Shake speak
Year level: 11–12
Unit of work contributed by Amanda Murrell, Chancellor State College, Qld
Romeo and Juliet, 19th-century illustration. Copyright Photolibrary
About the unit
Unit description
This unit of work explores the language, characters and themes in Shakespeare’s Romeo and
Juliet. The unit embeds Indigenous perspectives, focuses on active learning and incorporates
educational technology.
Knowledge, understandings, skills, values

Students engage with classic texts, Shakespearean language and the idea of universal
themes.

Students consider the relevance of Shakespearean plays to contemporary audiences, both
in a local and a broader context.

Students investigate adaptations of Shakespearean plays and develop possible adaptations
for local contexts.

Students compare and contrast various adaptations of the text, exploring the attitudes and
values that underpin them.
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
1

Students construct a piece of text for dramatic presentation, based on a character from the
play that conveys that character’s identity, relationships and ‘stories’.
Focus questions

Is the study of Shakespeare’s texts relevant to diverse cultures and communities in
Australia?

What elements contribute to a successful re-imagining of a classic text?
Resources
Digital curriculum resources
R10561 Romeo + Juliet, 1996: A dangerous solution
R10560 Romeo + Juliet, 1996: Capulets and Montagues
R7282 Loved Up - Lore of Love, 2005: Skin
Internet sites

Stories of the Dreaming at Australian Museum: http://australianmuseum.net.au (search for
‘stories of the Dreaming’)

Sparknotes: translations of Shakespearean text and summaries of the play that can assist
with language analysis activities: http://www.sparknotes.com

History of the English language at Ask Oxford: http://www.askoxford.com (search for ‘history
of English’)

Shakespeare insult kit: http://www.pangloss.com/seidel/shake_rule.html

‘Chop bard’ podcast at In Your Ear Shakespeare: http://www.inyourearshakespeare.com

‘Love at first sight’ clip from Romeo + Juliet: http://aso.gov.au (search for ‘Romeo and Juliet
clip 2’)

60-second Shakespeare at BBC: http://www.bbc.co.uk (search for ‘60 second
Shakespeare’)

Online applications that may support students to engage with the text:




Wordle generates word clouds from students’ words: http://www.wordle.net
Bubbl.us supports brainstorming online: http://www.bubbl.us
PicLits matches images with keywords: http://www.piclits.com
Online collaborative tools that may support reflective writing:



a wiki such as wikispace: http://www.wikispaces.com/site/for/teachers
a blog designed for education such as Edublogs: http://edublogs.org
a safe forum, discussion or message board such as one you set up yourself at:
http://groups.google.com
Print

Romeo and Juliet, William Shakespeare (your preferred edition)

Myth and legends of Torres Strait, Margaret Lawrie, University of Queensland Press, 1970
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
2

The heart of my mystery: experiencing Shakespeare in the classroom, Dwayne Hopwood
and Natalie Hennessy, Cambridge University Press, 2006

Language awareness continuum: goals, strategies and activities, Denise Angelo, Education
Queensland, Far North Queensland Indigenous Schooling Support Unit, 2005
Other resources

Poster-making equipment: magazines, scissors, glue

Access to a computer with internet access and speakers for whole-class listening, or MP3
stations and players for small-group or individual listening

Video camera

Possible films that may support the unit:



Romeo + Juliet, directed by Baz Luhrmann, 1996

Romeo and Juliet advertisement, directed by David La Chapelle, 2006
Romeo and Juliet, directed by Franco Zeffirelli, 1968
Samson and Delilah, directed by Warwick Thornton, 2009
Attached printable resources
The following teacher-created learning resources referred to in the unit of work are
available for you to modify, print and use in your own teaching and learning context:

Language comparison grid

Online character profile

Moved synopsis

Warm-up activities
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
3
Teaching the unit
Setting the scene
Resources

‘Chop bard’ podcast at In Your Ear Shakespeare: http://www.inyourearshakespeare.com

Wordle: http://www.wordle.net or Bubbl.us: http://www.bubbl.us

Shakespeare insult kit: http://www.pangloss.com/seidel/shake_rule.html

Online collaborative tools such as a blog, wiki or discussion board
Teaching and learning activities
So who the hell is Shakespeare?
As a class, listen to the audio clip ‘Chop bard – the cure for boring Shakespeare’ at
http://www.inyourearshakespeare.com
While students listen to the clip, ask them to capture keywords with Wordle or Bubbl.us to
create a poster or some other visual information artefact.
Students should take notes that answer the following questions.
How many years ago were Shakespeare’s plays written?
How many years after his death were Shakespeare’s plays published?
For what purpose were the plays written?
What type of language does Shakespeare use?
What were the plays written for and about?
Shakespearean insults
This whole-class activity has an active learning focus. Students select a Shakespearean-style
insult from the Shakespeare insult kit, practise saying it silently, then say it aloud to other
students with intent.
Next, have them choose their favourite insults from the Shakespeare insult kit and practise
delivering insults to each other. These activities give students an opportunity to explore
Shakespeare’s language.
Investigating
Resources

Romeo and Juliet, William Shakespeare (your preferred edition)

Language comparison grid (page 11)

Moved synopsis (page13)

History of the English language at Ask Oxford: http://www.askoxford.com (search for ‘history
of English’)

Shakespeare insult kit: http://www.pangloss.com/seidel/shake_rule.html
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
4

Stories of the Dreaming at Australian Museum: http://australianmuseum.net.au (search for
‘stories of the Dreaming’)

Summary of the play at Sparknotes:
http://www.sparknotes.com

Video camera

Romeo + Juliet, directed by Baz Luhrmann, 1996

‘Love at first sight’ clip from Romeo + Juliet: http://aso.gov.au (search for ‘Romeo and Juliet
clip 2’)

R7282 Loved Up - Lore of Love, 2005: Skin

Romeo and Juliet advertisement, directed by David La Chapelle, 2006

Online collaborative tools such as a blog, wiki or discussion board
Teaching and learning activities
Shake speak
Develop an English language timeline. Use examples in the form of quotes to show change and
development, and note events influencing language. This activity is designed to enable students
to discover the language of Shakespeare, as well as when and where it is situated in the
historical context of the English language.

Ask students to continue to add to this timeline throughout your study of Shakespeare. A
good starting point is History of the English language at Ask Oxford:
http://www.askoxford.com (search for ‘history of English’)
Two households, both alike in dignity
As a class, watch the ‘Prologue’ section from Baz Luhrmann’s film version of Romeo + Juliet.
In small groups, compare the Prologue (Act 1, scene 1) from students’ printed copies of Romeo
and Juliet with a Standard Australian English version. Ask students to translate the prologue
into a version of English with which they are familiar – they might use language that is common
among their particular age group or geographical group.
To analyse the language of the text further, a language comparison grid (page 11) may be
developed as a whole class and captured and displayed in the classroom or online.
Moved synopsis
Create a ‘moved synopsis’ of the play. The summary at Sparknotes could form the basis of this:
http://www.sparknotes.com.
This activity can be extended by introducing brief text excerpts for key events. Refer to
Bell Shakespeare’s ‘Moved synopsis’ notes (page 13) for more guidance on creating this
activity.
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
5
A rose by any other name – part 1
Write the following scenarios on the board and divide the class into four groups:

Two teenagers are in love with each other but the match is traditionally and culturally
inappropriate. Encourage students to develop the idea to the point of climax, in order to
gauge whether these students think the lovers should live ‘happily ever after’ or if tragedy is
inevitable.

Two families are engaged in an age-old feud. The teenage members of the families fight in
the street, which causes trouble with the police and more animosity in the community.

A young man has committed a serious crime. He is banished from his community and
forbidden to see his girlfriend. He goes to a priest to ask for advice.

Due to misunderstandings and communication confusions, incidents unfold that lead to a
series of tragic deaths.
Have each group plan their scene and then act it out for the class. Film the performances.
Capture key vocabulary words from each scene and record them in a poster, a workbook or a
wiki. The groups could also produce a script of their scenarios as a piece of shared writing.
Variations on the theme
Before starting the following activities, check with your local Aboriginal or Torres Strait Islander
education workers or cultural consultants to find out whether the activities are appropriate for
your context.

Power and passion: students create a scenario similar to Romeo and Juliet where they
imagine someone challenging cultural practices enforced by Elders and the community.
Describe what can go wrong when you don’t listen to the Elders.

Star-cross’d lovers: have students identify any Dreaming stories or Torres Strait myths and
legends they know that have similar themes to Romeo and Juliet. A useful resource here
could be Stories of the Dreaming at Australian Museum: http://australianmuseum.net.au
(search for ‘stories of the Dreaming’)

As a class, watch R7282 Loved Up – Lore of Love, 2005: Skin and discuss the similarities
and differences in love in different cultures in relation to Romeo and Juliet. Relate this back
to the earlier class discussion about listening to Elders.
Modern interpretations
Culture jamming: watch the Romeo and Juliet advertisement, directed by David La Chapelle.
List the distinctive features and themes of this modern interpretation and identify its target
audience.
Assessment
Using the captured vocabulary from the ‘A rose by any other name – part 1’ activity, develop a
shared story that pieces together the elements of the four scenarios. This could be done as a
wiki, a word document, a poster or a learning journal entry.
Generate ideas for possible adaptations of Shakespeare’s Romeo and Juliet that would be
relevant to your school or local community and justify your viewpoints with explanations,
examples and evidence. This could also be done using a variety of presentation media.
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
6
Bringing it all together
Resources

‘Chop bard’ podcast at In Your Ear Shakespeare: http://www.inyourearshakespeare.com

60-second Shakespeare at BBC: http://www.bbc.co.uk (search for ‘60 second
Shakespeare’)

Online collaborative tools such as a blog, wiki or discussion board

Online character profile (page 12)

Romeo + Juliet, directed by Baz Luhrmann, 1996

Computer with internet access and speakers for whole-class listening or MP3 stations and
players for small-group or individual listening
Teaching and learning activities
Chop bard

Go to the ‘Chop bard’ podcasts at In Your Ear Shakespeare:
http://www.inyourearshakespeare.com. Assign students one or two episodes to listen to. On
a message board or as a class discussion, ask students to present the key ideas from each
episode. Discuss how these ideas assist in our understanding of the characters and themes
of Romeo and Juliet.

Alternatively, watch Luhrmann’s film adaptation, Romeo + Juliet, and create a timeline of
the events in the play. Capture this on a wiki or posters in the classroom. On a message
board or as a class discussion, have students identify the key characters in the
development of the action.
A rose by any other name – part 2
In four groups, have students read the following scenes.

Act 2, scene 2 – the balcony scene

Act 2, scene 1 – the tavern brawl

Act 3, scene 3 – Friar and Romeo after Romeo’s exile

Act 5, scene 3 – crypt scene to end
Give students ample time to look at and become confident with the text.
In pairs, have students sit back-to-back to read the scene between two players in order to
develop their awareness of breath and voice production. Next, have students whisper the
dialogue to each other, with particular emphasis on the consonant sounds, in order to develop
their awareness of enunciation. Then have students stand opposite each other in two lines and
‘pass’ each other lines as they gradually step away from each other, in order to develop
awareness of voice projection.
In groups, list the phrases, expressions and vocabulary used in the text. Compare the language
of the text with language generated in the ‘A rose by any other name – part 1’ exercise.
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
7
Quarrel, I will back thee
Watch Luhrmann’s film interpretation of the confrontation between the Capulets and the
Montagues.
Talk about the non-verbal signals that kids use to communicate with and challenge each other
in the community. In small groups, have students improvise mimed action using this idea. The
teacher’s role in this is to encourage and extend student activity (making sure that the
classroom remains safe and supportive). Gradually, a line or two of text from the fight in Act 1,
scene 1 is introduced to support the action. The focus here is on the range of stage action
possible within a small text extract.
Extension activities
Students choose one character and create an online profile for them. Using the online
character profile, they should include information about their character’s background,
interests, friends, enemies and relationship to Romeo or Juliet. Ask them to somehow
weave in answers to the following questions in the chosen character’s profile.
Do you believe in true love?
Do mates come before dates?
Is youth wasted on the young?
Would you die to defend your family’s honour?
Can love conquer all?
The answers to these questions should reflect the student’s knowledge of the plot, characters
and themes in Romeo and Juliet.
Assessment
Some activities that could provide opportunities for formative or summative assessment include
the following.

Have students choose one character and write a reflective text from their perspective on the
tragic deaths of the young lovers.

Have students play the role of their chosen character and answer questions posed to them
by other students.
Use the BBC’s 60-second Shakespeare site for reference: http://www.bbc.co.uk (search for
‘60 second Shakespeare’)

Students write a description of all the causes of Romeo and Juliet’s deaths in relation to the
following themes:


family honour and quarrels

forbidden love

rebelling against their elders’ wishes.
Run a class debate: ‘No-one is to blame for the deaths of Romeo and Juliet’.
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
8
Drawing conclusions
Resources

Romeo and Juliet, William Shakespeare (your preferred edition)

Bubbl.us: http://www.bubbl.us
Teaching and learning activities
Classic or not?
Students are introduced to the concept of ‘classic’ English texts. Brainstorm some titles as a
class. Then break into small groups and create slideshows with the title ‘Classic or not?’ to
contrast examples and counter examples of the ‘classic’ concept. Each group then shares their
slideshow with the class.
As a class, discuss if students in contemporary urban or rural settings should have access to
‘classic’ texts such as those by Shakespeare. Why or why not? During the activity, encourage
students to think of the ‘best’ or most outlandish reasons to add to the collective list. Capture
ideas on a whiteboard or in a document. This may be further developed for a homework
reflection activity via an online collaborative tool or in student workbooks.
Shakespeare – what do you think?
As a class, consider different perspectives on the topic: ‘Shakespeare should be taught in all
schools’.
Help or hinder
Have students construct a family tree for the characters in Romeo and Juliet using Bubbl.us.
(Some students will be familiar with genealogy, some will require help – you may do this as a
whole-class activity.)
Ask them to identify ‘helpers’ and ‘hinderers’ in Romeo and Juliet’s plight and label the helpers
and hinderers on the diagrams.
Students should identify at which points characters helped or hindered the lovers.
Assessment
Students write reflectively on whether they believe Shakespearean texts are relevant to
contemporary audiences. They should refer to diverse sociocultural contexts. This could be
undertaken using online collaborative tools or student workbooks.
Communicating
Resources

Romeo and Juliet, William Shakespeare (your preferred edition)

Video cameras
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
9
Teaching and learning activities
Performing
Having explored the various elements of the play, students create an extension of it. From a
minor character’s perspective, they could construct a dramatic monologue to be delivered in the
context of an inquiry into the deaths of Romeo and Juliet. Alternatively, they could adapt a
favourite scene to a different context.
In constructing a text, students should employ their knowledge of the characters and
relationships in the Shakespearean text and demonstrate this knowledge through their choice of
language, stage direction, costuming, props, etc.
Students must then perform their work to a specified audience.
It is strongly recommended that students be given the opportunity to rehearse and record their
performances. Conducting the rehearsal process with the aid of digital audio and video
recording devices allows students to view and hear themselves as they prepare for the
performance. If this can be done while maintaining the focus on presentation techniques (that is,
without allowing the recording devices to become a distraction), it can result in considerable
progress in learning outcomes.
Writer: Amanda Murrell
The material in this unit of work may contain links to internet sites maintained by entities not
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
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
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While the material in this unit of work is not remunerable under Part VB of the Copyright Act
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© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
10
Language comparison grid
Name
Class
Shakespearean
Standard Australian
language
English
Date
Student’s choice
SMS
(early modern
English)
Vocabulary and
Vocabulary and
Vocabulary and
Vocabulary and
expression
expression
expression
expression
But soft, what light
Hey look, I can see
from yonder window
Juliet in her window.
breaks? It is the east,
and Juliet is the Sun.
It is my lady, O it is
That’s my girlfriend,
my love!
she’s my woman!
Two houses, both
alike in dignity, from
ancient grudge to
new mutiny.
The brightness of her
She’s hot!
cheek would shame
those stars.
Do you bite your
thumb at me?
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
11
Online character profile
Name
Class
Date
Character name:
Current status:
Write something about
yourself:
Current location:
Email:
Interests:
Friends:
Family:
Enemies:
Groups you are a member of:
Photos of you:
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
12
Moved synopsis
Introduction
The term ‘moved synopsis’ has been developed
by Bell Shakespeare to describe an interactive
storytelling activity in which students act out a
short synopsis of the play.
We encourage teachers to write their own script for this exercise and where possible include
elements relevant to the particular group of students.
Warwick University drama educator Jonathon Neelands calls this approach the ‘Shakespeare
whoosh’.
The point of the ‘moved synopsis’ or ‘Shakespeare whoosh’ activity is twofold:
1. students start to interact by participating in a safe and entertaining activity
2. through participation, students learn the story of the play.
Creating your script
The Bell Shakespeare website contains resources in which you may find short synopses of
most of Shakespeare’s plays. These can be adapted into a script for a moved synopsis.
Alternatively you can do an internet search of the synopsis or work from a published copy of the
play.
The key to the moved synopsis is to work at the level of interaction that encourages and
enthuses your students about the story. What will drive them to want to know what happens
next?
Cue cards can be used for a few words or a short line of dialogue for the students to read out at
the relevant point in the narrative. We have found that students who are confident readers but
not necessarily confident actors will engage with simple actions while reading a line of script
from a cue card held in front of them. Reluctant readers might be more comfortable without cue
cards, or with one- or two-word cue cards.
Your script should be in short sections for each scene or section of a scene that contains
important action and dialogue.
So how do you do it?
With your narrative script of the story in hand, invite your students to form a circle with you.
Invite students to come into the circle to be the characters as they appear in the narrative. With
a play such as The tempest, you might invite students into the circle to create the boat. For A
midsummer night’s dream students might create the forest of trees and the sounds of the forest
at night.
© 2010 Bell Shakespeare
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
13
Example
A midsummer night’s dream
We (everyone in the circle) are in Athens and the duke (select a student who comes into the
circle and poses like a duke) called Theseus is preparing for his marriage to Hippolyta (select
another student), who is queen of the Amazons.
This will be accompanied by a four-day festival of pomp and entertainment. Theseus calls his
master of the revels (select another student), Philostrate, to find suitable amusements for the
occasion (encourage other students to mime the actions of various acts) – a juggler, dancers,
circus acrobats, opera singers.
An Athenian nobleman (select another student) called Egeus marches into Theseus’s court
with his daughter (select another student), Hermia, and two young men (select another two
students), Demetrius and Lysander.
As you read the next section encourage the students to act out what you say about their
character.
Egeus wants his daughter Hermia to marry Demetrius. Demetrius loves Hermia, but Hermia
is in love with the other guy, Lysander, and she refuses to marry Demetrius. Egeus asks for
Theseus to allow the full penalty of law to fall on Hermia’s head if she disobeys him. Theseus
gives Hermia until his wedding to consider her options, warning her that disobeying her father’s
wishes could result in her being sent to a convent or even executed.
(Exit all but Lysander and Hermia.) Hermia and Lysander plan to escape Athens the following
night and marry in the house of Lysander’s aunt, a long way from Athens.
Enter Hermia’s friend Helena (select another student). Hermia and Lysander tell Helena of
their intention to elope. (Exit Hermia and Lysander.)
Helena has always been in love with Demetrius (recall student playing Demetrius), and still
loves him even though he dissed her once he met Hermia. Helena tells Demetrius of Hermia
and Lysander’s plan, hoping that she will win him back. Time passes and it is evening.
Demetrius stalks into the woods after his intended bride and her lover; Helena follows behind
him.
© 2010 Bell Shakespeare
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
14
Warm-up activities
Introduction
How often do students come into the class
over-stimulated from socialising at recess or
lunch, distracted or just seemingly
disinterested?
When approaching Shakespeare’s plays, Bell Shakespeare recommends focusing the students
through an appropriate warm-up activity. Actors use various warm-up activities in preparation for
rehearsal and performance.
A safe physical focus activity will lead students into a physical approach to the text. Consider
that Shakespeare’s plays were written to be performed. He rarely uses any stage direction, so
all of the action is concealed in the characters’ words. A physical approach to studying
Shakespeare will enable students to visualise the plays as theatre and to think more confidently
about the characters and the plot. A warm-up activity will calm and focus the group before
entering the world of the play.
Once teachers adjust to using an activity to warm up and focus the class, they will find that the
lesson is more productive.
Choosing a warm-up activity
The effective warm-up activity leads into the activity on text. Choose an activity that connects
with the purpose of the text activity.
Sample warm-up activities
Stop … Go ...
Have the students walk around the room, hands swinging naturally by their sides, changing
direction, using peripheral vision. Give them the following instructions, explaining each one at a
time: stop, go, fast, slow, sit, stand, jump, clap.
Vary the rhythm of your instructions and emphasise the notion of ensemble (that is, everyone
working together as a group and doing things simultaneously). Now tell them that you’re going
to do the opposite: stop=go, fast=slow, sit=stand and jump=clap (and vice versa).
Purpose: this exercise builds ensemble, listening skills, light-heartedness and a workout of the
spatial and language parts of the brain.
That’s amazing!
In this group activity in a circle, a person walks in extreme slow motion into the middle; those in
the circle make amazed noises (‘ooooh!’ etc). When the person gets to the middle of the circle,
they strike a pose and the group goes wild: stamping, yelling and cheering. The person in the
centre invites another person into the circle by gesturing to them and then leaves.
Purpose: this exercise develops stage presence and confidence, and encourages vocalisation.
© 2010 Bell Shakespeare
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
15
Handshake snake
This is a terrific name game and very non-confrontational.
Have everyone stand in a circle and choose one person to begin. Let’s say this person’s name
is Roderigo. Next to Roderigo is Ravi. Next to Ravi is Jane. Roderigo turns to Ravi and
introduces himself, shaking Ravi’s hand. The dialogue goes like this:
Roderigo: Roderigo (his own name, pointing to self with other hand)
Ravi: Ravi (her own name, pointing to self with other hand)
Roderigo: Ravi (repeats Ravi’s name)
Ravi: Roderigo (repeats Roderigo’s name)
And so on around the circle. Once Roderigo has introduced himself a few times, Ravi begins,
introducing herself to Jane and so on, around the circle. By the end of the exercise everyone
has introduced themselves to everyone.
Purpose: this exercise builds ensemble, listening skills.
Word association
Divide the class into pairs. The first person says a word and the second responds immediately
with the first word that pops into their head. Emphasise that you must respond to the last word
you heard and not the last word you said.
Purpose: this activity increases speed of thought, active listening and sharpness of response.
Verbal diarrhoea
Divide the class into pairs. The first person suggests a topic and the second speaks on that
topic, following any tangents that may arise. The idea is to keep talking, letting the mind and the
mouth go. At 10, 20 or 30 seconds ring a bell or clap to change roles. The last words spoken
become the topic to be discussed by the other member of the pair.
Purpose: this activity increases speed of thought, active listening and sharpness of response.
Radioactive dude
1. Students walk around the room in any direction. They secretly choose one other person in
the group, and this person is ‘radioactive’ to them. If they get too close to the radioactive
person, they will die. When the teacher says go, students must get as far away from the
radioactive person as possible.
2. When the teacher says ‘freeze’, each student secretly chooses a second person. This
person is small and weak and the student loves this person very much. When the teacher
says go, students have to keep their body between the person that they fear – the
radioactive dude – and the person they love.
3. When the teacher says ‘freeze’, each student secretly chooses a third person. This person
is brave and strong and can protect the student. So now students have to line up the
radioactive dude, this new strong protecting person, themselves and finally the small weak
person they love.
© 2010 Bell Shakespeare
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
16
This third part is impossible, and it’s good to only let students go for 10 seconds. Aside from the
entertainment value for the teacher, it’s a good starting point to discuss pursuing seemingly
impossible objectives.
Acting is all about pursuing what you want: ‘how much does it matter?’ The more you want it the
more exciting, funny and dramatic it is.
Purpose: this is a brilliant exercise to introduce the play elements: unrequited love and danger
and the acting elements: pursuing your objective, shifting targets and the idea of ‘how much
does it matter?’
Zen wrestling
This is an awesome physical awareness exercise. Have the class divide into pairs of equalsized people. Each pair stands with their toes facing one another, their feet a few inches apart
(the closer you stand the harder it is). Each person places their palms together with their
partner’s. Now keeping their palms in contact at all times, they try to off-balance their partner. If
one person takes a step the other scores a point. It’s more about balance than strength and
size.
Have pairs swap two or three times.
Discuss what students found. Who was an immovable zen master? How many points did
everyone score?
Purpose: this activity increases spatial awareness, connecting with a performance partner. It is
an ideal exercise to use before exploring a physical scene.
Laugh, scream, cry
Ask students to wander around the space. For 20 seconds each person must run up to as many
people and either laugh, scream or cry in their faces.
Purpose: this activity lets out some energy and introduces the idea of ‘how much does it
matter?’
© 2010 Bell Shakespeare
© Education Services Australia Ltd, 2010, except where indicated otherwise
Shake speak by Amanda Murrell, Chancellor State College, Qld
17