Macbeth Summative Assessment
Your task is to take a scene from Macbeth and transform it. Listed below are the
options you have for transformations. The key to this assessment is keeping
Shakespeare’s intent in the voices and environment of your chosen characters.
As you develop your script, think about why the characters in Macbeth were acting the
way they were. What actions led up to that point to make the character who he or she
is at that moment? Your actions on stage and tone of voice should be in the new
characters you choose. Graded will be how well you keep Shakespeare’s intent
within your transformation, your actions on stage in relation to your script, and
a written reflection that will be handed in when you perform. Dates will be
selected at random so come to class prepared to perform on the given dates. You can
choose to work alone or with a partner.
Scenes to Choose From:
Act 1 Scene 5- Lady Macbeth reading the letter. From the beginning to “hold, hold”.
omit the messenger (Solo)
Act 1 Scene 7- Macbeth and Lady Macbeth from “How now! What news?” to “That they
have done ’t?” (Two Person)
Act 2 Scene 1- Macbeth’s soliloquy (Solo)
Act 2 Scene 2- Macbeth and Lady Macbeth from “My husband!” to “Look on ’t again I
dare not.” (Two Person)
Act 5 Scene 8- Macbeth and Macduff battle (Two Person)
Requirements:
Copy of script
Typed reflection
Questions to Answer for Reflection:
1. Which characters did you choose for your transformation and why?
2. How did you ensure that your transformation kept true to what Shakespeare
wrote?
3. What was the most challenging aspect of your transformation and why?
4. What symbols did you change and how did you ensure they were as impactful
as the original?
Performances Begin ___________________________________
Minimal
Shakespeare’s
intent nonexistent. No
progression to
the scene.
Basic
Shakespeare’s
intent is not
clear while
transforming
his words into
a new
environment
with new
characters.
Scene
progression
falters due to
skipped
portions.
B: Organization
Dialogue
and/or stage
directions nonexistent.
Reflection
demonstrates
no
understanding
of performance
process.
Dialogue and
stage directions
do not add to
performance.
Dialogue and
stage direction
hardly
followed.
Reflection does
not thoroughly
demonstrate
that the
students
learned about
performance
creation.
C: Using
Language
Performer (s)
do(es) not
follow(s)
script’s
dialogue and
stage
directions.
Tone and
emotions do
not match the
character as
intended.
Performer (s)
follow(s)
script’s
dialogue and
stage directions
at times. Tone
and emotions
tend not to
match the
character as
intended.
A:Knowledge
Proficient
Shakespeare’s
intent is kept
intact while
transforming
his words into
a new
environment
with new
characters.
Scene
progression
followed as
intended, but a
portion
skipped.
Dialogue and
stage directions
help create a
uniform
performance,
but
performance
falters at a
point.
Reflection
demonstrates
that the
student learned
about
performance
creation, but
lacks depth.
Performer (s)
generally
follow(s)
script’s
dialogue and
stage
directions.
Tone and
emotions
mostly match
the character
as intended.
Advanced
Shakespeare’s
intent is kept
intact while
transforming
his words into
a new
environment
with new
characters.
Scene
progression
followed as
intended.
Dialogue and
stage directions
expertly create
a uniform
performance.
Reflection
shows a deep
understanding
of what is
needed to do a
transformation
performance.
Performer (s)
follow(s)
script’s
dialogue and
stage directions
masterfully.
Tone and
emotions
match the
character as
intended.