The First Folio CURRICULUM GUIDE
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The First Folio CURRICULUM GUIDEConsistent with the Shakespeare Theatre Company’s centralmission to be the leading force in producing and preserving thehighest quality classic theatre, the Education Departmentchallenges learners of all ages to explore the ideas, emotionsand principles contained in classic texts and to discover theconnection between classic theatre and our modernperceptions. We hope that this Curriculum Guide will proveuseful to you while preparing to attend Romeo & Juliet.This curriculum guide provides information and activities tohelp students form a personal connection to the play beforeattending the production. It contains material about theplaywright, their world and their works. Also included areapproaches to explore the play in the classroom before andafter the performance.We encourage you to photocopy these articles and activitiesand use them as supplemental material to the text.Enjoy the show!Table of ContentsSynopsis3Who’s Who4Shakespeare’s Language5Elizabethan England11Shakespeare’s Genres12Family Feud13Killing Joys: Shakespeare’sRomeo & Juliet14Romeo & Juliet in Pop Culture16Writing Activities18Resource List20Theatre Etiquette21Founding SponsorsMiles Gilburne and Nina ZoltThe First Folio Curriculum Guide for the 2016-2017Presenting SponsorsBeech Street FoundationSuzanne and Glenn YoungkinSeason was developed by theShakespeare Theatre Company Education Department:Director of EducationSamantha K. WyerAssociate Director of EducationDat NgoAudience Enrichment ManagerHannah Hessel RatnerCommunity Engagement ManagerSchool Programs ManagerTraining Programs ManagerJared ShortmeierVanessa HopeBrent StansellResident Teaching ArtistEducation CoordinatorDan CraneThais MenendezEducation FellowJess PhillipsFor more information on how you canparticipate in otherShakespeare Theatre Company programs,please call the Education Hotline at 202.547.5688 orvisit ShakespeareTheatre.org2Leadership SupportMr. Jerry KnollPaul M. Angell Family FoundationMichael and Maureen McMurphy and thePatrick Michael Murphy Memorial FoundationSolon E. Summerfield FoundationVenable FoundationShakespeare for a New Generation,a national program of theNational Endowment for the Artsin partnership with Arts MidwestAdditional SupportD.C. Commission on the Arts & Humanities, an agencysupported in part by the National Endowment for the ArtsExxonMobilMarshall B. Coyne FoundationLorraine S. Dreyfuss Theatre Education FundMark & Carol Hyman FundThe Jacob and Charlotte Lehrman FoundationThe MAXIMUS FoundationThe Morningstar FoundationNora Roberts FoundationMs. Toni Ritzenberg
Romeo & Juliet SynopsisA brawl breaks out in the streets of Verona between the feuding houses of Montague and Capulet.The Prince breaks up the fight, announcing that he will punish another such disturbance withdeath. Romeo, Lord Montague’s love-sick son, arrives to tell his cousin Benvolio of his infatuationfor the beautiful Rosaline.Lord Capulet discusses a marriage between his young daughter Juliet and a gentleman namedParis. Capulet invites Paris to a party he is throwing that evening and sends his servant with a listof guests to invite. The illiterate servant asks Romeo for help reading the list, and Romeo decidesto attend the party in disguise when he learns that Rosaline will be there. When he arrives,however, Romeo sees Juliet and falls in love with her. Only later do they learn that they are thechildren of rival families.On the way home, Romeo slips away from his friends to search for Juliet. When Juliet comes toher window, she and Romeo confess their love for each other and make plans for a secretmarriage. Romeo begs his confidant Friar Lawrence to perform the ceremony, and the Friaragrees in the hope of unifying the families.After marrying, Romeo and Juliet depart separately to conceal their union. On Romeo’s way home,Juliet’s cousin Tybalt challenges him to a duel; Romeo refuses to fight but cannot yet tell Tybaltwhy. Romeo’s friend Mercutio takes Tybalt’s challenge, and when Romeo tries to step betweenthem, Tybalt fatally wounds Mercutio. Enraged, Romeo kills Tybalt. Romeo flees the scene inhorror, only to be banished by the Prince in absentia. Juliet’s nurse tells her of Tybalt’s death andRomeo’s banishment but agrees to facilitate a meeting for the newlyweds that night.After spending the night together, Romeo and Juliet part. Because of Tybalt’s sudden death,Juliet’s parents hasten her marriage to Paris. Distraught, she hatches a frantic plan with FriarLawrence to stop her marriage to Paris. The Friar gives Juliet a potion that will put her into a death-like sleep. Thinking her dead, her family will put her body into the Capulet tomb. In the meantime,Friar Lawrence will send word to Romeo to return and take Juliet away.The next morning, the nurse finds Juliet’s seemingly lifeless body. The guests arriving for Juliet’smarriage to Paris instead mourn her death as she is prepared for burial.Romeo, now in exile in Mantua, hears of Juliet’s death but does not receive the Friar’s letterdetailing the plot. Romeo buys a deadly poison and arrives at Juliet’s tomb, where he finds Parismourning her loss. Paris provokes Romeo and dies in the ensuing fight. Romeo goes to Juliet’sside, drinks the poison and dies. Juliet wakes to find Romeo dead beside her and refuses ahorrified Friar Lawrence’s offer of escape. The Friar flees as Juliet stabs herself with Romeo’sdagger.After discovering the bodies, Capulet and Montague agree to end their bloody feud and erectstatues in honor of their children.3
Who’s Who in Romeo & JulietVERONARomeo and Juliet Character Map by The/Bill/Shakespeare Project is licensed under a Creative Commons Attribution-NonCommerical-ShareAlike 4.0 InternationalLicense. Based on a work at -and-juliet-character-map.com4
Shakespeare’s LanguageSTUDENT REFLECTIONAsk your students to think about how they changetheir language in different situations:Do you speak differently and choose different wordswhen you talk to your friends versus when talking toyour parents or teachers? Would you speakdifferently at a job interview versus a familygathering?How does our language change in these situations?Why does our language change in these situations?William Shakespeare waswriting scripts for specificactors in his own actingcompany when he created hisplays. He purposely wrotelines in two different ways tocommunicate informationabout the characters to hisactors. Additionally, he wantedcharacters to sound differentfrom one another and to adapttheir language to new situations, the way people doin real life. The two ways he writes are called proseand verse.Just like we change our language depending on oursituation, so do the characters in Shakespeare’splays.VERSEPROSEAnother word for poetry.It’s writing that has a rhythmic structure.We refer to the rhythm as meter.The ordinary form of written or spokenlanguage, without metrical structure.Prose can be very descriptive, but it follows the rulesof grammar. Essays, news articles andnovels are examples of written prose.Meter: a recognizable rhythm in a line of verseconsisting of a pattern of regularly recurringunstressed and stressed syllables.Iambic Pentameter: the name of the rhythmShakespeare uses.If a character’s lines are written in PROSE we assumethe following information: The character is most likely from the lower classIf a character’s lines are written in VERSE we assumeand not very wealthy The character is most likely uneducatedthe following information: The character is most likely from the upper classFor example, in the opening scene of Romeo & Juliet,and/or nobility and very wealthythe group of characters who begin the brawl in the The character is most likely formally educatedstreets are all servants to the Capulet’s or The character may be experiencing a strongMontague’s. They include Sampson, Gregory andemotion like love or jealousy and needs to use poetryAbram. All of these characters lines are written inprose to reflect their social status.For example, in Romeo & Juliet all of the upper classcharacters’ lines are written in verse.How can I tell if it’s prose? You can tell when linesHow can I tell if it’s verse? You can tell when linesare written in prose because they look like a regularare written in verse because every line begins with aparagraph. Here’s an example:capital letter and the lines are all different lengths onthe page. This is because each line is written with aNURSE: (Act II, Scene 4)metrical structure. Here’s an example:Now, afore God, I am so vexed that every part aboutme quivers. Scurvy knave! Pray you, sir, a word. And, Juliet : (Act II, Scene 2)as I told you, my young lady bid me inquire you out.O Romeo, Romeo, wherefore are thou Romeo?What she bid me say, I will keep to myself. But first let Deny thy father and refuse thy name,me tell you, if you should lead her in a fool’s paradise, Or, if thou wilt not, be but sworn my love,as they say, it were a very gross kind of behavior, asAnd I’ll no longer be a Capulet.they say. For the gentelwoman is young; andTis but thy name that is my enemy.therefore, if you should deal double with her, truly itThou art theyself, though not a Montague.were an ill thing to be offered to any gentlewoman,What’s Montague? It is nor hand, nor foot,and very weak dealing.Nor arm, nor face, nor any other partBelonging to a man. O, be some other name!5
Shakespeare’s LanguageWhen and Why do Shakespeare’s characters switch from verse to prose?Public VerseNoble characters in public situations must present their most formal self and speak inverse as a means to do so. Prince Hal in Henry IV, Part 1 speaks prose when he’shanging out with his fellow soldiers at the pub, but uses verse at court and whenspeaking to his father, the King.Private ProseLove VerseUpper-class characters use verse in public settings, but may use prose in privatesettings when they are talking to family or close friends.Shakespeare always uses verse when characters fall in love, regardless of theirstatus. For example, in As You Like It, Silvius and Phoebe are both shepherds wholive in the forest of Arden. However, even though they are lower class, both of thesecharacters are in love and they express it through verse.Respect VerseUpper-class characters use verse as a form of respect. To use prose with a King orDuke or parent would be disrespectful. For example, Hamlet, the Prince of Denmark,has very eloquent verse for his soliloquies. But because he is angry at his motherGertrude and his uncle Claudius, the new king, Hamlet often speaks to them in prose.Disguise ProseUpper-class characters use prose as part of their disguises, when pretending to besomeone else. They are usually disguised as a lower-class character. King Henry Vdisguises himself as a common foot soldier the night before the battle of Agincourt tofind out the true thoughts and feelings of his men. In disguise he speaks in prose, thelanguage of the common men.Madness ProseIf a character descends into madness, then they have literally “lost their wits” and nolonger have the capacity to speak in verse. Both Lady Macbeth and Ophelia speak inverse until they go mad. Once madness sets in, all their lines are in prose.Classroom ActivityFollow the character of the Nurse through the play. Make note of when she switches from verse toprose and discuss why she shifts.Key scenes: Act I, Scene 3 and Act II, Scenes 4 & 5SUMMARY VS. PARAPHRASEROMEO: (Act II, Scene 2)Alack, there lies more peril in thine eyesThan twenty of their swords. Look thou but sweet.And I am proof against their enmity.I have night’s cloak to hide me from their eyes,And, but thou love me, let them find me here.My life were better ended by their hateThan death proroguèd, wanting of thy love.Paraphrasing is an important tool that actors useto understand what their lines mean and how theircharacter feels. Using this passage, explore thedifference between summarizing andparaphrasing:Summarizing–Concisely stating what a passagesays. A summary is usually stated in third person.Paraphrasing–Restating each line in your ownwords. Paraphrasing should be done in firstperson.SummaryParaphraseYou’re eyes are more dangerous to my heartThen twenty of their swords. If you love meThan I am armed against their hatred.I have the night to hide me,And if you don’t love me, let them find me,I’d rather die than go on living with out your love.Romeo is saying that he’s not afraid of the Capulet’sfinding him in the orchard and that he’s not afraid ofdying for her love.6
Shakespeare’s LanguageIambic PentameterIambic pentameter is the main rhythmic structure of Shakespeare’s verse, meaning the majority ofShakespeare’s verse is written in this rhythm. One line of iambic pentameter has 10 syllables, which we divideup into five units of meter called feet. Each foot of the verse contains two syllables. Illustrate this on the board:A foot 2 syllablesPentameter a line with 10 syllables which we divide into 5 feetBut soft! / What light / through yon / der win / dow breaks?Iambic refers to the rhythm of the line. When the first syllable is unstressed and the second syllable is stressed,as in the word Hello, it is called an iamb. Iambic means push, persistency or determination. The prefix pentameans five, as in pentagon, a five sided shape. Therefore, iambic pentameter is one line of poetry consisting offive forward-moving feet.Iambic unstressed stressed rhythmIdentifying the rhythm of a line is called scansion. Actors scan their lines so we know how Shakespearewanted us to say them. We mark unstressed syllables with this symbol ͝ and stressed syllables with a slash /͝/͝/͝/ ͝/ ͝/But soft! What light through yonder window breaks?When learning iambic pentameter, many students make the mistake of unstressing & stressing every otherword instead of every other syllable. To address this, you need to get the students saying all of the lines outloud, with energy and feeling the rhythm. You can explore having them say their names out loud and figure outwhat syllable is stressed. You can also explore saying the lines giving every syllable the same stress so theydiscover how slow & robotic it feels or have them say it with the opposite rhythm to see how unnatural it feels.Have students say this rhythm out loud several times. They should clap lightly on da and clap harder on DUM.Clap the rhythm of iambic pentameter. Without specific words, the rhythm of iambic pentameter is:da DUM da DUM da DUM da DUM da DUMThe rhythm of Iambic pentameter is similar to the human heartbeat, a horse gallop, or the beat underneath apiece of music. Iambic pentameter drives and supports Shakespeare’s verse, moving the language along in aforward flow that imitates natural speech patterns.SCANSIONActors scan the verse for a few different reasons. First, we want to see if it’s a regular line of iambicpentameter. (Sometimes, Shakespeare writes in different rhythms.) Second, we want to make sure we arepronouncing the words correctly. Third, we want to determine which words Shakespeare wants emphasize. Toscan a piece of text mark the unstressed syllables with a ͝ symbol and the stressed syllables with a / symbol.Here are examples of regular iambic pentameter from Romeo & Juliet that you can do together as a class.O teach me how I should forget to think! – Romeo, I.1But soft, what light through yonder window breaks?It is the east and Juliet is the sun. - Romeo, II.2My only love sprung from my only hate! – Juliet, I. 5O serpent heart hid with a flowering face! – Juliet, III.27
Shakespeare’s LanguageOPERATIVE WORDSTEXT ANALYSIS ACTIVITYOperative words are the words the audience needs tohear to understand the story. They are the words thatcommunicate images and emotions. Usually they arethe classic who-what-where-when-why-how words—nouns, verbs, adjectives and adverbs. Actors giveextra emphasis to operative words when they perform.Step 1: Select one of the speeches below and read itout loud for meaning.Step 2: Look up unknown words.Step 3: Paraphrase each line of text. (put it into yourown words)Step 4: Underline the operative words in each line.(nouns, verbs & adjectives/adverbs)Step 5: Perform the speech out loud.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 unclean.From forth the fatal loins of these two foesA pair of star-crossed lovers take their life;Whose misadventured piteous overthrowsDo 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 nought 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.ROMEO: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 griefThat 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.See how she leans her cheek upon her hand!O that I were a glove upon that hand,That I might touch that cheek!MERCUTIO:O then I see Queen Mab hath been with you:She is the fairies' midwife, and she comesIn shape no bigger than an agate-stoneOn the forefinger of an alderman,Drawn with a team of little atomiOver men's noses as they lie asleep.Her wagon spokes made by long spinners’ legs,The cover of the wings of grasshoppers,And in this state she gallops night by nightThrough lovers’ brains, and then they dream of love,O’er courtiers’ knees, that dream on cur’sies straight,O’er lawyers’ fingers, who straight dream on fees,O’er ladies’ lips, who straight on kisses dream,Which oft the angry Mab with blisters plagues,Because their breaths with sweetmeats tainted are.Sometimes she gallops o’er a courtier’s nose,And then dreams he of smelling out a suit.Sometimes she driveth over a soldier’s neck,And then dreams he of cutting foreign throats.Of breaches, ambuscades, Spanish blades,Drums in his ears, at which he starts and wakesAnd, being thus frighted, swears a prayer or twoAnd sleeps again. This is that very MabJULIET: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.’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 partBelonging to a man. O be some other name!What's in a name? That which we call a roseBy any other word would smell as sweet;So Romeo would, were he not Romeo called,Retain that dear perfection which he owesWithout that title. Romeo, doff thy name,And for thy name, which is no part of thee,Take all myself.8
Shakespeare’s LanguageInternal Stage DirectionsModern day plays have a director. A director’s job is to oversee the whole production and make sure all theelements of the production, including the acting, costumes, set, sound and lighting, work together cohesively totell the story. Part of this job includes directing the blocking on stage. Blocking is all of the actor’s movementon stage.Modern day plays often have stage directions as well. Stage directions are blocking instructions or designinstructions written by the playwright.The job of a director did not exist in Shakespeare’s lifetime and there are almost no stage directions explicitlywritten in Shakespeare’s plays. Instead, Shakespeare directed the actors movement through the dialogue hewrote. This device is called internal stage directions because
After marrying, Romeo and Juliet depart separately to conceal their union. On Romeo’s way home, Juliet’s cousin Tybalt challenges him to a duel; Romeo refuses to fight but cannot yet tell Tybalt why. Romeo’s friend Mercutio takes Tybalt’s challenge, and when Romeo tries to step between them, Tybalt fatally wounds Mercutio.
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