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Shakespeare’s The Tempest

Shakespeare’s The Tempest. A Y8 Starter Strand . 1. We split, we split! – Farewell my wife and children! – Farewell brother! – We split, we split, we split!. 2. The hour’s now come; the very minute bids thee ope thine ear, Obey, and be attentive. 3.

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Shakespeare’s The Tempest

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  1. Shakespeare’s The Tempest A Y8 Starter Strand

  2. 1. We split, we split! – Farewell my wife and children! – Farewell brother! – We split, we split, we split! 2. The hour’s now come; the very minute bids thee ope thine ear, Obey, and be attentive.

  3. 3. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore. 4. Thou best know’st What torment I did find thee in. Thy groans Did make wolves howl, and penetrate the breasts Of ever-angry bears.

  4. 5. All the charms Of Sycorax – toads, beetles, bats – light on you! For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, while you do keep from me The rest of th’island.

  5. 6. I might call him A thing divine, for nothing natural I ever saw so noble. 7. My brother’s servants Were then my fellows, now they are my men.

  6. 8. I’ll show thee every fertile inch o’the island. And I will kiss thy foot – I prithee be my god. 9. I would not wish Any companion in the world but you.

  7. 10. Thee of thy son, Alonso, They have bereft; and do pronounce by me Ling’ring perdition – worse than any death

  8. 11. A devil, a born devil, on whose nature Nurture can never stick; on whom my pains Humanely taken, all, all lost, quite lost; And, as with age his body uglier grows, So his mind cankers.

  9. 12. O wonder! How many goodly creatures are there here! How bounteous mankind is! O brave new world That has such people in’t!

  10. 13. As you from crimes would pardoned be, Let your indulgence set me free.

  11. 2. Introducing Iambic Pentameter • Listen to each other’s heartbeat. This is the rhythm of the iamb. • Does ‘pentameter’ give you a clue about the number of beats in each line of Shakespeare’s verse? • Clap the rhythm: de dum, de dum, de dum, de dum, de dum

  12. 3. More Iambic Pentameter • Clap the rhythm, one group at a time • Individually, create one line of verse about the date of your birthday (eg. My birthday’s on the thirteenth day in March) • In pairs, create as many lines of verse about England’s World Cup hopes as you can in 10 minutes: (eg. I fear that Rooney’s foot will cost us dear)

  13. 4. Caliban’s Complaint, 1.2 330-435 • Read Caliban’s speech around the class, stopping when you reach a punctuation mark for the next person to take over. (Pass if you would rather not – but you may only have one word!) • Now read it in pairs as follow: Sit back to back. A has the script, B does not. A reads the first sentence or phrase with a blank voice – no expression. B repeats it, adding expression. Continue to the end. • Swap roles so that A repeats B. This time, A should sound as angry as possible.

  14. 6. Ferdinand’s love for Miranda The very instant that I saw you, did My heart fly to your service, there resides To make me slave to it, and for your sake Am I this patient log-man (3.1. 66-70)

  15. 7. Verse and Status • Look at the list of characters at the start of the play. Note down the names of at least three that you would expect to speak prose. • In pairs, skim through the text to check that your theory is correct. Prepare to tell the class about two low status characters and choose a short extract of dialogue to read.

  16. 8. The Status Game! • 10 = very high status • 1 = very low status Your task is to either improvise mingling at a party in role as a number between 1 and 10, or to identify who is acting as which number.

  17. Prospero Miranda Caliban Alonso Antonio Sebastian Gonzalo Trinculo Stephano Boatswain 9. Memory Test! 10 characters….

  18. 10. Trading Insults

  19. 11. Prospero’s character: Agree or disagree? • Prospero is Latin for: ‘I cause to succeed, make happy and fortunate’. His name is therefore appropriate. • He is a loving, kind and devoted father. • He is a bad-tempered, dictatorial and impatient father. • He is a colonialist exploiter who treats Caliban harshly. • He is a responsible, benevolent ruler. • Prospero is like a theatre director using people as his actors. • He selfishly pursued his study and neglected his duties as Duke of Milan. • He loves Ariel and treats him well. • He treats Ariel harshly, expecting him to instantly obey every command without complaint. • He is vengeful, only deciding to pardon his enemies at the end of the play. • He is merciful and forgiving, in view of what happened to him.

  20. 20. Emotional Journeys In groups of 5, discuss and agree which characters change the most during the course of the play. Now prepare to stand in front of the class in rank order – the most to the least changed of your chosen five.

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