Renna 1
Rebecca Renna
Dr. Kern
EDC 430
Fall 2012
Unit Plan: Romeo and Juliet
Stage 1 - Desired Outcomes
Established goals:
G
 The students will develop a deep understanding of Act I and the first two scenes of Act II
in Romeo and Juliet.
 The students will participate in dramatic readings, presentations, quizzes, and artistic
projects to further their comprehension of Romeo and Juliet.
 The students will focus on both the play’s content and the theatrical elements of the play
to experience and understand the full essence of the text.
Primary CCSS for Unit:
CCSS.ELA-Literacy.RL.9-10.4 Determine the meaning of words and phrases as they are used in
the text, including figurative and connotative meanings; analyze the cumulative impact of
specific word choices on meaning and tone (e.g., how the language evokes a sense of time and
place; how it sets a formal or informal tone).
Secondary CCSS:
CCSS.ELA-Literacy.SL.9-10.1a
CCSS.ELA-Literacy.SL.9-10.1c
CCSS.ELA-Literacy.SL.9-10.4
CCSS.ELA-Literacy.L.9-10.3
CCSS.ELA-Literacy.L.9-10.4a
CCSS.ELA-Literacy.L.9-10.5
CCSS.ELA-Literacy.W.9-10.2d
Understanding: Students will understand… U Essential Questions:
Q
Big Ideas
- Shakespeare’s writing style is often difficult
- What aspects of Romeo and Juliet have
to comprehend, but his plays are better
helped it withstand the test of time?
understood through dramatic readings rather
(Characters, conflict, literary devices, etc.)
than reading silently.
- Will dramatic readings enhance content
- Romeo and Juliet is a classic text that
comprehension?
contains feelings and ideas that can be found in - How can Shakespeare’s works be interpreted
a plethora of works throughout history and in
in different ways?
modern times.
- How do theatrical elements aid in the
- The theatrical elements of plays such as
understanding of Romeo and Juliet and
Romeo and Juliet are often just as important as Shakespeare’s plays in general?
the actual dialogue.
Specific Understandings
- Shakespeare’s language is different, but it can
be easier understood through performance and
analysis
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- Romeo and Juliet is the cornerstone of
countless love stories and is relatable to all
who view/read it.
- Set design, stage direction, and line delivery
are essential for comprehending Shakespeare’s
plays.
* Misunderstandings will most likely develop
from the content/writing style because this is
the first time the students are experiencing
Shakespeare.
Knowledge: Students will know…
K
- Shakespeare’s language and writing style
- The plot of Romeo and Juliet, along with
secondary literary elements (characterization,
conflict, irony, symbolism, etc.)
- How to interpret the stage directions/theatre
components of Romeo and Juliet
- Shakespeare’s biography, Shakespeare’s
influence on language today, how theatre was
performed at the Globe
Skills: Students will be able to…
S
- Utilize informational texts to complement a
fictional text
- Close read Romeo and Juliet
- Read other works by Shakespeare using the
knowledge they gained from reading Romeo
and Juliet
- Understand scripts/theatrical terminology
- Compare and contrast various adaptations of
the play
Stage 2 - Assessment Evidence
Performance Tasks:
T
- Factual recall worksheet on Shakespeare’s
life, influence on language, and Elizabethan
theatre at the Globe
- Note-taking guide on the Act I prologue
- Worksheet about characters’ views on love
and marriage
- “Queen Mab” comprehension worksheet
- Designing a masquerade mask and
participating in an Elizabethan ball
- Creative group performance of Act II
prologue
- Informal promptbook for Act II, scene i
- Postcard describing the events of Act II,
scene ii
- Summative Assessment: Formal promptbook
for Act II, scene ii
Criteria:
- Students will be graded based on effort,
creativity, accuracy, presentation, and depth of
knowledge.
Other Evidence:
OE
- Reading-check informal quizzes almost every
day to ensure students read and understood the
scene(s)
- Frequent journal prompts that require
reflection and analysis in addition to factual
recall
- Class discussions preceding and following
dramatic readings and activities
- Observation during group work
Reflect/Self-Assess:
- For the two assignments that use a formal
rubric (the creative group performance of the
Act II prologue and the formal promptbook of
Act II, scene ii), students will receive two
copies of the rubric. They will fill out one of
the copies and I will fill out the other. Along
with their rubric, they will include a short
paragraph explaining the reasoning behind the
score they gave themselves.
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Stage 3 - Learning Plan
Learning Activities: How will the design…
W: Help the students know Where the unit is
going? What is expected? Where the students
are coming from (prior knowledge, interests)?
H: Hook all students? Hold their interest?
E: Equip students, help them Experience the
key ideas and Explore the issue?
R: Provide opportunities to Rethink and
Revise their understandings and work?
E: Allow students to Evaluate their work and
its implications?
L
- Before the unit begins, I will send a calendar
home with students for them to look over with
their parents. The calendar will include the
readings for each day and the major
assignments. Students will participate in a
discussion at the beginning of the unit about
what experience they have had with
Shakespeare. The first lesson of the unit
provides a variety of background information
that will assist students as they begin reading
and studying Romeo and Juliet.
- I will hook students by demonstrating how
the basic plotline behind Romeo and Juliet is
present in countless texts in history and in
modern times. I will hold their interest by
incorporating creative, interactive activities
and focusing on theatrical elements in addition
to the content of the dialogue.
- I will equip students by placing a large
amount of focus on the prologue. It is a great
passage to close read and it summarizes the
entire play. I will also use my background in
theatre to bring Romeo and Juliet to life while
simultaneously increasing the students’
comprehension of the text.
- Students will have the opportunity to rethink
their understanding every day. As we progress
through the play, students’ opinions and
analyses of the text will change. These
changes will be evident in the class discussions
and journal entries. Students will have the
opportunity to revise their promptbooks of Act
II, scene ii before they present them at the
“Balcony Scene Gala.”
- Students can evaluate their major
assignments by filling out their own copy of
the rubric and writing a brief reflection to
explain the reasoning behind the score.
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T: Be Tailored (personalized) to the different
needs, interests, and abilities of learners?
O: Be Organized to maximize initial and
sustained engagement as well as effective
learning?
- This unit features assignments that appeal to
a variety of interests and learning styles.
Students will participate in traditional readingcheck quizzes, reflective journal writing, class
discussions, dramatic readings of the text,
viewing scenes from film adaptations, creative
assignments, group projects, and individual
projects.
- Engagement will remain sustained and
organized because of the reoccurring
assessment. The journals and quizzes will be
routine, and keep the students on track.
Additional assignments will go along with the
section of the play we are currently
discussing/reading. The summative
assessment (the promptbook for Act II, scene
ii) will require all the knowledge students have
acquired to that point.
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Lesson Number
1
Title
All the World’s a Stage: An
Introduction to Shakespeare
Objectives
The student will become
knowledgeable on
Shakespeare’s life, theatre
style, and language in
preparation for the Romeo and
Juliet unit. (CCSS.ELALiteracy.SL.9-10.1c)
The student will analyze
Sonnet 18 to become familiar
with Shakespeare’s poetic
devices and the structure of a
sonnet. (CCSS.ELALiteracy.RL.9-10.4)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 2.6, 2.5, 2.2, 3.1, 3.7,
3.5, 4.1, 4.7
2
The Two Hours’ Traffic of
Our Stage
The student will participate in
a choral reading of the
prologue to hear how
Shakespeare must be read in
order to comprehend the
content. (CCSS.ELALiteracy.L.9-10.3)
The student will develop an
understanding of the basic plot
of Romeo and Juliet from the
prologue, and will begin
reading Act I, scene i.
(CCSS.ELA-Literacy.RL.910.4)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 3.2, 3.1, 3.7, 3.5. 4.7
3
Can You Like of Love?
The student will analyze Act I,
scenes ii and iii and form
conclusions based on specific
textual evidence concerning
the topics of love and
marriage. (CCSS.ELALiteracy.RL.9-10.4)
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The student will participate in
partner and whole group
discussions by referring to
textual evidence when
explaining analysis and
findings. (CCSS.ELALiteracy.SL.9-10.1a)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 4.5, 2.4, 4.8, 3.1, 3.7. 4.7
4
Queen Mab Hath Been with
You
The student will determine the
meaning behind the “Queen
Mab” monologue in Act I,
scene iv of Romeo and Juliet.
(CCSS.ELA-Literacy.RL.910.4)
The student will make
inferences about the
monologue’s purpose based
on the figurative language and
specific word usage found in
the text. (CCSS.ELALiteracy.L.9-10.5)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 3.6, 2.6, 2.4, 3.1, 3.7,
3.5, 4.1, 4.7
5
You are Welcome…Come,
Musicians, Play
The student will develop a
deep understanding of Act I,
scene iv of Romeo and Juliet,
and participate in a discussion
focusing on love at first sight.
(CCSS.ELA-Literacy.RL.910.4)
The student will participate in
an Elizabethan masquerade
ball to bring the Capulet’s
party to life and be able to
fully visualize the setting of
Romeo and Juliet’s first
encounter.
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NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 2.6, 4.5, 4.8, 2.5, 3.1,
3.7, 4.1, 4.7
6
Passion Lends Them Power:
Day One
The student will develop a
thorough understanding of the
Act II prologue through
reading and discussion.
(CCSS.ELA-Literacy.RL.910.4)
The student will work as a
member of a group to
demonstrate his/her
comprehension of the
prologue through a creative
presentation of the text.
(CCSS.ELA-Literacy.L.910.4a)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 2.6, 4.5, 2.4, 3.1, 3.7, 4.7
7
Passion Lends Them Power:
Day Two
The student will participate in
a performance to demonstrate
his/her comprehension and
interpretation of the Act II
prologue in Romeo and Juliet.
(CCSS.ELA-Literacy.SL.910.4)
The student will develop a
deeper understanding of the
Act II prologue through the
performances, and of Act II,
scene i through a dramatic
reading. (CCSS.ELALiteracy.RL.9-10.4)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 2.6, 3.2, 3.1, 3.7, 4.7
8
But Soft!: Day One
The student will develop an
understanding of stage
directions, set design, and line
delivery by analyzing a
promptbook for Act II, scene i
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of Romeo and Juliet.
(CCSS.ELA-Literacy.W.910.2d, CCSS.ELALiteracy.RL.9-10.4)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 2.6, 3.1, 3.7, 4.1, 4.7
9
But Soft!: Day Two
The student will use his/her
knowledge of theatrical
elements and Act II, scene ii
to create a promptbook for the
balcony scene. (CCSS.ELALiteracy.RL.9-10.4)
The student will utilize art and
written explanations in his/her
promptbook to bring Act II,
scene ii to life, clarifying the
content through character
actions and line delivery.
(CCSS.ELA-Literacy.W.910.2d)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 2.6, 2.4, 3.2, 3.1, 3.7, 4.7
10
But Soft!: Day Three
The student will informally
present at least one aspect of
his/her promptbook of Act II,
scene ii. (CCSS.ELALiteracy.W.9-10.2d)
The student will compare on
contrast the decisions he/she
made in the promptbook to the
choices the directors made in
two movie adaptations of Act
II, scene ii. (CCSS.ELALiteracy.W.9-10.2d)
NCTE/NCATE 2.1, 4.4, 4.2,
4.10, 3.6, 2.6, 2.4, 4.8, 3.2,
2.5. 3.1, 3.7, 3.5, 4.1, 4.7
Renna 9
Lesson Plan 1
Grade/Content Area
Lesson Title
9th Grade/Honors English
“All the World’s a Stage: An Introduction to Shakespeare”
Common Core State
Standards
CCSS.ELA-Literacy.SL.9-10.1c Propel conversations by
posing and responding to questions that relate the current
discussion to broader themes or larger ideas; actively
incorporate others into the discussion; and clarify, verify, or
challenge ideas and conclusions.
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
Context of the Lesson
Opportunities to Learn
This is the first lesson in the Romeo and Juliet unit. Students
will most likely be new to Shakespeare, so this lesson will
prepare them for the language and style. The lesson will
feature information on Shakespeare, Elizabethan theatre, and
Shakespeare’s language, and will include an example of a
sonnet. Having experience with a sonnet will assist students
as they read the prologue of Romeo and Juliet next class.
Plans to differentiate instruction: This lesson incorporates
a variety of different topics concerning Shakespeare. All
students, whether they are interested in theatre, language,
history, literature, or poetry, will find something to relate to in
this lesson. The lesson will contain silent reading, reading
aloud, and class discussion.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
printing the handouts in a larger font and having an electronic
version of the homework worksheet.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will be arranged in a semicircle for this unit to create a type of “theatre in the round”
setting. The semi-circle will be open on the side of the
whiteboard to give all students a full view.
Materials:
- Shakespeare Biography handout (1 per student)
- Shakespeare’s Invented Words worksheet (1 per
student)
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Objectives
Elizabethan Theatre handout (1 per student)
Sonnet handout featuring Sonnet 18 (1 per student)
Writing Utensils
Computer and projector with screen
Whiteboard and marker
Review worksheet for homework (1 per student)
The student will become knowledgeable on Shakespeare’s
life, theatre style, and language in preparation for the Romeo
and Juliet unit.
The student will analyze Sonnet 18 to become familiar with
Shakespeare’s poetic devices and the structure of a sonnet.
Instructional
Procedures
Opening: To open class, I will ask students what they
already know about Shakespeare- as a person, as a playwright,
as a topic in general. I will also ask if anyone has had any
experience with Shakespeare, either reading, viewing, or
participating in a play. To those who do not offer anything
(which may even be the entire class), I will say that every
single person in the room has experienced Shakespeare, and
this lesson will demonstrate how.
Engagement: To begin the engagement portion of the lesson,
I will pass out copies of the Shakespeare Biography handout.
I will go over some key information with the class, but not the
whole article. I will tell students that they can use this article
for reference throughout the unit. They will not be tested on
the information, it is simply a resource. They may read it for
homework, as some questions on the Review worksheet come
from the handout.
Next, I will pass out the Shakespeare’s Invented Words
worksheet. The worksheet contains a paragraph. I will ask
students to write under the paragraph which words they
believe Shakespeare invented. The paragraph will also be
projected on the screen. After a few minutes, I will scroll
down and reveal all the words that Shakespeare invented.
Students will be amazed at how many there are. The
worksheet will also feature some common phrases that were
also invented by Shakespeare.
I will then pass out the Elizabethan Theatre handout. Like
with the Biography handout, I will go over several interesting
elements and leave the rest for the class to read for homework
while completing the Review worksheet.
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The final handout will contain Sonnet 18. I will ask for a
volunteer to read the sonnet aloud. I will then ask the class
what they notice about the poem that they think makes it a
sonnet. I will write these ideas on the board, guiding the
students as they offer ideas and ensuring that we cover rhyme
scheme, iambic pentameter, and the number of lines. I will
instruct students to write these notes on the worksheet.
Assessment
Closure: To close, I will explain how the first part of Romeo
and Juliet is a sonnet, and that is what we will be working
with next class. I will ask students if they have ever noticed a
Romeo and Juliet-type story anywhere else in literature or
film, explaining how any love story that involves two people
from different worlds falling in love most likely stems from
this play (Examples: West Side Story, Aladdin, Titanic…). I
will pass out the Review sheet that students are to complete
for homework.
As today’s class serves as an introduction to Shakespeare, the
sole form of assessment is informal, formative class
participation. The Review worksheet that students complete
for homework will count as a homework grade. There will be
twelve questions, each worth one point for a total of twelve
possible points. I can use the Review worksheets as samples
of student work.
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Chariho Scholars-Meet Shakespeare!
William Shakespeare was born in Stratford-upon-Avon, allegedly on April 23, 1564. Young
William was born of John Shakespeare, a glover and leather merchant, and Mary Arden, a landed
local heiress.
Scholars surmise that Shakespeare attended the grammar school in
Stratford. As the records do not exist, we do not know how long
William may have attended the school, but the literary quality of his
works suggests a solid educational foundation. Shakespeare never
proceeded to university schooling, which has contributed to the
debate about the authorship of his works.
The next documented event in Shakespeare's life is his marriage to
Anne Hathaway on November 28, 1582. William was 18 at the time,
and Anne was 26—and pregnant. Their first daughter, Susanna, was
born on May 26, 1583. The couple later had twins, Hamnet and Judith, born February 2, 1585
and christened at Holy Trinity. Hamnet died in childhood at the age of 11, on August 11, 1596.
For the seven years following the birth of his twins, William Shakespeare disappears from all
records, finally turning up again in London some time in 1592.
It is estimated that Shakespeare arrived in London around 1588 and began to establish himself as
an actor and playwright. By 1594, he was not only acting and writing for the Lord Chamberlain's
Men (called the King's Men after the ascension of James I in 1603), but was a managing partner
in the operation as well. The Lord Chamberlain's Men became a favorite London troupe,
patronized by royalty and made popular by the theatre-going public.
Shakespeare's accomplishments are apparent when studied against other playwrights of this age.
His company was the most successful in London in his day. He had plays published and sold in
octavo editions, or "penny-copies" to the more literate of his audiences. Never before had a
playwright enjoyed sufficient acclaim to see his works published and sold as popular literature in
the midst of his career. In addition, Shakespeare's ownership share in both the theatrical
company and the Globe itself made him as much an entrepreneur as artist. While Shakespeare
might not be accounted wealthy by London standards, his success allowed him to purchase New
House and retire in comfort to Stratford in 1611.
William Shakespeare allegedly died on his birthday, April 23, 1616. In 1623, two working
companions of Shakespeare from the Lord Chamberlain's Men, John Heminges and Henry
Condell, printed the First Folio edition of his collected plays, of which half were previously
unpublished. William Shakespeare's legacy is a body of work that will never again be equaled in
Western civilization. His words have endured for 400 years, and still reach across the centuries
as powerfully as ever.
Pressley, J. M. "Shakespeare's Biography." Shakespeare Resource Center. 9 Dec. 2012. Web. 13 Dec. 2012.
<http://www.bardweb.net/man.html>.
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Shakespeare’s Invented Words
DIRECTIONS: Read the following paragraph. Below the text, write down which words from
the paragraph you believe Shakespeare invented. After several minutes, the paragraph will
appear on the projector screen with all of Shakespeare’s words in bold.
------------------------------------------------------------------------------------------------------------------“It was a gloomy day in London. The route was barely visible, as the rainstorm had been
excessively generous with fog. Time lapsed as the detective’s cab hurried to the crime scene,
seeming to hit every bump in the road. Last night had been eventful, with a premeditated
assassination near the town square and countless suspicious thefts near the post office. When the
detective arrived at the town square, he saw the crime scene was a bloody one. Many bystanders
were present- some disheartened, some impartial and simple curious. Despite the crowd, the
nameless victim remained lonely, for no one knew his identity. The detective, frozen in horrid
amazement, knew he must begin a critical analysis of the gnarled body.”
-------------------------------------------------------------------------------------------------------------------Not only did Shakespeare invent 1700 words, he also created many of the common phrases
we use today! Any of these sound familiar?
“It’s Greek to me” (Hamlet)
“Fair play” (The Tempest)
“All that glitters isn’t gold” (The Merchant of Venice)
“Wear one’s heart on one’s sleeve” (Othello)
“Break the ice” (Taming of the Shrew)
“Too much of a good thing” (As You Like It)
“In a pickle” (The Tempest)
"List of Words and Phrases Shakespeare Invented." Your Dictionary: Grammar. Love to Know Corp., 1996. Web. 13 Dec. 2012.
<http://grammar.yourdictionary.com/word-lists/list-of-words-and-phrases-shakespeare-invented.html>.
"Words Shakespeare Invented." No Sweat Shakespeare. 2004. Web. 13 Dec. 2012.
<http://www.nosweatshakespeare.com/resources/shakespeare-words/>.
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Shakespeare’s Invented Words
(Projector Copy)
“It was a gloomy day in London. The route was barely visible, as the rainstorm had been
excessively generous with fog. Time lapsed as the detective’s cab hurried to the crime scene,
seeming to hit every bump in the road. Last night had been eventful, with a premeditated
assassination near the town square and countless suspicious thefts near the post office. When the
detective arrived at the town square, he saw the crime scene was a bloody one. Many bystanders
were present- some disheartened, some impartial and simple curious. Despite the crowd, the
nameless victim remained lonely, for no one knew his identity. The detective, frozen in horrid
amazement, knew he must begin a critical analysis of the gnarled body.”
“It was a gloomy day in London. The route was barely visible, as the rainstorm had been
excessively generous with fog. Time lapsed as the detective’s cab hurried to the crime
scene, seeming to hit every bump in the road. Last night had been eventful, with a
premeditated assassination near the town square and countless suspicious thefts near
the post office. When the detective arrived at the town square, he saw the crime scene was a
bloody one. Many bystanders were present- some disheartened, some impartial and
simple curious. Despite the crowd, the nameless victim remained lonely, for no one knew his
identity. The detective, frozen in horrid amazement, knew he must begin a critical analysis
of the gnarled body.”
Which ones did you miss?
Renna 15
Elizabethan Theatre & The Globe
The original Globe Theatre was built in 1599 with a thatched roof above the galleries (covering
the seats: the yard - where poorer spectators stood - was still open to the air). This roof caught
fire in 1613 and the whole theatre burned to the ground. A second Globe was built was
demolished in 1644 when all plays had been banned by the Roundhead Parliament during the
Civil War. Although the modern Globe Theatre is an inexact imitation of the real Globe, the
design, building and use of the new Globe has given much useful information about how an
Elizabethan Theatre works and how it affects the performances of actors who use such a stage.
There is roofing over the gallery seating and
over the stage itself, the stage roof being held up
by two huge pillars that stand on the stage obstructing the view of audience members from
various angles - but the yard is open to the air.
Behind the stage there is a curtained “discovery
space” - a small room behind a curtain - which
allows characters to be suddenly revealed by
opening the curtain. Behind the entrances is the
tiring house, for actors to dress, prepare and wait
offstage. There is a balcony above the stage
which was sometimes used in the performance
(probably Juliet’s balcony in Romeo and Juliet),
sometimes housed the theatre musicians and was sometimes used for more audience seating.
There is a trapdoor in the centre of the stage and the Elizabethans had simple machinery to allow
ghosts, devils and similar characters to be raised up through the trapdoor.
The number and type of actor involved in Elizabethan Theatre varied from one performance to
the next, but there were invariably many more parts than actors. All of the actors in an
Elizabethan Theatre company were male. There were laws in England against women acting
onstage. The male actors who played female parts have traditionally been described as “Boy
Actors.” Some academics are convinced that very young actors could not possibly have played
such important, complex and emotionally difficult parts as Shakespeare and his fellow
playwrights wrote for women, and argue that references to “men” playing women’s parts prove
that these actors were in fact fully grown adults.
Elizabethan costuming seems to have been a strange combination of what was (for the
Elizabethans) modern dress, and costumes which - while not being genuinely historically or
culturally accurate - had a historical or foreign flavour. A wide variety of furniture and props
were brought onstage to set the scene as necessary. One thing that Elizabethan theatres almost
completely lacked was lighting effects. In the outdoor theatres like the Globe, plays were
performed from two o’clock until about four in the afternoon (these were the times fixed by law,
but plays may sometimes have run for longer) in order to take advantage of the best daylight.
Larque, Thomas. "Elizabethan Theatre - A Lecture." Shakespeare and His Critics. N.p., 2001. Web. 13 Dec. 2012.
<http://shakespearean.org.uk/elizthea1.htm>.
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Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou growest:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
NOTES:
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Name: ____________________________
Date: ________________
Introduction to Shakespeare: Review Worksheet
1. What is William Shakespeare’s birthday?
2. Why is there controversy over whether or not Shakespeare actual wrote his plays?
3. What had Shakespeare accomplished by the year 1594?
4. What is significant about the day Shakespeare supposedly died?
5. Name one popular phrase Shakespeare invented.
6. How many words did Shakespeare invent?
7. When was the original Globe Theatre built?
8. What is the tiring house used for at the Globe?
9. Why were all actors male?
10. Why were plays always performed in the afternoon?
11. How many lines are in a sonnet?
12. Describe iambic pentameter.
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Answer Key
1. April 23, 1564
2. He did not attend a university
3. Acting, writing, managing the operation
4. He died on his birthday
5. (Various)
6. 1700
7. 1599
8. Actors dress, prepare, and wait to go onstage
9. It was illegal for women to act onstage
10. There was no lighting
11. 14
12. Stressed/Unstressed, 10 syllables per line
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Lesson Plan 2
Grade/Content Area
Lesson Title
9th Grade/Honors English
“The Two Hours’ Traffic of Our Stage”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.L.9-10.3: Apply knowledge of language
to understand how language functions in different contexts, to
make effective choices for meaning or style, and to
comprehend more fully when reading or listening.
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
Context of the Lesson
Opportunities to Learn
Students have been introduced to William Shakespeare and
Elizabethan theatre. They have read a sonnet to get a taste of
Shakespeare’s language and are now ready to begin reading
their first play by Shakespeare- Romeo and Juliet. This lesson
will focus on the play’s prologue, introducing students to the
plot and giving them more experience with Shakespeare’s
writing before delving into the Act I.
Plans to differentiate instruction: This lesson satisfies a
variety of learners because the prologue is read multiple ways
to ensure complete comprehension. Students will read the
prologue to themselves, they will participate in three choral
readings, and I will read it to them.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
printing the worksheet in a larger font, allowing students to
type their notes instead of writing them, and allowing students
to finish the worksheet for homework if they need additional
time.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will be arranged in a semicircle to make the choral reading easier and more effective.
The semi-circle will be open on the side of the whiteboard to
give all students a full view.
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Materials:
- Copies of prologue (1 per student)
- Copies of note-taking guide (1 per student)
- Writing utensils
- Dictionary
- Whiteboard and marker
- Literature books (1 per student)
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
Objectives
Instructional
Procedures
The student will participate in a choral reading of the prologue
to hear how Shakespeare must be read in order to comprehend
the content.
The student will develop an understanding of the basic plot of
Romeo and Juliet from the prologue, and will begin reading
Act I, scene i.
Opening: I will open the class by quickly reading the first
four lines of the prologue in a monotone voice and with few
pauses. I will then ask the students to summarize what I just
read. They will most likely struggle with this task, so I will
explain that Shakespeare is better understood read aloud, at a
normal speaking pace, with emphasis in the proper places.
Engagement: To begin the engagement portion of the lesson,
I will pass out copies of the prologue. I will not have students
use the Literature book for this reading because it contains
term definitions and footnotes. I do not want these hints to
distract students from trying to figure out the text on their
own. I will also pass out a worksheet that has two sections for
note-taking and one section for reflection. Students will have
five minutes to read through the prologue on their own and
write some quick notes in the top section of the worksheet.
After five minutes, I will determine if students need a few
extra minutes to finish writing notes. If not, I will announce
the next portion of the activity.
The class will read the prologue out loud. Starting with one
student, they will go around the circle, reading through the
prologue one word at a time. So Student 1 will say “Two,”
Student 2 will say “households,” and so on. When we get
through the entire prologue, I will instruct students to repeat
the same activity. This time, however, they are to read as
though they are one speaker, trying to make it sound as fluid
as possible. At this point, I will ask students what they know
from the prologue so far. I will write these ideas on the white
board and instruct students to do the same in the second note-
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taking portion of their worksheet (if they don’t already have
the point written in the first section).
For the final choral reading, the boys will read the first half of
each line, and the girls will read the second half. Students
will emphasize the last word of their phrases, and again, try to
make it sound fluid, as if it is one person reading. When the
students have finished, I will discuss the reading style
variations and how they improve comprehension of the text.
We will go over any sections of the prologue that still remain
unclear, and will look up any unfamiliar words in the
dictionary. I will again instruct students to write these ideas
down in the second note-taking section of their worksheet. I
will point out how the prologue is a sonnet and discuss several
elements such as iambic pentameter, repetition, and
alliteration.
Assessment
Closure: Finally, I will read the prologue to the class one last
time to create a sense of closure for the discussion. In the
reflection section of their worksheet, students will write five
bullet points about what they learned, what surprised them,
what they are still confused about, or what they are looking
forward to. For the remainder of the period, we will assign
roles and do a dramatic read-through of Act I, scene i.
Students will study the scene for homework because there will
be a reading check quiz the next day. Students will also write
their first 1-page journal entry: “Discuss the scene’s events
from the point of view of the character you read for, or a
character of your choice (if you did not read aloud today).”
The worksheet students complete during this lesson will be an
informal formative assessment, counting as class work.
Students will earn a “check plus” (95), “check” (85), or
“check minus” (75) based on the quality and quantity of their
work. I can use this worksheet to obtain samples of student
work.
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Romeo and Juliet: Prologue
Two households,
both alike in dignity
In fair Verona,
where we lay our scene
From ancient grudge
break to new mutiny,
Where civil blood makes civil hands
From forth the fatal loins
unclean
of these two foes
A pair of star-crossed lovers
take their life;
Whose misadventured
piteous overthrows
Doth with their death
bury their parents’ strife.
The fearful passage
of their death-marked love
And the continuance
of their parents’ rage,
Which, but their children’s end,
naught could remove,
Is now the two hours’ traffic
of our stage;
The which, if you
with patient ears attend
What here shall miss,
our toil shall strive to mend.
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Name: ______________________________________
Date: _________________
Romeo and Juliet Prologue Note-Taking Guide
Notes After Initial, Silent, Read-Through:
Notes After Choral Reading:
Reflection (five bullet points about what you have learned, what surprised you, what you are still
confused about, or what you are looking forward to):
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Lesson Plan 3
Grade/Content Area
Lesson Title
9th Grade/Honors English
“Can You Like of Love?”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.SL.9-10.1a: Come to discussions
prepared, having read and researched material under study;
explicitly draw on that preparation by referring to evidence
from texts and other research on the topic or issue to stimulate
a thoughtful, well-reasoned exchange of ideas.
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
Context of the Lesson
Opportunities to Learn
Students have just finished reading the prologue and Act 1,
scene i of Romeo and Juliet. They are now more familiar
with Shakespeare’s language because they have read,
discussed, reflected upon, and studied the material. This
lesson will include dramatic readings of Act I, scene ii and
scene iii. Following the readings, students will complete an
accompanying activity.
Plans to differentiate instruction: This lesson is appealing
to a variety of learners because it includes factual recall,
reading, listening, analyzing, and forming opinions. Students
have the opportunity to work individually, in pairs, and as a
whole group. Also, students will have the option to read
aloud or be active listeners.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
allowing certain students to finish the quiz after school,
printing the worksheet in a larger font, having an electronic
version of the worksheet for those who must type, and
allowing students to finish the worksheet for homework if
they need additional time.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
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round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
Materials:
- Act I, scene i quiz (1 per student)
- Copies of “Love and Marriage” worksheet (1 per
student)
- Writing utensils
- Whiteboard and marker
- Literature books (1 per student)
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
Objectives
Instructional
Procedures
The student will analyze Act I, scenes ii and iii and form
conclusions based on specific textual evidence concerning the
topics of love and marriage.
The student will participate in partner and whole group
discussions by referring to textual evidence when explaining
analysis and findings.
Opening: At the beginning of class, students will take a
reading check quiz on Act I, scene i. After the quiz, the first
part of class will consist of dramatic readings of scenes ii and
iii. I will introduce the scenes by leading a brief class
discussion about arranged marriages and the classes’ views on
love, writing quick ideas on the whiteboard.
Following the discussion, I will encourage new volunteers to
read for characters, but students will not be forced to read
aloud. Students who are not participating in the dramatic
reading will be writing five bullet points for each scene,
keeping track of key events. I will interrupt occasionally to
ask questions and clarify difficult content.
Engagement: The engagement portion of the lesson will
begin as I pass out the “Love and Marriage” worksheet. I will
read the directions for the worksheet to the class, go over the
example that is provided, and answer any questions students
may have. For this activity, students will participate in a form
of “Think, Pair, Share.” I will instruct the students to
complete the sections for Romeo, Benvolio, and Capulet
individually to get a feel for the assignment.
After between five and ten minutes, I will announce that it is
time for partner work. In pairs, students will discuss their
answers for the first three characters. They will then complete
the sections for Juliet, Lady Capulet, and Nurse. I will
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explain that they should ignore the Mercutio line for today
because we have not read scene iv yet. If time is running
short, I will tell students they only have to choose one of the
quotes for Bevolio, Capulet, and Juliet.
Closure: At about ten minutes before the end of the period,
we will regroup and discuss what “conclusions” students
came up with for the provided quotes. I will collect the
worksheets and redistribute them the next day for the
Mercutio section. For homework, students will study Act I,
scenes ii and iii, and complete a journal entry. The prompt for
the journal entry will be “Concerning the topic of love and
marriage, which character’s opinion is the closest to yours?
How so?”
Assessment
The quiz students take at the beginning of this lesson is a
formal, formative assessment. These quizzes will be
completed almost every day to encourage students to be
engaged readers. They will also help me determine which
areas of the text need to be revisited for clarification purposes.
The worksheet students complete during this lesson will be an
informal formative assessment, counting as class work.
Students will earn a “check plus” (95), “check” (85), or
“check minus” (75) based on the quality and quantity of their
work. I can use the quiz and worksheet to obtain samples of
student work.
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Name: ______________________________________
Date: _________________
Reading-Check Quiz
Act I, scene i
1. What are the names of the two feuding families?
2. What does the Prince warn will happen if fighting does not cease?
3. Who is Benvolio?
4. Why is Romeo sad?
5. What does Benvolio suggest Romeo do concerning his love life?
------------------------------------------------------------------------------------------------------------------ANWER KEY:
1. Montague and Capulet
2. The families will have to pay fines for their crimes
3. Romeo’s cousin
4. He is in love with Rosaline, but she does not love him in return and has sworn chastity
5. Forget about Rosaline and look to other women
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Name: ______________________________________
Date: _________________
Love and Marriage
Directions: Read the following lines for each character listed. In the “Lines” column, write out
the line exactly how it is written in the play. In the “Conclusions” column, draw conclusions
about those lines. What information do they offer concerning how each character feels about
love and marriage?
CHARACTER
LINES
CONCLUSIONS
“Younger than she are
happy mothers made.”
Paris is eager to marry.
Age is not an issue.
Romeo
1.1.195-199
Benvolio
1.1.235-236
1.2.47-48
Paris
1.2.12
Capulet
1.2.13
1.2.16-17
Juliet
1.3.71
1.3.103-105
Lady Capulet
1.3.75-79
Nurse
1.3.101
Mercutio
1.4.27
*adapted from Shakespeare Set Free
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Lesson Plan 4
Grade/Content Area
Lesson Title
9th Grade/Honors English
“Queen Mab Hath Been with You”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
CCSS.ELA-Literacy.L.9-10.5 Demonstrate understanding of
figurative language, word relationships, and nuances in word
meanings
Context of the Lesson
Opportunities to Learn
Students have just finished reading Act 1, scenes ii and iii of
Romeo and Juliet. In this lesson, students will become
familiar with scene iv, but instead of reading it aloud, they
will be watching the scene from the 1968 film version.
Plans to differentiate instruction: This lesson is appealing
to visual learners. In the past several class periods, we have
been reading the text aloud, but now students will see a film
adaptation. Students will work in pairs for the worksheet
activity, but will work individually while writing their
journals. Also, there is a section on the “Queen Mab Hath
Been with You” worksheet that involves drawing, satisfying
the needs of spatial learners.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
allowing certain students to finish the quiz after school,
printing the worksheet in a larger font, having an electronic
version of the worksheet for those who must type, and
allowing students to finish the worksheet or journal for
homework if they need additional time.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
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Materials:
- Quiz for Act I, scenes ii and iii
- Copies of “Love and Marriage” worksheet from the
previous day (1 per student)
- Copies of “Queen Mab Hath Been with You”
worksheet (1 per student)
- 4 copies of dance choreography instructions
- Copies of mask making directions (1 per student)
- Writing utensils
- Journals
- William Shakespeare’s Romeo and Juliet. Dir. Franco
Objectives
Instructional
Procedures
Zeffirelli. Paramount Pictures, 1968. DVD.
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
The student will determine the meaning behind the “Queen
Mab” monologue in Act I, scene iv of Romeo and Juliet.
The student will make inferences about the monologue’s
purpose based on the figurative language and specific word
usage found in the text.
Opening: At the beginning of class, students will take a
reading check quiz on Act I, scenes ii and iii. After the quiz, I
will begin a class discussion on dreams. I will ask students if
they are willing to share any dreams they have had. The
discussion will then shift to if dreams contain meaning.
Students will most likely have different opinions concerning
this topic. Finally, I will ask the class about the advantages
and disadvantages of dreams, and explain how the topic of
dreams is very important in Act I, scene iv.
Engagement: To begin the engagement portion of the lesson,
I will pass back the “Love and Marriage” worksheet from the
previous class. I will explain that after we go through Act I,
scene iv, students will be able to fill in Mercutio’s section of
the worksheet.
I will announce that instead of a dramatic reading, for this
lesson, we will be watching the scene from the movie. After
the clip, I will discuss the scene with the class, making sure
everyone understood the content. They can use their
Literature books as a reference during this discussion. The
majority of the discussion will focus on the Queen Mab
speech, as it is dense and can be confusing. I will make sure
the students understand that the speech does not need to make
complete sense. It is communicating the dreams that dreams
do not make sense.
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I will then distribute the “Queen Mab Hath Been with You”
worksheet. Students can work in pairs to complete the
worksheet, and I will walk around the room in case students
need any assistance. When students have finished, I will
collect the worksheets.
Closure: Towards the end of class, I will write a journal
entry on the board- “This scene does not further the plot.
Why is it important?” Students may complete the journal
entry in class rather than for homework. I will then ask for
four students to come up to my desk. These students will be
exempt from the journal entry. The students I call are
individuals who I know are interested in dance. I will explain
to the students that for the next class, we will be having an
Elizabethan dance reminiscent of the party where Romeo and
Juliet meet. They will be in charge of teaching the dance to
the class. I will give each of them a handout on how the
dance is choreographed. At the end of class, I will announce
that there will be no quiz the next time we meet. Homework
will consist of designing and constructing a mask for the ball.
I will hand out the directions and announce that there will be
prizes! Everyone should bring a snack and costumes are
optional.
Assessment
The quiz students take at the beginning of this lesson is a
formal, formative assessment. The “Queen Mab” worksheet
students complete during this lesson will be an informal
formative assessment, counting as class work. Students will
earn a “check plus” (95), “check” (85), or “check minus” (75)
based on the quality and quantity of their work. I can use the
quiz and “Queen Mab” worksheet to obtain samples of
student work.
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Name: ______________________________________
Date: _________________
Reading-Check Quiz
Act I, scenes ii and iii
1. Who wishes to marry Juliet?
2. How old is Juliet?
3. How do Romeo and Benvolio find out about the Capulet party?
4. Who is more of a mother to Juliet than Lady Capulet?
5. What is Juliet’s opinion on marriage to this suitor?
------------------------------------------------------------------------------------------------------------------ANWER KEY:
1. Paris
2. 14
3. They help a Capulet servant read the list of party guests
4. Nurse
5. She is against the marrying Paris because she does not love him
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Name: ______________________________________
Date: _________________
Queen Mab Hath Been with You
a. On the back of this paper, draw a simple picture of Queen Mab and her carriage according to
Mercutio’s description. Label each part of the drawing with its corresponding line from the play.
b. According to Mercutio, what are the dreams Queen Mab delivers for each of the following?
Lovers dream of: ________________________________________________________
Courtiers (first mention) dream of: _________________________________________
Lawyers dream of: ______________________________________________________
Ladies dream of: ________________________________________________________
Courtiers (second mention) dream of: _______________________________________
A parson dreams of: _____________________________________________________
A soldier dreams of: _____________________________________________________
c. Is Queen Mab the queen of dreams, nightmares, or both? Explain.
d. What does Mercutio think about dreams?
e. Why do you think Mercutio tells this fantastic story to Romeo?
f. What kind of person is Mercutio?
*adapted from Shakespeare Set Free
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Pilgrims & Saints Dance
Find an appropriate, Elizabethan musical selection! There are many on YouTube.
First, form a circle. Use as many students as you like. Keep the number of dancers even, but
you don’t need equal numbers of boys and girls- if you were performing in Shakespeare’s day,
everyone dancing in this scene would be a guy anyway. If there are an odd number of students,
make your teacher dance 
Give each step eight counts before moving on to the next. Repeat steps as needed to adapt to the
music you select.
Stand in a circle with your partner by your side.
Honor your partner.
For eight counts, gentlemen bow to the ladies to their right, and ladies curtsy to the gentlemen to
their left.
Honor you corner.
For eight counts, gentlemen bow to the ladies to their left, and ladies curtsy to the gentlemen to
their right.
Doubles.
All the dancers in the circle take hands and, starting with the right foot, walk forward three steps
and bring the left foot forward to meet the right foot on the fourth count. Then, starting with the
left foot, they walk backward three steps and bring the right foot backward to meet the left foot
on the eighth count.
Repeat.
Circle clockwise.
Still holding hands, the dancers circle clockwise for eight counts.
If the music is slow, the dancers can walk around the circle with a weaving step. Have each
dancer take a step to the left with the left foot, step behind the left foot with the right foot, take a
step to the left with the left foot, step in front of the left foot with the right foot, and so on for
eight counts. Bring the right foot together with the left foot on the eighth count.
If the music is fast, the dancers can dance around the circle with a slipping step. Each dancer
takes a step to the left with the left foot, brings the right foot toward the left foot with a hop,
places the right foot where the left foot was, moves the left foot a step to the left, and so on for
eight counts.
Circle counterclockwise.
Repeat the directions for circle clockwise (above) in the opposite direction for eight counts.
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Right palms.
Partners face each other, raise their right hands, and place the hands together, palm to palm.
Each pair of dancers walks around in its own circle for eight counts.
Left palms.
Partners face each other, raise their right hands, and place the hands together, palm to palm.
Each pair of dancers walks around in its own circle for seven counts and returns to the large
circle on the eighth count.
Gentlemen’s double.
As in doubling above, men walk forward four counts into the circle, then double back to their
ladies for four more counts. They clap on the fourth count and on the eighth count.
Ladies’ double.
Same as above, only ladies this time.
Alternating single.
Starting with the right foot, the men take one step into the circle and bring the left foot forward to
meet the right foot on the second count. They clap on the second count.
While the men single back and clap on the fourth count, the women single forward and clap on
the fourth count too.
While the men single forward and clap on the sixth count, the women single back and clap on the
sixth count.
The men single back and clap on the eighth count, while women hold their places and clap on the
eighth count.
Honor your partner.
Honor you corner.
*adapted from Shakespeare Set Free
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Masquerade!
You have been cordially invited to attend the Capulet’s ball! But what will you
wear???
YOUR ASSIGNMENT:
Design a mask! It can be as elaborate as you wish. There will be prizes at the end
of the ball! There will be awards for the following categories:





Most original
Most colorful
Most unique materials
Funniest
Design that best reflects the personality of a character from the play!
SUGGESTED MATERIALS:
Cardboard, felt, fabric scraps, aluminum foil, sequins, glitter, marker, magazine
pictures, hardware supplies, paint, feathers, macaroni, tissue paper…be creative!
DIRECTIONS:
1. Select an outline for your mask
Design suggestions: animals, flowers, geometric shapes, moons, stars, planets,
pictures collages
2. Draw your mask on cardboard and cover the front with felt, construction paper,
or another material.
If you do not have any cardboard, cut several copies of your mask out of
construction paper and glue the layers together to add strength.
3. Decorate!
4. Punch holes in the sides and add
strings
5. Full costume is optional, but
appreciated!
*adapted from Shakespeare Set Free
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Lesson Plan 5
Grade/Content Area
Lesson Title
9th Grade/Honors English
“You are Welcome…Come, Musicians, Play”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
Context of the Lesson
Students have just finished reading Act 1, scene iv of Romeo
and Juliet. In this lesson, students will perform a dramatic
reading of scene v and then bring the scene to life through an
Elizabethan-style dance.
Plans to differentiate instruction: This lesson is ideal for
kinesthetic and musical learners. Students will participate in
an Elizabethan dance that involves memorizing choreography
and counting beats in the music.
Opportunities to Learn
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. One possible accommodation could be allowing
certain students to participate in a way other than dancing. If
a student is incapable of dancing, he/she can be in charge of
the music or remain on the perimeter, making sure everyone is
on beat.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. For the first part of class, desks will
remain in a semi-circle to create an audience/stage setting,
similar to “theatre in the round.” For the dance, the desks will
be moved against the walls to provide ample space.
Materials:
- Computer (to play music)
- Masks
- Awards for mask competition
- Snacks
- Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
Objectives
The student will develop a deep understanding of Act I, scene
iv of Romeo and Juliet, and participate in a discussion
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focusing on love at first sight.
Instructional
Procedures
The student will participate in an Elizabethan masquerade ball
to bring the Capulet’s party to life and be able to fully
visualize the setting of Romeo and Juliet’s first encounter.
Opening: The first portion of the class will involve a
dramatic reading of Act I, scene v of Romeo and Juliet.
Following the reading, I will lead a brief discussion on the
scene, focusing specifically on the exchange between Romeo
and Juliet and the topic of love at first sight. This scene will
be fresh in the students’ minds as we continue into the second
half of class.
Engagement: The second part of class is the moment
everyone has been waiting for- the Elizabethan masquerade
ball. The students will push all the desks to the edge of the
room, creating a large space for dancing. Students will put on
their masks and costumes and gather on the dance floor for
choreography instruction. The students I put in charge of
teaching the dance lesson will demonstrate the dance for the
class to music, and then go through the choreography step by
step.
While students are dancing, I will try out the dance myself if
the class contains an odd number of students. As the dance
goes on, I will separate myself from the group and walk
around, focusing on the masks. I will write done the winners
for each category and announce them once the dance begins to
die down. After the winners are announced, I will instruct the
students to move the desks back into the semi-circle
formation.
Closure: Once students have returned to their seats, I will ask
them what they thought of the dance. I’m anticipating a
mixed review, but I will direct the class to the idea that the
dance brought the play to life. By participating in an actual
dance, students can more easily understand the setting of Act
I, scene v. Finally, I will announce the homework. Students
will study scene v for the quiz next class and will complete a
journal entry about the dance- “Describe what you felt during
the dance. Nervous? Embarrassed? Excited? How would you
have felt if during that dance, you suddenly saw the potential
love of your life? Would you fall in love as quickly as Romeo
and Juliet? Why or why not?”
Assessment
For this lesson, students will be graded on their masks and on
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their participation in the dance. The masks will count as
homework and will be graded out of twenty-five points.
Students who created highly impressive masks will receive
full credit (25/25 = 100). Student who put a fair amount of
effort into their masks will receive twenty-three points (23/25
= 92), and students who did spend much time on their masks
will receive twenty points (20/25 = 80). Students who win an
award will receive 27/25.
The dance itself will count towards class participation points.
Students will receive 10, 8, or 6 points depending on how
involved they were in the dance.
I can use pictures of masks as samples of student work for this
lesson.
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Lesson Plan 6
Grade/Content Area
Lesson Title
9th Grade/Honors English
“Passion Lends Them Power: Day One”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
CCSS.ELA-Literacy.L.9-10.4a: Use context (e.g., the overall
meaning of a sentence, paragraph, or text; a word’s position or
function in a sentence) as a clue to the meaning of a word or
phrase.
Context of the Lesson
Opportunities to Learn
Students have just finished reading Act I, scene v of Romeo
and Juliet. In this lesson, students will be introduced to the
prologue at the beginning of Act II. They will perform the
prologue in groups through different artistic mediums. This
lesson takes place over the course of two class periods.
Plans to differentiate instruction: This lesson is appealing
to a variety of students, particularly interpersonal and musical
learners. Most students should be able to highlight their
strengths in this activity, however, because each group will
choose a different way to present the prologue.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
allowing certain students to finish the quiz after school,
having a large-print version of the prologue available, and
placing certain students in groups with peers who I know will
be supportive.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
This lesson involves a group project. I will form the groups,
but I will allow each group to decide how they will present the
Renna 41
prologue. I will try to group the students with peers who have
the same musical interests. For example, there may be a group
of boys who I know would want to perform a rap, so I will
group them together. I will not but a shy boy in a group with
them because his contributions would get lost and he would
feel uncomfortable.
Materials:
- Quiz for Act I, scene v
- Copies of “Prologue
worksheet (1 per student)
Objectives
Instructional
Procedures
Performance”
directions
-
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
-
Writing utensils
Paper for brainstorming
Performance rubric (1 copy per student)
The student will develop a thorough understanding of the Act
II prologue through reading and discussion.
The student will work as a member of a group to demonstrate
his/her comprehension of the prologue through a creative
presentation of the text.
Opening: At the beginning of class, students will take a
reading check quiz on Act I, scene v. After the quiz, I will
instruct the class to open their Literature books to the
prologue for Act II. I will ask for two volunteers to read the
prologue, altering every other line. This type of reading is
more effective than having one student read the prologue in its
entirety because the lines play off of one another. Following
the reading, I will lead the class in paraphrasing each line, to
ensure full comprehension. We will then discuss any
questions that arise.
Engagement: To begin the engagement section of class, I
will pass out the directions sheet for the presentation along
with copies of the rubric. In order to have their full attention
as I go over the directions, I will first announce that I have
already made the groups. I will then proceed to read through
the directions sheet as the students read along, and I will
answer any questions when I have finished.
When directions are clear, I will announce the groups and
direct them to different areas of the classroom. Students will
have the remainder of the block to develop their ideas and
rehearse their lines. I will redirect their attention to the
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“Examples” section of the direction sheet to help them get
started. As the groups are meeting, I will visit each one and
act as a mentor. I will listen to the ideas they have so far and
offer suggestions for their performance.
Closure: Students will have the remainder of the time to
rehearse. When class is almost over, I will announce that the
only homework is for them to work on the presentationmemorize their lines and locate any props, instruments or
costumes they require for their presentation. I will tell
students that they will have a bit of time in class before the
presentations to do some final rehearsing as a group. This
way, they do not need to worry about meeting outside of
school as a group.
Assessment
The quiz students take at the beginning of this lesson is a
formal, formative assessment. Other than the quiz, the only
other form of assessment for this lesson will be informal
participation observations. As I travel around to the groups, I
will observe if all group members are making an effort
offering ideas and practicing. I will make a mental note of
students who are not actively engaged. This may affect the
student’s grade if he/she does not perform well in the
presentation the following day. I can use the quiz to obtain
samples of student work.
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Name: ______________________________________
Date: _________________
Reading-Check Quiz
Act I, scene v
1. Who disapproves of Romeo’s presence at the party?
2. How does Capulet feel about Romeo being present?
3. Who tells Romeo that Juliet is a Capulet?
4. How does Juliet find out Romeo’s identity?
5. Does Juliet tell the Nurse about her and Romeo?
------------------------------------------------------------------------------------------------------------------ANWER KEY:
1. Tybalt
2. He does not mind, and tells Tybalt to ignore him also
3. Nurse
4. She has someone else go ask his name
5. No
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A Prologue Performance
You are about to become a member of a Shakespearean theatre troupe!
Directions: Once placed in your groups, you will be developing a creative
rendition of the Act II prologue that will be performed for the class.
Assign the lines of the prologue among your group. Each group member must
have at least 2 lines. Memorized please for full credit 
Decide on how you as a group wish to present the lines. For example, you could
use an echo effect or emphasis on certain words and phrases.
Decide on any movements or gestures that could enhance your presentation. For
example, 2 group members could assume the roles of Romeo and Juliet and
pantomime what the lines are describing.
Maybe present the prologue as a rap? A chant? A drill team exercise? The
possibilities are endless!
Words and phrases can be repeated for artistic purpose, but all lines must be
present!
BE CREATIVE! Could you incorporate music? Props?
DON’T FORGET: Have fun.
*adapted from Shakespeare Set Free
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Ye Old Prologue Presentation Rubric
You are being graded as a group unless I notice that your level of performance is
significantly above or below that of the group as a whole. Scores are out of 50
possible points.
Clarity
Creativity
Preparedness
Cohesiveness
Word Play
10
Group is clear and
articulate
throughout the
entire presentation.
Performance is
exceedingly
inventive and
original.
Group has clearly
practiced and is
well prepared.
Group works
extremely well
together,
performance is
completely fluid
Wide variety of
voice intonation,
emphasis, and
repetitions to
increase
comprehension
8
Group is clear and
articulate for the
majority of the
performance.
Solid creative
effort made, but
could use a bit
more thought.
Group has clearly
practiced, but
some sections need
refining.
Group works well
together, but
performance is
choppy in spots
Good amount of
voice intonation,
emphasis, and
repetitions for
comprehension
purposes.
6
Several lines are
difficult to hear,
affecting
comprehension.
Performance
resembles more of
a basic readthrough
Group did not
practice enough,
confusion clearly
evident.
Presentation does
not feel like a
cohesive whole.
Comes off as
separate sections.
Monotone and/or
robotic pacing,
little to no
emphasis or
repetition to aide
in comprehension.
Total Points = _______________
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Lesson Plan 7
Grade/Content Area
Lesson Title
9th Grade/Honors English
“Passion Lends Them Power: Day Two”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
CCSS.ELA-Literacy.SL.9-10.4 Present information, findings,
and supporting evidence clearly, concisely, and logically such
that listeners can follow the line of reasoning and the
organization, development, substance, and style are
appropriate to purpose, audience, and task.
Context of the Lesson
Opportunities to Learn
This lesson is a continuation of the previous lesson. Today,
students will be rehearsing and then performing their prologue
adaptations. The remainder of the block will be spent doing a
dramatic reading of Act II, scene i.
Plans to differentiate instruction: This lesson is appealing
to a variety of students, particularly interpersonal and musical
learners. Most students should be able to highlight their
strengths in this activity, however, because each group will
choose a different way to present the prologue.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
allowing certain students to read their lines rather than
memorizing them and taking speech disabilities into account
while filling out the rubric.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
To avoid arguments and nerves, I will select the order the
groups will perform in out of a hat. This way, groups will not
argue over who is going first, and group members who are
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nervous will not be distracted by hoping their group mates
volunteer too soon.
Materials:
- Props, costumes, CDs, or anything else students
require for their performances
Objectives
Instructional
Procedures
-
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
-
Performance rubric (1 copy per student)
The student will participate in a performance to demonstrate
his/her comprehension and interpretation of the Act II
prologue in Romeo and Juliet.
The student will develop a deeper understanding of the Act II
prologue through the performances, and of Act II, scene i
through a dramatic reading.
Opening: At the beginning of class, students will be given
half an hour to rehearse with their groups. During this time,
groups can run lines, check props, set up technology, put on
costumes, or complete any other preparatory tasks. I will
travel from group to group, making sure they have everything
they require. When the half hour is complete, I will draw
groups out of a hat to determine the order in which they will
perform.
Engagement: The engagement portion of class will contain
the performances. Groups will take turns presenting their
adaptations of the Act II prologue with small breaks in
between for setting up and for me to fill out the rubrics.
Following the performances, I will lead a discussion on the
prologue. I will first ask students if there are any portions of
the prologue that are still confusing. Are there sections that
were confusing before that are clearer now? What aided in
this comprehension? I will then turn the focus to the contrasts
within the prologue such as “old desire” and “young
affection,” and “foe” and “lover.” What is the significance of
these contrasting ideas? Finally, I will ask students why they
believe Shakespeare decided to include this prologue. Why
wasn’t the prologue at the beginning of Act I enough? What
is significant about this prologue compared to the first one?
How might it have assisted Elizabethan audiences?
Closure: The “Closure” portion of this lesson is more like a
second, minor “Engagement” section.
With the time
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remaining, students will begin a dramatic reading of Act II,
scene i. If we do not finish, students will finish reading scene
i for homework. Also for homework, they will complete a
journal prompt- “Romeo is holding a secret from his friends.
Would you do the same? Why or why not? Why do you
think Romeo left so abruptly?”
Assessment
This assignment is a formal, formative assessment. The
performance will be assessed using the rubric students were
given during the previous class and will count as a test.
Groups will be graded out of a maximum of fifty points. The
categories on the rubric are clarity, creativity, preparedness,
cohesiveness, and word play. In each of these categories,
students can receive ten, eight, or six points. The total is then
multiplied times five to calculate the group’s final grade. All
group members will receive the same grade unless I notice
that a student is performing significantly above or below the
overall performance of the group. I can use the rubrics as
examples of student work if I include detailed notes.
The discussion following the performances counts as an
informal, formative assessment. Through this discussion, I
will be able to discern which students are still struggling with
content comprehension.
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Lesson Plan 8
Grade/Content Area
Lesson Title
9th Grade/Honors English
“But Soft!: Day One”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
CCSS.ELA-Literacy.W.9-10.2d Use precise language and
domain-specific vocabulary to manage the complexity of the
topic.
Context of the Lesson
Opportunities to Learn
Students have just finished reading Act II, scene i of Romeo
and Juliet. This is Day One of a three day lesson. Act II,
scene ii is the most famous scene in Romeo and Juliet, and
after these three days, students will be very knowledgeable on
both the content and theatrical elements of the scene.
Plans to differentiate instruction: This lesson is appealing
to the students in the class who find the theatrical elements of
a play more interesting than the specific content and plot.
Also some of the reading for the next scene, Act II, scene ii,
will be assigned for homework instead of in class through a
dramatic reading.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
extra time on the quiz after class or after school, large print
versions of the worksheets, or electronic versions of the
worksheets.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
Materials:
- Quiz for Act II, scene i
- Stage directions handout (1 per student)
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Objective
Instructional
Procedures
-
Act II, scene i Promptbook Worksheet (1 per student)
Whiteboard with markers
-
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
-
Writing utensils
Postcard homework directions sheet (1 per student)
The student will develop an understanding of stage directions,
set design, and line delivery by analyzing a promptbook for
Act II, scene i of Romeo and Juliet.
Opening: At the beginning of class, students will take the
reading check quiz for Act II, scene i. After the quiz, I will
write the word “Promptbook” on the whiteboard and ask
students if they have ever heard the term, or have any ideas as
to what a promptbook might be. I will then discuss
promptbooks and why they are needed for directors and
actors, explaining that lines written on a page are not enough
for a successful performance.
Engagement: The engagement portion of class will contain
three sections: stage directions, set design, and notes in the
script. To begin the explanation of stage directions, I will
pass out the corresponding handout. On the handout, there
will be a diagram of a stage with blanks where students will
write-in the correct stage direction. I will draw the outline of
the stage on the whiteboard, and as I go through the different
stage directions, students will fill-in their handout
accordingly.
Next, for the set design portion of class, I will ask if any
student would like to volunteer to draw on the board. There
will most likely be at least one volunteer, but if not, I will be
the appointed artist. I will ask the class what the set should
look like for Act II, scene i. Are there any hints in the text?
Where should the wall be placed? Should there be any props?
How can an orchard be communicated onstage?
To begin the section on notes in the script, I will pass out the
Act II, scene i Promptbook worksheet. The worksheet is a
copy of the text from the scene with large margins on the side.
I will explain what kinds of notes actors and directors make in
the margins of scripts, and then the students will have a turn.
Students will get into groups with those around them, marking
up the scene, writing in stage directions and ways certain lines
should be spoken. After fifteen minutes, groups will report
out and we will compare and contrast promptbooks as a class,
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deciding what works well and why certain directions are not
as effective.
Closure: To close, I will answer any remaining questions and
instruct students to keep these ideas in mind because they will
soon be individually responsible for making a promptbook for
Act II, scene ii. We will then begin a dramatic reading of that
scene, and whatever we do not finish in class will be read for
homework. I will tell students there will not be a quiz next
class. Instead, for homework, along with finishing the
reading, they are to make a postcard summarizing the scene’s
events from the perspective of Romeo or Juliet. I will pass
out the directions handout for this assignment.
Assessment
The quiz students take at the beginning of this lesson is a
formal, formative assessment. The promptbook activities in
class will be informal, formative assessments. If I notice that
certain students are not actively participating, I will make a
note in my planner for when I calculate final participation
grades later on.
The postcard students complete for
homework will count as a homework grade. The assignment
will be worth fifteen points. Ten points will be awarded if the
summary is completely accurate. Five points will be awarded
for the front of the postcard for creativity. I can use the quiz
and postcards as examples of student work.
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Name: ______________________________________
Date: _________________
Reading-Check Quiz
Act II, scene i
1. Where does this scene take place?
2. Where does Benvolio say Romeo has gone?
3. Who calls out to Romeo, urging him to reveal is whereabouts and plans?
4. Who is mocked in the obscene speech?
5. Why do Romeo’s friends decide to leave him there?
------------------------------------------------------------------------------------------------------------------ANWER KEY:
1. In the Capulet orchard
2. Over the orchard wall
3. Mercutio
4. Rosaline
5. He does not wish to be found
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Stage Directions (Teacher Copy)
U.R. =
up right
U.S. = Upstage
U.L. =
up left
Stage Right
Stage Left
C.R. =
center right
D.R. =
down right
C.S. = Center Stage
D.S. = Downstage
C.L. =
center left
D.L. =
down left
Audience
*adapted from Shakespeare Set Free
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Stage Directions (Student Copy)
U.R. =
U.S. =
U.L. =
Stage Right
Stage Left
C.R. =
C.L. =
C.S. =
D.R. =
D.L. =
D.S. =
Audience
*adapted from Shakespeare Set Free
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Promptbook for Act II, Scene i- Mark it up!
[A lane by the wall of Capulet's orchard]
Enter ROMEO
ROMEO
Can I go forward when my heart is here?
Turn back, dull earth, and find thy centre out.
He climbs the wall, and leaps down within it
Enter BENVOLIO and MERCUTIO
BENVOLIO
Romeo! my cousin Romeo!
MERCUTIO
He is wise;
And, on my lie, hath stol'n him home to bed.
BENVOLIO
He ran this way, and leap'd this orchard wall:
Call, good Mercutio.
MERCUTIO
Nay, I'll conjure too.
Romeo! humours! madman! passion! lover!
Appear thou in the likeness of a sigh:
Speak but one rhyme, and I am satisfied;
Cry but 'Ay me!' pronounce but 'love' and 'dove;'
Speak to my gossip Venus one fair word,
One nick-name for her purblind son and heir,
Young Adam Cupid, he that shot so trim,
When King Cophetua loved the beggar-maid!
He heareth not, he stirreth not, he moveth not;
The ape is dead, and I must conjure him.
I conjure thee by Rosaline's bright eyes,
By her high forehead and her scarlet lip,
By her fine foot, straight leg and quivering thigh
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And the demesnes that there adjacent lie,
That in thy likeness thou appear to us!
BENVOLIO
And if he hear thee, thou wilt anger him.
MERCUTIO
This cannot anger him: 'twould anger him
To raise a spirit in his mistress' circle
Of some strange nature, letting it there stand
Till she had laid it and conjured it down;
That were some spite: my invocation
Is fair and honest, and in his mistres s' name
I conjure only but to raise up him.
BENVOLIO
Come, he hath hid himself among these trees,
To be consorted with the humorous night:
Blind is his love and best befits the dark.
MERCUTIO
If love be blind, love cannot hit the mark.
Now will he sit under a medlar tree,
And wish his mistress were that kind of fruit
As maids call medlars, when they laugh alone.
Romeo, that she were, O, that she were
An open et caetera, thou a poperin pear!
Romeo, good night: I'll to my truckle-bed;
This field-bed is too cold for me to sleep:
Come, shall we go?
BENVOLIO
Go, then; for 'tis in vain
To seek him here that means not to be found.
Exeunt
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A Postcard from Verona
The most romantic moment of your life just happened! Send a postcard to a friend
telling him/her all about it.
DIRECTIONS: Create a 4 x 6 inch postcard. On the back of the postcard, from
the perspective of either Romeo or Juliet, tell a friend about what happened in Act
II, scene ii. Your postcard is being sent from Verona, so the front of it should
show that! Either draw a scene of Verona or create a small collage of printed
images. Other areas for creativity would be the stamp and the name and address of
this fictional “friend.”
This assignment is worth 15 points- 10 for an accurate retelling of the night’s
events, and 5 for the front image and creativity.
“…He heard everything I said!”
“It was so hard to say goodnight…”
*adapted from Shakespeare Set Free
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Lesson Plan 9
Grade/Content Area
Lesson Title
9th Grade/Honors English
“But Soft!: Day Two”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.RL.9-10.4: Determine the meaning of
words and phrases as they are used in the text, including
figurative and connotative meanings; analyze the cumulative
impact of specific word choices on meaning and tone
CCSS.ELA-Literacy.W.9-10.2d Use precise language and
domain-specific vocabulary to manage the complexity of the
topic.
Context of the Lesson
Opportunities to Learn
Students have just finished reading Act II, scene ii of Romeo
and Juliet. This is Day Two of a three day lesson. Students
have completed a promptbook for Act II, scene i in groups,
and are now ready to complete a larger promptbook for Act II,
scene ii individually. The promptbook will include the same
three elements as the previous: stage directions, set design,
and notes in the script.
Plans to differentiate instruction: This lesson is appealing
to the students in the class who find the theatrical elements of
a play more interesting than the specific content and plot.
Students had the opportunity to work with their peers in the
previous lesson, so for this lesson, they will work
individually. For the set design portion of the promptbook,
students can either draw a picture or write a detailed
description of the set.
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
extra time to work on the promptbook, a large print version of
Act II, scene ii, or an electronic version of the scene to allow
the student to type the promptbook details.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
Renna 59
Materials:
- Act II, scene ii Promptbook Packet (1 per student)
- Multiple versions of the play to reference footnotes
- Dictionaries
Objectives
Instructional
Procedures
-
Literature and the Language Arts. Experiencing Literature.
St. Paul, MN: EMC Paradigm, 2001.
-
Writing utensils
Colored pencils/art supplies
The student will use his/her knowledge of theatrical elements
and Act II, scene ii to create a promptbook for the balcony
scene.
The student will utilize art and written explanations in his/her
promptbook to bring Act II, scene ii to life, clarifying the
content through character actions and line delivery.
Opening: At the beginning of class, I will instruct students to
take out the postcards they made for homework. I will ask if
there are any volunteers who would like to read their postcard
aloud. If there are not many, I will have students each read
one line from their postcards, in rapid-fire style. I will then
lead a quick discussion about Act II, scene ii and ask if there
are any remaining questions about scene or about
promptbooks in general.
Engagement: To begin the engagement portion of the lesson,
I will introduce the promptbook assignment for Act II, scene
ii and pass out the corresponding packet. I will explain that it
will be similar to the one they completed yesterday, only this
time it will be done individually and for a grade. Some of the
language in the scene is difficult, so I will offer students
dictionaries and alternative versions of the play to look up
definitions and footnotes.
I will go through the directions with the class as they follow
along in their packets. The first step is to write a one-page
summary of the play so far (before Act II, scene ii). Step Two
is to either draw a set design or write a detailed description
about what the set would look like. Lastly, the students will
do as they did for their first promptbooks- mark-up the
margins with stage directions, costume suggestions, ways
lines should be presented, and anything else they feel is
necessary. Promptbooks will be handed in next class, and
will be able to be revised before the “Balcony Scene Gala”
next week. The gala will take place during class. Students
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will rotate around the room and present their promptbooks to
each other in a fun, casual setting.
Students will have the remainder of the class period to work
on their promptbooks. I will be traveling around the
classroom the entire time, answering questions, helping
students look up unfamiliar terms, and offering suggestions.
Closure: When the period is coming to a close, I will ask
students to stop working. I will then lead a brief closing
discussion, asking for examples students have found so far of
how promptbook information can change the meaning of the
text and clarify confusing lines. Students will finish their
promptbooks for homework, and I will announce that there
will be no reading check quiz next class.
Assessment
The postcards students completed for homework are worth
fifteen homework points, as described in the previous lesson.
The promptbook from the previous class for Act II, scene i
will be graded simply as class work because students worked
together and were new to the idea of promptbooks.
The promptbooks for Act II, scene ii will be graded as a
test, out of one hundred points. It is a formal, summative
assessment. Students’ grades will be based on (1) a neat,
logical set design, (2) the quality of their notations (3) the
quantity of their notations, (4) evidence of a clear
understanding of the scene and characters, and (5) overall
presentation of their product. I can use either of the
promptbooks as samples of student work.
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In the Director’s Chair:
A Promptbook of the Balcony Scene
This is your first major assignment for Romeo and Juliet! We will be celebrating
by hosting a “Balcony Scene Gala” during class next week! After passing in your
promptbook next class, you will be able to revise once before the gala and before
you are graded.
DIRECTIONS: You will be creating a promptbook for Act II, scene ii of Romeo
and Juliet. You are the director- in charge of set design, stage directions, and the
actors’ line delivery.
This promptbook has three parts:
(1) Setting the Stage- Type a one page summary of what has occurred in the
play up until Act II, scene ii.
(2) Set Design- On an 8 ½ x 11 sheet of paper, draw a complete set design for
Act II, scene ii OR sketch the basic ideas for the set design and include clear
notes.
(3) The Promptbook- Mark up the scene (attached) with stage directions,
character actions, details about line delivery, costume suggestions, and
anything else you require to add to the realism and clarity of the scene!
Staple everything together or use a binder clip.
Resources available for Shakespearean word/phrase clarification:
Your literature books
Alternative versions of the play
Dictionaries
And…..
ACTION!
*adapted from Shakespeare Set Free
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The Promptbook
ACT II, SCENE ii. Capulet’s orchard.
Enter ROMEO
ROMEO: He jests at scars that never felt a wound.
JULIET (appears above at a window):
But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
She speaks yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold, 'tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET: Ay me!
ROMEO: She speaks:
O, speak again, bright angel! for thou art
As glorious to this night, being o'er my head
As is a winged messenger of heaven
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-pacing clouds
And sails upon the bosom of the air.
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JULIET: O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
ROMEO: [Aside] Shall I hear more, or shall I speak at this?
JULIET: 'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
ROMEO: I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
JULIET: What man art thou that thus bescreen'd in night
So stumblest on my counsel?
ROMEO: By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET: My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?
ROMEO: Neither, fair saint, if either thee dislike.
JULIET: How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO: With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
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And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET: If they do see thee, they will murder thee.
ROMEO: Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
JULIET: I would not for the world they saw thee here.
ROMEO: I have night's cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
JULIET: By whose direction found'st thou out this place?
ROMEO: By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash'd with the farthest sea,
I would adventure for such merchandise.
JULIET: Thou know'st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false; at lovers' perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think'st I am too quickly won,
I'll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my 'havior light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true love's passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
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ROMEO: Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops-JULIET: O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO: What shall I swear by?
JULIET: Do not swear at all;
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I'll believe thee.
ROMEO: If my heart's dear love-JULIET: Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast!
ROMEO: O, wilt thou leave me so unsatisfied?
JULIET: What satisfaction canst thou have to-night?
ROMEO: The exchange of thy love's faithful vow for mine.
JULIET: I gave thee mine before thou didst request it:
And yet I would it were to give again.
ROMEO: Wouldst thou withdraw it? for what purpose, love?
JULIET: But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
(Nurse calls within)
I hear some noise within; dear love, adieu!
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Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.
Exit, above
ROMEO: O blessed, blessed night! I am afeard.
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
Re-enter JULIET, above
JULIET: Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word to-morrow,
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite;
And all my fortunes at thy foot I'll lay
And follow thee my lord throughout the world.
Nurse
[Within] Madam!
JULIET: I come, anon.--But if thou mean'st not well,
I do beseech thee-Nurse
[Within] Madam!
JULIET: By and by, I come:-To cease thy suit, and leave me to my grief:
To-morrow will I send.
ROMEO: So thrive my soul-JULIET: A thousand times good night!
Exit, above
ROMEO: A thousand times the worse, to want thy light.
Love goes toward love, as schoolboys from
their books,
But love from love, toward school with heavy looks.
Retiring
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Re-enter JULIET, above
JULIET: Hist! Romeo, hist! O, for a falconer's voice,
To lure this tassel-gentle back again!
Bondage is hoarse, and may not speak aloud;
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine,
With repetition of my Romeo's name.
ROMEO: It is my soul that calls upon my name:
How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!
JULIET: Romeo!
ROMEO: My dear?
JULIET: At what o'clock to-morrow
Shall I send to thee?
ROMEO: At the hour of nine.
JULIET: I will not fail: 'tis twenty years till then.
I have forgot why I did call thee back.
ROMEO: Let me stand here till thou remember it.
JULIET: I shall forget, to have thee still stand there,
Remembering how I love thy company.
ROMEO: And I'll still stay, to have thee still forget,
Forgetting any other home but this.
JULIET: 'Tis almost morning; I would have thee gone:
And yet no further than a wanton's bird;
Who lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
ROMEO: I would I were thy bird.
JULIET: Sweet, so would I:
Yet I should kill thee with much cherishing.
Good night, good night! parting is such
sweet sorrow,
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That I shall say good night till it be morrow.
Exit above
ROMEO: Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly father's cell,
His help to crave, and my dear hap to tell.
Exeunt
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Promptbook Rubric
Scores are out of 100 possible points.
10
Quality of Set
Set design is neat,
Design
logical, creative,
and enhances the
scene
Quality of
Notations are
Notations
complete,
thoughtful, and
purposeful
Quantity of
Many useful
Notations
notations are
present, effort is
very evident
Evidence of Scene Deep
Comprehension understanding of
the scene and
characters is
clearly evident
Conventions/
Entire project is
Presentation
neat, professional,
and free from
errors. A pleasure
to read.
8
Set design neat,
clear, and
somewhat
enhances the scene
Notations are
complete, but
purpose is not
always clear
Fair amount of
useful notations,
effort evident, but
not exemplary
Scene and
characters are
understood enough
to make an
effective product
Project is neat and
has several minor
errors. A good job
overall.
6
Set design is hard
to grasp and does
not enhance the
scene very well
Notations are
fragments of
thought, purpose
often unclear
Few notations,
needs more
thought and effort
to be effective
Comprehension
lacking in
numerous areas,
need to revisit the
scene
Project appears
rushed and
contains numerous
errors.
Total Points x 2 = _______________
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Lesson Plan 10
Grade/Content Area
Lesson Title
9th Grade/Honors English
“But Soft!: Day Three”
*adapted from Shakespeare Set Free
O’Brien, Peggy. Shakespeare Set Free: Teaching Romeo and Juliet,
Macbeth, A Midsummer Night's Dream. New York: Washington
Square, 1993.
Common Core State
Standards
CCSS.ELA-Literacy.W.9-10.2d Use precise language and
domain-specific vocabulary to manage the complexity of the
topic.
Context of the Lesson
Students have just finished creating their promptbooks for Act
II, scene ii. They will turn them in today and I will hand them
back next class. Students will revise the promptbooks and the
Balcony Scene Gala will take place two classes from today.
Today is Day Three of this three day lesson. Students will get
the chance to compare their promptbooks with each other and
with two movie versions of the scene. They will notice how
Shakespearean language can be read and performed in a
variety of ways.
Plans to differentiate instruction: This lesson uses film to
demonstrate how Shakespeare can be interpreted in different
ways. I selected two drastically different film adaptations of
Romeo and Juliet to gain the interest of a variety of students
as they compare their personal promptbooks to the movie
versions. Students will have the opportunity to speak about
and write about the similarities and differences they discover
during the lesson.
Opportunities to Learn
Accommodations and modifications: At this time, I do not
know what accommodations or modifications my students
may require. Some possible accommodations may include
typing the journal reflection and placing students who have
visual or auditory impairments close to the television while
the scenes are being viewed.
Environment factors: The two honors classes I will be
teaching consist of about twenty students, male and female, of
a variety of ethnicities. Desks will remain in a semi-circle to
create an audience/stage setting, similar to “theatre in the
round.” The semi-circle will open on the side of the
whiteboard to give all students a full view.
Materials:
- Promptbooks students finished for homework
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-
Objectives
Instructional
Procedures
William Shakespeare’s Romeo and Juliet. Dir. Franco
Zeffirelli. Paramount Pictures, 1968. DVD.
William Shakespeare’s Romeo + Juliet. Dir. Baz
Luhrmann. Twentieth Century Fox Film Corp.,
1996. DVD.
Writing utensils
Journals
The student will informally present at least one aspect of
his/her promptbook of Act II, scene ii.
The student will compare on contrast the decisions he/she
made in the promptbook to the choices the directors made in
two movie adaptations of Act II, scene ii.
Opening: To open the class, I will ask students to take out
the promptbooks that they completed for homework. I will go
around the room, asking students to share at least one director
decision from their promptbooks. They can share something
about their set design, a certain character’s actions, or how a
specific line should be delivered. After each student has
shared, I will describe today’s lesson, explaining that we will
be watching two movie adaptations of Act II, scene ii- one
from 1968 and one from 1996.
Engagement: To begin the engagement portion of the lesson,
I will ask students to take out their journals. During the
movie clips, they will take notes on direction decisions that
are remarkably similar or different from their own choices.
Students may keep their promptbooks out on their desks for
reference during the clips.
First, I will show the 1968 movie version of Act II, scene ii.
This adaptation is very traditional; the lines, setting, and
costumes are stereotypical Shakespeare. Students will most
likely find many similarities between this movie adaptation
and their own promptbooks.
Next, I will show the 1996 movie version of the scene. This
adaptation is extremely different from the traditional version.
The lines are the originals, but the setting and costumes are
modern, creating an interest contrast between past and
present. Students will most likely find many differences
between this version and their own promptbooks. The 1996
version will really get students thinking about how
Shakespeare can be presented in a myriad of ways. The
language may be different than we are used to, but the
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feelings and ideas withstand the test of time.
After we view both movie versions, I will instruct students to
write a journal entry based on the notes they took during the
clips. What were the most significant similarities and
differences you noticed? If there were differences, was your
version more effective? Was a movie version more effective?
Maybe they were both effective- why?
Closure: To close the activity, I will ask students to report
out some of the ideas they wrote in their journals. After the
discussion, I will collect the journals and promptbooks, and
we will begin a dramatic reading of Act II, scene iii.
Whatever we do not finish in class, students will complete for
homework. There will be a quiz the following class on scene
iii.
Assessment
The final copies of the promptbooks will be graded according
to the rubric in the previous lesson. The journal entries and
discussions today will serve as informal, formative
assessments. After reading and listening to student responses,
I will be able to tell if students are truly grasping Shakespeare
and his language.
If students are offering insightful
suggestions about the production of the scene, they have
transformed from struggling Shakespeare novices into
directors of their reading. I can use these promptbooks as
samples of student work.