be wished. To die to sleep, To sleep, perchance to Dream; Ay, there's the rub, For in that sleep of death, what dreams may come, When we have shuffled off this mortal coil, Must give us pause. There's the respect That makes Calamity of so long life: For who would bear the Whips and Scorns of time, The Oppressor's wrong, the proud man's Contumely, The pangs of despised Love, the Law’s delay, The insolence of Office, and the Spurns That patient merit of the unworthy takes, When he himself might his Quietus make With a bare Bodkin? Who would Fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered Country, from whose bourn No Traveller returns, Puzzles the will, And makes us rather bear those ills we have, Than fly to others that we know not of. Thus Conscience does make Cowards of us all, And thus the Native hue of Resolution Is sicklied o'er, with the pale cast of Thought, And enterprises of great pitch and moment, With this regard their Currents turn awry, And lose the name of Action. Soft you now, The fair Ophelia? Nymph, in thy Orisons Be all my sins remembered.


http://shakespeare.about.com/od/shakespeareslanguage/a/i_pentameter.htm

Iambic pentameter is meter that Shakespeare nearly always used when writing in verse. Most of his plays were written in iambic pentameter, except for lower-class characters who speak in prose.

What is Iambic Pentameter?

Iambic Pentameter has:

Ten syllables in each line Five pairs of alternating unstressed and stressed syllables The rhythm in each line sounds like:

ba-BUM / ba-BUM / ba-BUM / ba-BUM / ba-BUM

Most of Shakespeare’s famous quotations fit into this rhythm. For example:

If mu- / -sic be / the food / of love, / play on Is this / a dag- / -ger I / see be- / fore me?

Each pair of syllables is called an iambus. You’ll notice that each iambus is made up of one unstressed and one stressed beat (ba-BUM).

Rhythmic Variations

In his plays, Shakespeare didn’t always stick to ten syllables. He often played around with iambic pentameter to give color and feeling to his character’s speeches.

Feminine Ending

Sometimes Shakespeare added an extra unstressed beat at the end of a line to emphasize a character’s sense of contemplation. This variation is called a feminine ending and Hamlet’s famous question is the perfect example:

To be, / or not / to be: / that is / the ques- / -tion

Inversion

Shakespeare also reverses the order of the stresses in some iambi to help emphasize certain words or ideas. If you look closely at the fourth iambus in the Hamlet quote above, you can see how he has placed an emphasis on the word “that” by inverting the stresses.

Occasionally, Shakespeare will completely break the rules and place two stressed syllables in the same iambus, as the following quote from Richard III demonstrates:


Now is / the win- / -ter of / our dis- / content

In this example, the fourth iambus emphasizes that it is “our discontent,” and the first iambus emphasizes that we are feeling this “now.”

Why is Iambic Pentameter Important?

Shakespeare will always feature prominently in any discussion of iambic pentameter because he used the form with great dexterity - especially in his sonnets, but you must not be tricked into thinking that he invented it. Rather, it is a standard literary convention that has been used by many writers before and after Shakespeare.

Historians are not sure whether speeches were delivered naturally or with an emphasis on the stressed words. In my opinion, this is unimportant. What really matters is that the study of iambic pentameter gives us a rare glimpse into the inner workings of Shakespeare’s writing process.

Trochaic tetrameter is a meter in poetry. It refers to a line of four trochaic feet. The word

"tetrameter" simply means that the poem has four trochees. A trochee is a long syllable,

or stressed syllable, followed by a short, or unstressed, one.

[edit] Example

DUM da DUM da DUM da DUM da

Trochaic tetrameter is also employed by Shakespeare in several instances to contrast

with his usual blank verse (which is in iambic pentameter). For instance, in Midsummer

Night's Dream, Shakespeare frequently writes the lines of his fairies in catalectic trochaic

tetrameter, as is evidenced by Puck's lines, here:

Through the forest have I gone. But Athenian found I none, On whose eyes I might approve This flower's force in stirring love. Night and silence.--Who is here? Weeds of Athens he doth wear: This is he, my master said, Despised the Athenian maid; And here the maiden, sleeping sound, On the dank and dirty ground. Pretty soul! she durst not lie Near this lack-love, this kill-courtesy. Churl, upon thy eyes I throw All the power this charm doth owe.


When thou wakest, let love forbid Sleep his seat on thy eyelid: So awake when I am gone; For I must now to Oberon.

Later he and Oberon have a conversation entirely in catalectic trochaic tetrameter, which

is unusual, since generally Shakespeare used pentameter for dialogue sequences.

OBERON Flower of this purple dye, Hit with Cupid's archery, Sink in apple of his eye. When his love he doth espy, Let her shine as gloriously As the Venus of the sky. When thou wakest, if she be by, Beg of her for remedy. Re-enter PUCK PUCK Captain of our fairy band, Helena is here at hand; And the youth, mistook by me, Pleading for a lover's fee. Shall we their fond pageant see? Lord, what fools these mortals be! OBERON Stand aside: the noise they make Will cause Demetrius to awake. PUCK Then will two at once woo one; That must needs be sport alone; And those things do best please me That befal preposterously.

Good examples of the rhythmic scheme, albeit not in English, are found in two famous

thirteenth century medieval Latin hymns:

Dies Irae (used as the sequence in the Roman Catholic Requiem Mass), the first two verses of which are:

Dies iræ! dies illa Solvet sæclum in favilla Teste David cum Sibylla! Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus!

And


Stabat Mater (a stand alone meditation on the suffering of Mary, Jesus Christ's mother, during his crucifixion), the first two verses of which are:

Stabat mater dolorosa iuxta Crucem lacrimosa, dum pendebat Filius. Cuius animam gementem, contristatam et dolentem

pertransivit gladius. Blank verse http://internetshakespeare.uvic.ca/Library/SLT/literature/blankverse.html Blank verse, the basic pattern of language in Shakespeare's plays, is (in its regular form)

a verse line of ten syllables with five stresses and no rhyme (hence "blank"). It was first

used in England by Henry Howard, Earl of Surrey* in his translation of the Æneid

(c.1554).

Most early drama was written in rhyming verse, often in "fourteeners"--lines of fourteen

syllables, also known as "poulters' measure" because it sounds like hens clucking.

But Norton and Sackville chose blank verse for their tragedy, Gorboduc, praised by Sir

Philip Sidney for its rhetoric, and by the time Marlowe brought real brilliance to the

language of the stage, blank verse had become the metre of choice.

Shakespeare's blank verse

In general, Shakespeare's blank verse, and the verse of his peers, evolved over the years

from regular ten-syllable, regular, end-stopped lines:

(Romeo and Juliet, 2.2.1)

to become increasingly flexible, often including one or two extra syllables, and varying the

regular iambic rhythm. Hamlet's most famous soliloquy begins relatively regularly, but the

following lines each have an extra syllable:

drama qld: fusiojn 2014 a physical introduction to … · fusion 2014 – carroll byrne – a...

Documents