Directions: Please read Charles Dickens' Oliver Twist, Chapters 16- 25. Please compose a comprehensive blog using at least THREE of the chapters from the reading. Make it a cross section of the chapters, one from the beginning, middle, and end of the reading selection. You may discuss characterization, plot developments, make predictions, and/or ask questions. Your blog response must include your personal insights, as well as 3-4 direct quotations from the text to back-up your responses. Remember to engage with one another.
Directions: Please read Charles Dickens' Oliver Twist, Chapters XI - XV. Please compose a comprehensive blog using the questions below as a guide in your reflections. Your blog response must include your personal insights, as well as 3-4 direct quotations from the text to back-up your responses. Remember to engage with one another.
What is the most important piece of information that we learn in Chapter 12? 13? 14?
Directions: Read Chapters VI-X of Oliver Twist of Charles Dickens. For your blog responses, please consider the following questions:
1) What attracts poor people to go and live in a capital city like London? What are the advantages and disadvantages of such a move?
2) How did John Dawkins acquire the nickname, "The Artful Dodger?"
3) Select a major quotation to characterize each of the following characters and explain the reasons behind your choice: The Artful Dodger, Fagin, Mr. Brownlow, and Mr. Grimwig.
4) From Oliver’s from the point of view, how does he view each of the aforementioned characters?
5) Do you think it was better for Oliver to be with Fagin and his boys or with Mr. and Mrs. Sowerberry? Give reasons for your answer.
Directions: Please read Chapters 1-5 of Oliver Twist by Charles Dickens. In a blog response, consider the following characters: Mr. Bumble, Mrs. Mann, Mrs. Sowerberry, Noah Claypole. Choose one of the aforementioned characters and defend why you think he/she is the most cruel. Use direct quotations from the text in order to make you argument. Use evidence to prove why your choice is the most cruel, and use examples to prove why the others are not as cruel. Read your fellow classmates’ responses. Have a dialogue about their ideas. Finish your blog response with a guess as to what will happen to Oliver next. Again, use evidence from the text to back-up your theory.
Overview: Please view and take notes on the Charles Dickens documentary. Then read and study the biographical information below, as well as the list of major works by Charles Dickens. In this blog space, please comment on the material. What did you learn about Charles Dickens? What do you expect to see in his novel Oliver Twist? Be bold. Be brilliant.
Charles Dickens is much loved for his great contribution to classic
English literature. He was the quintessential Victorian author. His epic
stories, vivid characters and exhaustive depiction of contemporary life are
unforgettable.
His own story is one of rags to riches. He was born in
Portsmouth on 7 February 1812, to John and Elizabeth Dickens. The good fortune
of being sent to school at the age of nine was short-lived because his father,
inspiration for the character of Mr Micawber in 'David Copperfield', was
imprisoned for bad debt. The entire family, apart from Charles, were sent to
Marshalsea along with their patriarch. Charles was sent to work in Warren's
blacking factory and endured appalling conditions as well as loneliness and
despair. After three years he was returned to school, but the experience was never
forgotten and became fictionalized in two of his better-known novels 'David
Copperfield' and 'Great Expectations'.
Like many others, he began his literary career as a
journalist. His own father became a reporter and Charles began with the
journals 'The Mirror of Parliament' and 'The True Sun'. Then in 1833 he became
parliamentary journalist for The Morning Chronicle. With new contacts in the
press he was able to publish a series of sketches under the pseudonym 'Boz'. In
April 1836, he married Catherine Hogarth, daughter of George Hogarth who edited
'Sketches by Boz'. Within the same month came the publication of the highly
successful 'Pickwick Papers', and from that point on there was no looking back
for Dickens.
As well as a huge list of novels he published autobiography,
edited weekly periodicals including 'Household Words' and 'All Year Round',
wrote travel books and administered charitable organisations. He was also a
theatre enthusiast, wrote plays and performed before Queen Victoria in 1851.
His energy was inexhaustible and he spent much time abroad - for example
lecturing against slavery in the United States and touring Italy with
companions Augustus Egg and Wilkie Collins, a contemporary writer who inspired Dickens'
final unfinished novel 'The Mystery of Edwin Drood'.
He was estranged from his wife in 1858 after the birth of
their ten children, but maintained relations with his mistress, the actress
Ellen Ternan. He died of a stroke in 1870. He is buried at Westminster Abbey.
His Work
Wondering what books Dickens wrote? He was the author of 15
novels. (However, one of those is incomplete.) He also wrote short stories,
essays, articles and novellas.
The Pickwick Papers– 1836
The Pickwick Papers, also known as The Posthumous Papers of
the Pickwick Club, was the first novel of Charles Dickens.It was published by Chapman & Hall in monthly
installments from March of 1836 until November 1837. Dickens worked a very serious subject into comedic Pickwick
Papers, that of the injustice of the justice system.
Oliver Twist – 1837
The second novel of Charles Dickens was Oliver Twist. The
first edition had a longer title, Oliver Twist; or, The Parish Boy’s Progress. It was initially published in monthly installments that
began in February of 1837 and ended in April of 1839. The character Fagin was named after Bob Fagin, a fellow
employee that young Charles Dickens met when he worked at a blacking factory.
Nicholas Nickleby – 1838
The first installment of Nicholas Nickleby was published in
March 31, 1838 and the last installment was published in October 1, 1839. Dickens’s mother, Elizabeth Dickens, was the model for the
always-confused Mrs. Nickleby. Luckily for Charles she didn’t recognize herself
in the character. In fact, she asked someone if they “really believed there
ever was such a woman”.
The Old Curiosity Shop – 1840
The Old Curiosity Shop was published in installments in the periodical,
Master Humphrey’s Clock. The first installment was printed in April of 1840 and
the last was printed in February of 1841. Dickens was traumatized by the death of the book’s
character, Little Nell. As he was writing the novel he felt as though he were
experiencing the death of one of his children. It also brought back painful
memories of the death of his sister-in-law, Mary Hogarth.
Barnaby Rudge – 1841
Barnaby Rudge was published in installments from February to
November of 1841. It appeared in the magazine Master Humphrey’s Clock. The historical novel is set during the Gordon Riots of 1780.
Martin Chuzzlewit – 1843
Martin Chuzzlewit was first published by Chapman & Hall
in installments that began in January of 1843 and ran through July of 1844. The novel was written after Dickens traveled to America in
1842. The trip left Dickens with a very unfavorable impression of the United
States.
Dombey and Son – 1846
Dombey and Son was first published in installments that
began in 1846 and ran through 1848. Dickens gave a reading of the first installment of Dombey to
some of his friends. It went very well and gave Dickens the idea of doing
public readings.
David Copperfield – 1849
David Copperfield, Dickens’s eighth novel, was first
published as a serial. The first installment was published in May of 1849. The
last installment was issued in November of 1850. David Copperfield held a special place in Dickens’s heart.
In the preface to the 1867 edition, Dickens wrote, “like many fond parents, I
have in my heart of hearts a favourite child. And his name is David
Copperfield.”
Bleak House – 1852
Bleak House was published in installments from March 1852
through September 1853. This novel has the distinction of being perhaps the only
work of classic literature featuring a character that dies by spontaneous
combustion.
Hard Times – 1854
The novel first appeared in Dickens’s Weekly periodical,
Household Words. Hard Times was published in installments that began in April
of 1854 and ran through August of 1854. Hard Times takes an unsympathetic look at Utilitarianism.
This no-nonsense movement relied heavily on statistics, rules and regulations.
Little Dorrit – 1855
Little Dorrit was published in installments from December of
1855 through June of 1857. The Marshalsea debtors’ prison plays a large part in Little
Dorrit. What very few people knew was that Dickens’s father had been sent to
Marshalsea for three months.
A Tale of Two Cities – 1859
The first chapters of A Tale of Two Cities appeared in print
in April of 1859. The last chapter was printed in November of that same year. A play, The Frozen Deep, was the inspiration for A Tale of
Two Cities. Not only did the play give Dickens the idea for A Tale of Two
Cities, it brought about lasting changes to Dickens’s life in the form of Ellen
Ternan.
Great Expectations – 1860
Great Expectations was initially published in All the Year
Round, a weekly periodical founded and owned by Charles Dickens. There were
nine monthly installments, running from December of 1860 until August 1861. In the novel Pip, like Dickens himself, dreams of becoming a
gentleman. However, Pip comes to realize that there is more to life than wealth
and station.
Our Mutual Friend – 1864
Our Mutual Friend is the last novel that Charles Dickens
completed before his death. An interesting feature of the novel is its focus on the
“dust” business.
The Mystery of Edwin Drood – 1870
The Mystery of Edwin Drood was the fifteenth novel of
Charles Dickens. Dickens was only halfway finished with the book when he died.
“If Music be the food of love, play on
Give me excess of it…”
Orsino from Twelfth Night (I,i,1-2)
Company Name: The Admirals Men were a theatre troupe in Shakespeare’s day. Give yourselves a name. Something that says, “Hey, we know our Shakespeare. Hire us, okay?”
Group 1: Peyton, Mitch, Gannon, Sophia, Evan
Group 2: Jayden, Lucas, Lucy, Julia, Renne, Abhi
Group 3: Drew, Ben, Sean, Davis, Frankie, James Timeline: Four Classes: Writing Script (2) Rehearsal (1) Performances (1)
Script: Ten-minute Shakespeare: We should see a script with 50% Shakespearean text and 50% popular music lyrics. You must choose a theme and express it in either a series of moments in the play or you can do a quick cross section of the major moments. You must, however, have a unified beginning and end for the piece.
Soundtrack: How will you incorporate music into the piece? Will you develop a pop music soundtrack to line-up with the performance? Remember, that we also need to hear the actors. Will you use a classic music backdrop? Whatever you do, MAKE SURE THAT THE MUSIC FITS WITH YOUR THEME AND OVERALL VISION. In other words, if you choose a hip hop soundtrack, that will certainly influence the performance and theme. It may also influence how you cut the script. Maybe lines from the play can be sung or performed in spoken word (It certainly was meant to be sung, in a sense). Will you go Glee or Moulin Rouge and sing a pop song at major intervals. KEY: TAKE PRE-EXISTING SONGS AND TURN THEM INTO DUETS. CHANGE AND TWEEK LYRICS TO FIT PURPOSE.
Rehearsing and Choreography: THIS IS WHAT I WILL ALSO BE THINKING ABOUT WHEN I GRADE YOUR FINAL PERFORMANCE. MOVE AROUND PEOPLE! I will help you during rehearsals. For the songs (at least) have the lines and cues memorized. All prose and Shakespearean verse should be memorized to help the performance flow. Also, make sure all costumes and sets are ready to go and easy to execute. Also, make sure you have the music cued up and ready to go. Rehearsals are key.
Performances. If you are sick or cannot make it, you need to make the necessary arrangements with your group and Mr. Pellerin. Treat this assignment with the same respect as an exam. If you leave your group high and dry on performance day with no phone call or explanation, expect an F on the assignment.
So, what do I hand in?
1. A final cut script with song lyrics to Turnitin.com
2. A timeline explaining what was accomplished, as well as a list of who did what and when.
3. An actual performance. No more than 10 minutes long.
NOTE: Use of class/homework time will be a huge factor in your grade!!!
LADY MONTAGUE
O, where is Romeo? Saw you him to-day?
Right glad I am he was not at this fray.
BENVOLIO
Madam, an hour before the worshipp'd sun
Peer'd forth the golden window of the east,
A troubled mind drave me to walk abroad;
Where, underneath the grove of sycamore
That westward rooteth from the city's side,
So early walking did I see your son:
Towards him I made, but he was ware of me
And stole into the covert of the wood:
I, measuring his affections by my own,
That most are busied when they're most alone,
Pursued my humour not pursuing his,
And gladly shunn'd who gladly fled from me.
MONTAGUE
He, his own affections' counsellor,
Is to himself--I will not say how true--
But to himself so secret and so close,
So far from sounding and discovery,
As is the bud bit with an envious worm,
Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.
Could we but learn from whence his sorrows grow?
We would as willingly give cure as know.
Enter ROMEO
BENVOLIO
See, where he comes: so please you, step aside;
I'll know his grievance, or be much denied.
Exeunt MONTAGUE and LADY MONTAGUE
BENVOLIO
Good-morrow, cousin.
ROMEO
Is the day so young?
BENVOLIO
But new struck nine.
ROMEO
Ay me! Sad hours seem long.
Was that my father that went hence so fast?
BENVOLIO
It was. What sadness lengthens Romeo's hours?
ROMEO
Not having that, which, having, makes them short.
BENVOLIO
In love?
ROMEO
Out—
BENVOLIO
Of love?
ROMEO
Out of her favour, where I am in love.
BENVOLIO
With whom?
ROMEO
Rosaline and she'll not be hit
With Cupid's arrow; she hath Dian's wit.
BENVOLIO
Then she hath sworn that she will still live chaste?
ROMEO
She hath, and in that sparing makes huge waste -
BENVOLIO
Alas, that love, so gentle in his view,
Should be so tyrannous and rough in proof!
ROMEO
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine?
O me! What fray was here?
Yet tell me not, for I have heard it all.
Here's much to do with hate, but more with love.
Why, then, O brawling love! O loving hate!
O any thing, of nothing first create!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire,
sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?
BENVOLIO
No, coz, I rather weep.
ROMEO
Good heart, at what?
(Servant enters and hands Benvolio and invitation and exits)
BENVOLIO
At thy good heart's oppression.
Coz, I just obtained an invitation to a party
At this same ancient feast of Capulet's
Sups the fair Rosaline whom thou so lovest,
With all the admired beauties of Verona:
Go thither; and, with unattainted eye,
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.
ROMEO
When the devout religion of mine eye
Maintains such falsehood, then turn tears to fires;
And these, who often drown'd could never die,
Transparent heretics, be burnt for liars!
One fairer than my love! the all-seeing sun
Ne'er saw her match since first the world begun.
BENVOLIO
Tut, you saw her fair, none else being by,
Herself poised with herself in either eye:
But in that crystal scales let there be weigh'd
Your lady's love against some other maid….
BENVOLIO begins singing “I Just Haven’t Met You Yet” by Michael Buble
BENVOLIO
I'm not surprised
Not everything lasts
You've broken your heart so many times
I stopped keeping track.
ROMEO
Talk myself in,
I talk myself out.
I get all worked up
Then I let myself down.
I tried so very hard not to lose it
BENVOLIO
You came up with a million excuses
ROMEO
I thought I thought of every possibility
BENVOLIO
And I know someday that it'll all turn out
She'll make you work so you can work to work it out
And I promise you kid that you'll give so much more than you get
You just haven't met Juliet
Mmmmm ....
BENVOLIO
You might have to wait
ROMEO
I'll never give up
BENVOLIO
I guess it's half timing
ROMEO
And the other half's luck
BENVOLIO
Wherever you are
ROMEO
Whenever it's right
BENVOLIO
She'll come out of nowhere and into your life
JULIET enters
ROMEO (to JULIET)
And I know that we can be so amazing
JULIET (to ROMEO)
And baby your love is gonna change me
ROMEO
And now I can see every possibility
Hmmmmm ......
ROMEO and JULIET holding hands and singing in unison
ROMEO and JULIET
And somehow I know that it'll all turn out
And you'll make me work so we can work to work it out
ROMEO
And I promise you kid I'll give so much more than I get
JULIET
You just haven't met me yet
ROMEO
They say all's fair
JULIET
In love and war
ROMEO
But I won't need to fight it
JULIET
We'll get it by it
ROMEO and JULIET
We'll be united
ROMEO and JULIET dance during the interlude
ROMEO
And I know that we can be so amazing
JULIET
And being in your life is gonna kill me
ROMEO
And now I can see every single possibility
Hmmm .....
JULIET exits
ROMEO
And someday I know it'll all turn out
BENVOLIO enters
And I'll work to work it out
BENVOLIO
Promise you kid
ROMEO
I'll give more than I get
Than I get, than I get, than I get!
MERCUTIO enters
BENVOLIO, ROMEO and MERCUTIO (Dancing like the Rockettes)
Oh you know it'll all turn out
And you'll make me work so we can work to work it out
And I promise you kid to give so much more than I get
Yeah I just haven't met Juliet
ROMEO at center stage
ROMEO
I just haven't met Juliet
Oh promise you kid
To give so much more than I get
MERCUTIO and BENVOLIO
I said love love love love love love love .....
ROMEO
I just haven't met Juliet.
MERCUTIO and BENVOLIO
I said love love love love love love love .....
ROMEO
I just haven't met Juliet!
BENVOLIO
So come with me, Romeo
That I will show you shining at this feast,
And she shall scant show well that now shows best.
ROMEO
I'll go along, no such sight to be shown,
But to rejoice in splendor of mine own.
Exeunt
Example Two: Then I defy you stars!
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 foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd 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 enters with Mercutio and their entourage in masks
ROMEO
I dream'd a dream to-night.
MERCUTIO
And so did I.
ROMEO
Well, what was yours?
MERCUTIO
That dreamers often lie.
ROMEO
I fear, too early: for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night's revels and expire the term
Of a despised life closed in my breast
By some vile forfeit of untimely death.
But He, that hath the steerage of my course,
Direct my sail!
Bell tolls.
On, lusty gentlemen. They all exit but Romeo. Juliet enters.
ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.
ROMEO
[To JULIET] If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers' sake.
ROMEO
Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.
JULIET
Then have my lips the sin that they have took.
ROMEO
Sin from thy lips? O trespass sweetly urged!
Give me my sin again.
JULIET
You kiss by the book.
BENVOLIO enters, whispers in ROMEO'S ear, and exits.
ROMEO
Is she a Capulet?
O dear account! my life is my foe's debt.
NURSE enters, whispers in JULIET"S ear, and exits.
JULIET
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
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.
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,
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
But our families will never conset to our love. It is impossible.
ROMEO begins singing to JULIET Rewrite the Stars from The Greatest Showman.
ROMEO
You know I want you
It's not a secret I try to hide
I know you want me
So don't keep saying our hands are tied
You claim it's not in the cards
Fate is pulling you miles away
And out of reach from me
But you're here in my heart
So who can stop me if I decide
That you're my destiny?
What if we rewrite the stars?
Say you were made to be mine
Nothing could keep us apart
You'd be the one I was meant to find
It's up to you, and it's up to me
No one can say what we get to be
So why don't we rewrite the stars?
Maybe the world could be ours
Tonight
JULIET
You think it's easy
You think I don't want to run to you
But there are mountains
And there are doors that we can't walk through
I know you're wondering why
Because we're able to be
Just you and me
Within these walls
But when we go outside
You're going to wake up and see that it was hopeless after all
No one can rewrite the stars
How can you say you'll be mine?
Everything keeps us apart
And I'm not the one you were meant to find
It's not up to you
It's not up to me
When everyone tells us what we can be
How can we rewrite the stars?
Say that the world can be ours
Tonight
TOGETHER
All I want is to fly with you
All I want is to fall with you
So just give me all of you
JULIET
It feels impossible (it's not impossible)
ROMEO
Is it impossible?
TOGETHER
Say that it's possible
How do we rewrite the stars?
Say you were made to be mine?
Nothing can keep us apart
'Cause you are the one I was meant to find
It's up to you
And it's up to me
No one can say what we get to be
And why don't we rewrite the stars?
Changing the world to be ours
JULIET
You know I want you
It's not a secret I try to hide
But I can't have you
We're bound to break and my hands are tied
JULIET turns to go
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.
RUBRIC
D or F performances
Anything less than the C performances below
C performances
Complete script for Mr. Pellerin & each group member (no trips to copy machine)
Script contains:
Clear theme
Interesting story development
Pop music and Shakespearean text integrated
Performance of scripts, in hand, is moderately smooth. Just periodic stops for technical difficulties
Costumes
Performance with all members occurs on the assigned date
B performances have all the above and…
Script contains: Meaningfully theme – Nuanced and philosophical
Complex plot development
Songs are meaningful and well placed (though perhaps a bit long, and/or one “note” meanings)
Well chosen moments from the text – a strong cross section of the play
Performance is smooth. Though not memorized, the performers know the material inside and out. Choices about technology, blocking, costumes, and the like are thought out beforehand.
A performances have all the above and…
Script contains: Themes and concepts are thought provoking. Shows us multiple sides to the issues presented
Clear theme – Nuanced and philosophical – Goes beyond stereotypes to get at the heart of the matter
Complex plot development and seamlessly thread together as if this were an original play and not a Frankenstein monster of moments
Songs are meaningful, well placed and preformed with feeling
Well chosen – a Strong cross section of the play – Tight!
Script is nuanced. Every line is thoughtfully spliced and there is a definite beginning, middle and end to the performance.
Performance is smooth and choreography is fun and meaningful. All props and cues are hit. One or two members attempted to memorize parts. Members tried to use note cards.
Costumes and staging are thoughtfully planned ahead of time and a world is created
Directions: Using the rough draft you composed in the last blog, please refine your initial response into a fully processed essay. In class, we will work on thesis statements, transitions, and formatting Shakespearean language. When your piece is completed, please post it to Turnitin.com for a formal grade.
Formatting Help
Title:
Dueling Dualities: Romeo's Devolution into Violence through Love and Hate
Introduction with thesis statement:
In William Shakespeare’s The Tragedy of Romeo and Juliet, dramatic irony is used by telling the readers the ending of the play before it begins. In the prologue, the Chorus tells the audience of the family feud between the Capulets and Montagues and that it has been going on for generations. The readers learn that “A pair of star-crossed lovers take their life,/Whose misadventured piteous overthrows/Doth with their death bury their parents strife”(Prologue). This play is meant to further describe how two lovers took their lives and how the family feud was put to rest. Since Shakespeare used dramatic irony in Romeo and Juliet, certain lines are written so that the audience has more knowledge than the characters, creating suspense for the audience while waiting for certain events to occur. Through using dramatic irony to create suspense and highlight the thoughts and actions of its main characters, Shakespeare has caused the audience to examine the balancing forces of fate and freewill in his work.
Formatting quotations under two lines:
Romeo feels that “Some consequence, yet hanging in the stars,/Shall bitterly begin his fearful date” and only cause him more heart ache. Although Romeo feels this way, he is able to let “the steerage of this course/Direct my sail!”(I.iv.117-120).
Formatting longer passages:
The Nurse clearly cares greatly about Juliet but she seems not to trust Juliet's judgment; this lack of trust is a serious problem in any society or story. The Nurse grows to approve of the couple but after Romeo is banished, it seems that this approval was tenuous and simply awaiting another when she says:
Faith, here it is.
Romeo is banish'd; and all the world to nothing,
That he dares ne'er come back to challenge you;
Or, if he do, it needs must be by stealth.
Then, since the case so stands as now it doth,
I think it best you married with the county...
I think you are happy in this second match,
For it excels your first: or if it did not,
Your first is dead; or 'twere as good he were,
As living here and you no use of him (III.v.228-237)
The Nurse forgets Romeo in the blink of an eye, forgetting how devoted Juliet is and making the mistake of losing Juliet's trust by attempting to steer her wrong.
