August 2014 1 CPD Shakespeare Works When Shakespeare Plays
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Tas’ theatre credits include I Do (Dante or Die/Almeida Festival); The Two Noble Kinsmen; The Tempest;
Romeo and Juliet (2004); Anthony and Cleopatra; In Extremis; Romeo and Juliet (2007 Globe Tour); Much Ado
About Nothing (Ed.Tour); Othello (Ed.Tour) all for Shakespeare's Globe Theatre. Other theatre work includes:
Paul (National Theatre); Natural Breaks and Rhythms (Northampton); Oedipus (Actors of Dionysus); Woyzech
(Theatre Melange); Guess Who’s Coming to Dinner (Calypso Productions); Macbeth (Ludlow Festival); The Lion,
The Witch And The Wardrobe (RSC). Film includes: Hippie Hippie Shake, dir. Beeban Kidron & Simon
McBurney; Jack Brown and the Curse of the Crown; Hidden City. Television includes: Murder Investigation
Team (Thames TV), Neighbours (Grundy Television)
Tas is a Globe Education Learning Consultant and regularly facilitates workshops with Shakespeare’s Globe
Theatre both nationally and internationally. He also works with Southwark Theatres Education Partnership,
Talawa, The National Youth Theatre , English National Opera and Emergency Exit Arts. In 2008 Tas directed
Romeo and Juliet for The Freedom Theatre in Jenin (OPT). Tas also works extensively with TENDER: Until the
Violence Stops – a charity that explores and promotes healthy relationships with young people.
Tas has also developed and manages Purple Room Studios, an independent production / post-production studio. As well as commissions for the charities Shelter and Tender, last year Tas was one of the commissioned artists producing Seeking Sanctury; an installation commemorating 150 years of the British Red Cross. In collaboration with Kathryn O’Reilly they form part of the group DameK, recording and performing original material.

CPD Shakespeare Works When Shakespeare Plays
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- Themes – racism and the outsider, the law v mercy, fathers v daughters.
- Character – exploring the character of Shylock through his use of language and his relationships to other characters in the play.
- Language - Prose and verse, rhetoric – the art of persuasion, repetition and more.
- Introduction to Lively Action methods.
- Editing text – hooking students in.
- Questioning & reflection – Approaches to questioning/creating space to reflect. Laying the ground – avoiding bigotry.
- Dissemination – taking the lively action approach back into the classroom. Sharing the approach with colleagues.
Clap Circle – Send a clap around a circle THEN 2 people clap together around the circle
Call and Response (Clap Clap) Clap / Hi – Low / Hoola Hoola – Venga venga / Introduce some LINES of TEXT (eg Quality of Mercy is not Strained / I will have my bond.)
Find out their knowledge of the play
Circle Sculptures – using words / themes from the play
Big, Small, Mercy, Rich, Love, Hate, Father, Revenge, Broken
– Everyone in a circle facing outwards, Say the word / 3,2,1, Turn, Everyone physicalizes the theme / word
Plate Game
Two people standing on an imaginary plate – the fulcrum is the centre point of the line drawn between them - which they have to keep ‘balanced’. As one person moves the other person has to move in the opposite direction. Explore moving around the plate, towards the centre and crossing over.
THEN Try with TEXT

CPD Shakespeare Works When Shakespeare Plays
Act 3 Scene 1 – Shylock & Tubal – in pairs.
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Exercises
Anguish & Outrage – Words as weapons. Play the scene. Decide what sort of weapon each statement is – a slap, a punch, a stroke, a hand on the shoulder and give this a physical action. Take the hit – show your characters inner thoughts (the subtext) through a physical action, when they receive the other characters words. Is it a blow/a slap/ a slice?
Subtext – Nodding/shaking the head - Play the scene - before and after you speak either nod or shake your head as a response to what has just been said to you, or what you have just said.
Reflection
Now that you have explored these exercises, get into groups of 4 and discuss what your thoughts are on Shylock and Tubal’s relationship. What does Shakespeare reveal to the audience by showing Shylocks relationship with another Jewish character? Does Tubal support Shylocks behaviour or is he disturbed by it?
Refer to sections of the scene to illustrate your ideas. We will share our ideas with the wider group.
Here are some points you may like to consider.
What do you think Tubal’s attitude to Shylock is in this scene?
What is similar and what is different about Tubal and Shylock?
What did it feel like having to mirror your partner physically when there was conflict in the text?

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Dissemination – Discuss how you might use/adapt this in your own teaching. How might you share this practice with your department? Please use the Notes page to jot down your thoughts.
Exercises
Tactics – hook, investigate, deflect, block (we will add more).
Play the scene 2 ways using the tactics:
Tubal wants revenge on the Christian community and is trying to insight Shylock to violence.
Tubal is disturbed by the intensity of Shylocks need for revenge, he wants to placate him.
Reflection:
Which tactics did the characters use and on which lines?
Did the characters favour certain tactics? What does that suggest to you about their character and their motivation?
Which of these two scenes felt more authentic? Why? (Find evidence in the text to support your argument).
What did we discover about the relationship/characters? How does this inform the themes of the play? Discuss with your partner then turn to the pair next to you and share your thoughts. WS leader puts questions to the group as a whole.
Dissemination – . Discuss how you might use/adapt this in your own teaching. How might you share this practice with your department?

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SHYLOCK How now, Tubal! what news from Genoa? hast thou found my daughter?
TUBAL
SHYLOCK
I often came where I did hear of her, but cannot find her.
Why, there, there, there, there! I never felt it till now: two thousand ducats in that; and other precious, precious jewels. I would my daughter were dead at my foot, and the jewels in her ear!
TUBAL Yes, other men have ill luck too: Antonio, as I heard in Genoa,--
SHYLOCK
TUBAL
SHYLOCK
TUBAL
SHYLOCK
What, what, what? ill luck, ill luck?
Hath an argosy cast away, coming from Tripolis.
I thank God, I thank God. Is't true, is't true?
I spoke with some of the sailors that escaped the wreck.
I thank thee, good Tubal: good news, good news! ha, ha! where? in Genoa?
TUBAL Your daughter spent in Genoa, as I heard, in one night fourscore ducats.
SHYLOCK Thou stickest a dagger in me: I shall never see my gold again: fourscore ducats at a sitting! fourscore ducats!
TUBAL There came divers of Antonio's creditors in my company to Venice, that swear he cannot choose but break.
SHYLOCK I am very glad of it: I'll plague him; I'll torture him: I am glad of it.
TUBAL One of them showed me a ring that he had of your daughter for a monkey.
SHYLOCK Out upon her! Thou torturest me, Tubal: it was my turquoise; I had it of Leah when I was a bachelor:
I would not have given it for a wilderness of monkeys.
TUBAL But Antonio is certainly undone.

CPD Shakespeare Works When Shakespeare Plays
Macbeth
Lady M
Lady M
Macbeth
Lady M
Macbeth
Macbeth
Lady M
Macbeth
Lady M
Macbeth
How now! what news?
He has almost supp’d: why have you left the chamber?
We will proceed no further in this business:
Was the hope drunk Wherein you dress’d yourself?
He hath honour’d me of late; and I have bought
Golden opinions from all sorts of people,
Wouldst thou have that
Which thou esteem’st the ornament of life,
And live a coward in thine own esteem
Prithee, peace:
I dare do all that may become a man; Who dares do more is none.
What beast was’t, then,
That made you break this enterprise to me? When you durst do it, then you were a man;
If we should fail?
We fail!
But screw your courage to the sticking-place,
And we’ll not fail.
I am settled.
False face must hide what the false heart doth know.
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CPD Shakespeare Works When Shakespeare Plays
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Shylock’s relationship to his daughter will be explored by comparing this scene to quotes from Prospero (The Tempest), Egeus (MSND), Capulet (R&J), Leonato (Much Ado). To highlight the fact that Shylock’s response to Jessica’s rebellion is characteristic of fathers in general in this period, not specific to Shylock or the Jewish culture (a patriarchal society).
Meet the fathers – each group has a piece of text spoken by fathers from different
Shakespeare plays. They will read the excerpt between them and then play the ‘WHAT’ game. One group member reads the text again while the other group members listen carefully. The other group members are allowed to shout ‘WHAT’ whenever the father makes a threat, or insults their child. The participant playing the father must then repeat the threat/insult with even more conviction.
Reflection
In your group discuss and list the sorts of insults/threats/methods the father uses to control their child. What similarities are there in their approaches to controlling their daughters?
Think about why a father might behave this way to his daughter.
Class Exercise
Imagine you are a lawyer and even though you may not agree with the father’s behaviour it is your job to defend his behaviour.
In groups, tell the class about the father you are defending and list the methods he uses to control his child. How would you defend his behaviour? Keeping the historical context in mind, have a debate about the issues raised. (The resources at the back of the booklet provide some interesting facts about parental expectations in the 17 th Century.)
How does this inform/change/confirm our attitude to Shylock’s treatment of Jessica?
Notes

CPD Shakespeare Works When Shakespeare Plays
SHYLOCK
Why, there, there, there, there! a diamond gone, cost me two thousand ducats in Frankfort! The curse never fell upon our nation till now; I never felt it till now: two thousand ducats in that; and other precious, precious jewels. I would my daughter were dead at my foot, and the jewels in her ear! would she were hearsed at my foot, and the ducats in her coffin! No news of them? Why, so: and I know not what's spent in the search: why, thou loss upon loss! the thief gone with so much, and so much to find the thief; and no satisfaction, no revenge: nor no in luck stirring but what lights on my shoulders; no sighs but of my breathing; no tears but of my shedding.
August 2014 8

CPD Shakespeare Works When Shakespeare Plays
CAPULET
God's bread! it makes me mad:
Day, night, hour, tide, time, work, play,
Alone, in company, still my care hath been
To have her match'd: and having now provided
A gentleman of noble parentage,
Of fair demesnes, youthful, and nobly train'd,
Stuff'd, as they say, with honourable parts,
Proportion'd as one's thought would wish a man;
And then to have a wretched puling fool,
A whining mammet, in her fortune's tender,
To answer 'I'll not wed; I cannot love,
I am too young; I pray you, pardon me.'
But, as you will not wed, I'll pardon you:
Graze where you will you shall not house with me:
Look to't, think on't, I do not use to jest.
Thursday is near; lay hand on heart, advise:
An you be mine, I'll give you to my friend;
And you be not, hang, beg, starve, die in the streets,
For, by my soul, I'll ne'er acknowledge thee,
Nor what is mine shall never do thee good:
Trust to't, bethink you; I'll not be forsworn.
Exit
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CPD Shakespeare Works When Shakespeare Plays
EGEUS
With cunning hast thou filch'd my daughter's heart,
Turn'd her obedience, which is due to me,
To stubborn harshness: and, my gracious duke,
Be it so she; will not here before your grace
Consent to marry with Demetrius,
I beg the ancient privilege of Athens,
As she is mine, I may dispose of her:
Which shall be either to this gentleman
Or to her death, according to our law
Immediately provided in that case.
August 2014 10

CPD Shakespeare Works When Shakespeare Plays
LEONATO
Wherefore! Why, doth not every earthly thing
Cry shame upon her? Could she here deny
The story that is printed in her blood?
Do not live, Hero; do not ope thine eyes:
For, did I think thou wouldst not quickly die,
Thought I thy spirits were stronger than thy shames,
Myself would, on the rearward of reproaches,
Strike at thy life. Grieved I, I had but one?
Chid I for that at frugal nature's frame?
O, one too much by thee! Why had I one?
Why ever wast thou lovely in my eyes?
Why had I not with charitable hand
Took up a beggar's issue at my gates,
Who smirch'd thus and mired with infamy,
I might have said 'No part of it is mine;
This shame derives itself from unknown loins'?
But mine and mine I loved and mine I praised
And mine that I was proud on, mine so much
That I myself was to myself not mine,
Valuing of her,--why, she, O, she is fallen
Into a pit of ink, that the wide sea
Hath drops too few to wash her clean again
And salt too little which may season give
To her foul-tainted flesh!
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CPD Shakespeare Works When Shakespeare Plays
PROSPERO
Silence! one word more
Shall make me chide thee, if not hate thee. What!
An advocate for an imposter! hush!
Thou think'st there is no more such shapes as he,
Having seen but him and Caliban: foolish wench!
To the most of men this is a Caliban
And they to him are angels.
Notes
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CPD Shakespeare Works When Shakespeare Plays
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Act 3 Scene 1 – ‘If you prick us, do we not bleed?’
Exploring the character of Shylock through prose.
Finding the rhythm in prose.
Lists – In a group reading round the circle from punctuation mark to punctuation mark.
Imagine the speech is a very important list of facts, none of which must be forgotten. As soon as one person finishes speaking the next person must jump in with even more energy so no detail is left off the list.
Questions – one person stands in the middle of the circle and reads the text. Every time there is a question the group shouts ‘WHAT’. The speaker has to repeat the question until everyone in the room feels satisfied that question has been fully asked and received.
Repetition – A new speaker speaks the speech – the rest of the group sit around the speaker. Every time a word is repeated the group echoes that word by sending it around the circle until it reaches the speaker and they echo it once more.
Themes – A new speaker takes over and sits in the middle of the room. The rest of the group are divided into sub groups representing different themes – money & finance, race & religion, friends & enemies, the body, nature. Listen to the speech. Each sub group takes it in turn to echo words that are relevant to the themes that they represent. The rest of the group listen to the effect of focusing on that one theme. The speaker must slow down when necessary to allow the echoes to be heard clearly in the room. Finally the speaker reads the text and all the groups echo simultaneously.
Dissemination Discuss how you might use/adapt this in your own teaching. How might you share this practice with your department?

CPD Shakespeare Works When Shakespeare Plays
SHYLOCK
To bait fish withal: if it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what's his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by
Christian example? Why, revenge. The villany you teach me, I will execute, and it shall go hard but I will better the instruction.
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Scheme of exercises:
Exploring Shylock through verse. Comparing prose to verse.
Heart and wits. Disrupted iambic = palpitations. The verse as director.
Enjambment (galloping), end stops/cliff hangers, air grabs, imagery.
Changing direction on full stops/question marks. Only taking a breath on full stops/question marks. Jumps and air grabs on full stops/question marks.
Imagery -One speaker – group lying on the floor – eyes closed – echo the words that paint the pictures in your mind’s eye.
Reflection –Compare the images created in your mind with those of the person sitting next to you. What do you notice about the imagery that Shylock uses here?
Why might Shylock speak in prose at this moment? Why might he speak in verse at this moment? What literary devices does Shylock use and to what effect? Is Shylock good at the art of persuasion? Is this consistent or does this change? Why? Is he more eloquent in prose or verse?
Discussions in small groups/ whole group.
Dissemination
Discuss how you might use/adapt this in your own teaching. How might you share this practice with your department?

CPD Shakespeare Works When Shakespeare Plays
SHYLOCK
You’ll ask me why I rather choose to have
A weight of carrion flesh than to receive
Three thousand ducats. I’ll not answer that
But say it is my humour. Is it answered?
What if my house be troubled with a rat
And I be pleased to give ten thousand ducats
To have it baned? What, are you answered yet?
Some men there are love not a gaping pig,
Some that are mad if they behold a cat,
And others, when the bagpipe sings i' th' nose,
Cannot contain their urine. For affection,
Mistress of passion, sways it to the mood
Of what it likes or loathes. Now, for your answer:
As there is no firm reason to be rendered
Why he cannot abide a gaping pig;
Why he, a harmless necessary cat;
Why he, a woollen bagpipe, but of force
Must yield to such inevitable shame
As to offend, himself being offended—
So can I give no reason, nor I will not
(More than a lodged hate and a certain loathing
I bear Antonio), that I follow thus
A losing suit against him. Are you answered?
August 2014 16

CPD Shakespeare Works When Shakespeare Plays
OTHELLO
Never, Iago: Like to the Pontic sea,
Whose icy current and compulsive course
Ne'er feels retiring ebb, but keeps due on
To the Propontic and the Hellespont,
Even so my bloody thoughts, with violent pace,
Shall ne'er look back, ne'er ebb to humble love,
Till that a capable and wide revenge
Swallow them up. Now, by yond marble heaven,
Kneels
In the due reverence of a sacred vow
I here engage my words.
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CPD Shakespeare Works When Shakespeare Plays
The Court Room Scene (edit) – In groups of 4 – Shylock, Portia, Gratiano, Duke.
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Exploring rhetoric – the power of persuasion. Status. Themes – law v mercy, gender.
Scheme of Exercises:
Warm up – status game – numbers – line up.
Read the scene – only looking at the text when you speak. ‘WHAT’
Tactics
I want to move here – circles, figures of eight, diagonal etc.
Hit the page.
Eye contact game.
Reflection:
 Whose laws are they following?

What is revenge?

Who doesn’t show mercy in this scene?

Who does show mercy in this scene?
 Who has the power/status in this scene? Does this change?
 Is the law fair?

Where is the evidence in the text for your answers?
Dissemination Discuss how you might use/adapt this in your own teaching. How might you share this practice with your department?
Cool Down: Going round the circle each person gives one word or a short sentence – something they will take away with them from the workshop. It can be about the play, the historical context, the acting techniques or teaching practice.

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Now play the unedited version of the scene – an opportunity to explore and reflect on the
editing process. Starting with an accessible, playable edit and then introducing more language as the students gain confidence and understanding.
Divide into small groups – each group experiment with editing the scene down for different ability groups/ different learning objectives.
Don’t modernise words
Be sensitive to the verse.
Honour the split lines.
Dissemination
Discuss how you might use/adapt this in your own teaching. How might you share this practice with your department?
Further resources for teaching The Merchant of Venice, Romeo and Juliet, Macbeth and A
Midsummer Night’s Dream can be found at http://www.playingshakespeare.org/