Download Year 10. Shakespeare`s Macbeth. Unit Plan

 English Learning Area Katherine Barton Unit of Work: Macbeth Year 10 SHAKESPEARE’S MACBETH UNIT PLAN 1 English Learning Area Unit of Work: Macbeth Katherine Barton 359 561 English Learning Area Learning informed by Unit Gooals f Work: Macbeth the AUSVELS achievement standards. Reading and Viewing: By the end of level 10, students evaluate how text structures can be used in innovative ways by different authors. They explain how choice of language features, images and vocabulary contributes to the development of individual style. They develop and justify their own interpretations of texts. They evaluate other interpretations, analysing the evidence used to support them. Writing: Students show how the selection of language features can achieve precision and stylistic effect. They explain different viewpoints, attitudes and perspectives through the development of cohesive and logical arguments. Links with AUSVELS cross curriculum priorities ACELT 1640 ACELY1749 ACELY1754 ACELA1564 Theoretical and Pedagogical frameworks (Reference List page 25) Royal Shakespeare Company -­‐ drama pedagogy -­‐ English/text study pedagogy -­‐“Stand-­‐up for Shakespeare” (2009) O’Toole, J. (2007) -­‐ physical entry point -­‐ using modern analogies -­‐ hot-­‐seating, improvisation, games and drama techniques Ackroyd, J. (1998) -­‐ engaging students in Shakespeare at a level that is developmentally appropriate for them -­‐ engaging students using language and activities that are age appropriate (eg. inclusive, and play-­‐based) Experiential Learning: -­‐learning by doing -­‐ performing as understanding Katherine Barton AUSVELS content 359 561 descriptors (at least 3-­‐5) with links to learning activities. ACELY1753 ACELY1750 ACELY1751 ACELT1815 ACELT1640 ACELA1564 2 Assessment tasks In-­‐class assessments: -­‐ Reading aloud/participation in whoosh/conscience corridor performances (F) -­‐ Horoscope homework task (F) -­‐ Lady Macbeth soliloquy re-­‐ writing homework task (S) -­‐ Quotes in-­‐class and homework task (F) -­‐ Macbeth meme task (F) -­‐ participation in tableaux (F) -­‐ practice essays (F) -­‐ creative sustained writing activity (S) -­‐ monitoring of class discussion and student answers in classes (F) Major assessment: -­‐ examination Macbeth essay (major assessment task for semester one, year 10 English) (S). Resources -­‐ Macbeth (text) -­‐ Whoosh material (Act 1 courtesy of Helen Kent (2013), and written by Katherine Barton) -­‐ Polanski’s Macbeth -­‐ Shakespearean insults -­‐ meme worksheet Shakespearean language PowerPoint -­‐Key quotes PowerPoint -­‐ Practice essay questions hand-­‐out -­‐ Lady Macbeth soliloquy homework task handout English Learning Area Unit of Work: Macbeth They develop their own style by experimenting with language features, stylistic devices, text structures and images. They create a wide range of texts to articulate complex ideas. They demonstrate understanding of grammar, vary vocabulary choices for impact, and accurately use spelling and punctuation when creating and editing texts. Speaking and Listening: Katherine Barton 359 561 Students listen for ways features within texts can be manipulated to achieve particular effects. They show how the selection of language features can achieve precision and stylistic effect. They explain different viewpoints, attitudes and perspectives through the development of cohesive and logical arguments. Doona, J (2011): -­‐“whoosh” as engagement method -­‐ drama necessary for engagement and motivation -­‐ drama is Shakespeare’s form -­‐ Tableaux -­‐ thought-­‐tracking/inner thought -­‐ “Whoosh!” as democratic, engaging, physical and inclusive method of teaching Shakespeare Hurley, N (2009): -­‐theatre-­‐games -­‐ warm up games 3 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth 2. Explanation and discussion: A. Context: This unit will take place at a Catholic Girls’ Secondary School in North-­‐East Melbourne. The class is a year 10 English class, and the school does not stream students. There are 25 students of mixed ability, and all students are unfamiliar with Shakespeare. Macbeth will be their first Shakespearean text that they have formally studied, and there is some anxiety around this. There are several EAL girls in the class, who are particularly anxious about the prospect of studying Shakespeare. At year 10, Drama becomes an elective, and there are 8 drama students in the class. The students in this English class are supportive of one another, and this classroom is viewed as a ‘safe space’ by students. Over the course of the unit we will use both the classroom space and an open teaching space in the school hall. B. Challenges/Affordances: There is a perception amongst students that Shakespeare’s plays are out-­‐dated and passé. They perceive the language to be foreign and difficult, and the plots to be irrelevant for them. Despite this initial resistance, Shakespearean plays, particularly Macbeth, continues to be widely taught. Macbeth explores the human condition, through a narrative that seems not so distant from the times we live in. The concept of the ‘tragic hero’ is prevalent in film, literature and popular culture; thus, students have a strong prior knowledge of this narrative before they have explored Macbeth. Certainly it must be acknowledged that Shakespearean language can be challenging and alien. There is great reward and satisfaction to be experienced, however, once you begin to understand the language. The hesitation and initial resisting from students is, therefore, a necessary challenge to persist with; for the language, analytical skills and knowledge of theatre students learn and experience outweigh the challenges associated with teaching the text. Macbeth is compatible with the priorities of the AusVELS English curriculum, and the text fits with the skills covered in the document, reading and viewing, writing, and speaking and listening. C. Rationale: My teaching of Macbeth employs a strong use of Drama/Theatre Studies pedagogy. I, thusly, will teach the text with a performance-­‐based approach, using play to explore the language and themes of the text. John Doona (2011) asserts that employing drama is imperative when teaching Shakespeare to ensure the motivation and engagement of students. This is in-­‐line with recommendations by the Royal Shakespeare Company, who promote the philosophy “stand up for Shakespeare.” The RSC encourage students to “do it on their feet,” using performance to experience the play. The unit culminates in an essay task, which is incorporated in the year 10 Semester One English examination; my pedagogy must be reflective of preparing students for this task. Play-­‐based learning engages students in the text, but also uses physicality to explore the themes and concepts which students will be employing in their essay writing. The lessons and activities are designed to be inclusive, accessible and playful. They are initially working on the level of decreasing the fear of studying Shakespeare, but are planned with the end aim of preparing students for the essay task. My 4 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth pedagogical approach for this unit is influenced by John O’Toole, who recommends proving a physical entry point to the text (2007). In line with this, my main strategy for teaching the play itself is through a “Whoosh” activity, which is a, physical, inclusive and accessible means of studying the text. I will use the “whoosh” revised text in conjunction with the complete version of the play. The lessons will also employ the use of warm-­‐up games, tableaux and other drama-­‐based activity, alongside reading and viewing, speaking and listening and writing activities. The lessons employ teaching and learning techniques recommended by Doona, who also promotes play-­‐based learning (NB: Doona’s book is a resource for primary teachers, however I have adapted and modified many of his activities to suit a secondary class of Shakespeare beginners). 3. Three lessons: Overview (NB: Each lesson detailed separately over the following pages) These lessons are numbers 4, 5, and 6 in a 10 lesson sequence (for full scope see Appendix A). Lessons are 60 minutes long. By lesson 4, students are developing a sound understanding of Shakespearean language. They understand the narrative and key moments in Act 1 and 2 of the play, and understand some key themes within the play (fate, ‘fair and foul,’ ambition etc). Students are familiar with the play techniques used to explore the text, and are familiar with the conventions of a “whoosh.” Lessons 4 to 6 employ strategies recommended by RSC, in using theatre and play-­‐based pedagogy to include students and to allow for easy and successful entry into the language. Warm-­‐up games are employed at the beginning of each class. These games assist to vocally and physically warm-­‐up the body in preparation for performance activities, but also ease tension and set the mood for the lesson. They establish the conventions of drama and play that will be employed by the lesson, and they are strategically designed and adapted to engage students in Shakespearean language and the play Macbeth. Theatrical warm-­‐up games are recommended by Hurley (2009), and I have employed games from her book in these lessons. Students are involved in reading, viewing, listening, speaking, performing and writing tasks over the course of the sequence. By lesson 6, students will have written a practice essay as a class, and will also have a sound understanding of the first four Acts of Macbeth. In these three lessons students will progress from a basic, theatrical-­‐based understanding of the play, to a critical and deep understanding. Over the sequence students develop their higher-­‐order thinking skills, and the essay task is introduced. Students are gradually scaffolded into this task, and are asked to apply their prior knowledge of the text to written tasks. These lesson plans link explicitly to several of the AusVELS standards linking of Language, Literature and Literacy. For example, students will explore the inclusive and exclusive social effects of language (ACELA1564); they will create imaginative texts that draw thematic connections with their primary text Macbeth (ACELT1644); they will explore purposes and effects of various text structures and language features of texts (eg. performed texts) (ACELY1750). 5 English Learning Area Lesson four: Macbeth, Act Three -­‐ Learning outcomes and objectives: 
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Katherine Barton 359 561 Unit of Work: Macbeth Students will physically demonstrate an understanding of the plot of Act 1 and Act 2 of Macbeth through tableaux Students will further develop an understanding of speaking Shakespearean language Students will continue build their self-­‐efficacy in reading Shakespeare aloud All students will engage in Act 3, through ‘Whoosh’ Activity Students will present knowledge of understanding of Act 3, through class-­‐discussion and brainstorm activity Students will begin to engage in higher-­‐order thinking skills, applying their prior knowledge to performance and discussion tasks. -­‐ AusVELS Links: 
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Warm-­‐up game: Shakespearean Insults – Appendix B. Tableaux, in groups of 4-­‐5 – 3 key moments (before, during and after Duncan’s murder) – Appendix G Act Three Whoosh – Appendix D Brainstorm key quotes Homework: Meme task – Appendix C This lesson is highly student centred, and is driven by play and drama. It challenges students’ higher-­‐ order thinking skills, and ensures that all students participate in these “visible thinking” activities. The tableaux activity provides students with the opportunity to display their prior knowledge of the text in a physical way, collaborating in small groups. Doona recommends tableaux in teaching Shakespeare as a method of slowing down the action, and asking students to distil structure, key moments and characters (Doona, J., 2011). The ‘whoosh’ activity (further discussed in section D) is an inclusive and accessible way to access the language of Macbeth. All students participate, in a non-­‐ confrontational and unintimidating task. Given that Macbeth is also a theatrical text, using drama pedagogy to physically explore the play is effective and authentic for students. By thinking about key quotes at the conclusion of the lesson, students are gradually preparing for the essay assessment task, which is intrinsically linked back to the “whoosh” and tableaux. 6 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Lesson five: Review – Lady Macbeth and Macbeth -­‐ Learning Outcomes and Objectives: 
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Students will recap on their knowledge of Act 3, selecting key quotes Students will begin to consider the essay task, transforming their current knowledge and applying to this task Students will engage in higher-­‐order thinking, applying knowledge to the conscience corridor activity Students will show evidence of completing the meme homework task Students will present knowledge of understanding of Act 3, through class-­‐discussion and brainstorm activity Students will begin to develop an understanding of broader themes in the play and how these relate to quotes and key moments. -­‐ AusVELS Links: 
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Warm-­‐up game: ‘Fair, Foul and Hurlyburly’ Think, Pair, Share: Act 3, key quotes and themes Conscience Corridor: Macbeth and Lady Macbeth. Practice essay question: “who is responsible for Macbeth’s fate/downfall?” – class brainstorm. 
Homework: students draft a structure for their practice essay This lesson is used as a primer between Act 3 and Act 4 of the play. By lesson 5, students are half-­‐ way through the unit and are developing an understanding of key themes within the play. They are able to look at the text in an abstract and critical way. Students explore Act 3 carefully, in pairs, linking key quotes to major themes. This activity has been supplemented by drama/play activities in previous lessons, but is designed to practically prepare students for the essay task. Indeed, later in the lesson students will be given their first practice essay question. Exploratory talk is used to brainstorm the essay topic. Drama pedagogy is also employed through the conscience corridor activity, which asks students to place themselves in the mindset of Macbeth and Lady Macbeth. Inner-­‐thought or thought-­‐tracking drama exercises are recommended by Doona, who suggests that these activities consolidate student understanding of character and engage the pupils in the text (Doona, J., 2011). The conscience corridor assists in evaluating the change in the characters over the first 3 Acts. 7 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Lesson Six: Act Four, and essay questions. -­‐ Learning Outcomes and Objectives: 
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Students will show evidence of having completed the essay homework task Students will engage in Act Four through “whoosh” Students will use creative/persuasive writing to explore Act Four Students will brainstorm ideas for essay topic, and demonstrate deep understanding of key concepts/themes within the text Students will engage in higher-­‐order thinking, applying their knowledge of the text to various writing, performing and discussion activities. Warm-­‐up game: character hot-­‐seat Act Four Whoosh – Appendix E Sustained writing activity: “Something wicked this way comes” Practice Essay Writing: “what role does equivocation play in Macbeth?” – Practice essay question hand-­‐out -­‐ Appendix F Homework: Students consider the witches’ involvement in Macbeth’s downfall. How does Macbeth react to the prophesies/apparitions? What does this reveal about Macbeth’s character and his state of mind? This lesson students are becoming more advanced in their critical understand of the play. We have written a practice essay as a class, and they are able to apply their theatrical reading to the abstract written task. As with the other Acts, students experience Act 4 through a “whoosh,” which highlights they key action and lines. Students are presented with a more complex essay question, as well as an hand out with other practice essay questions. Given that majority of class time thus far in the unit has been spent performing, listening and speaking, this lesson provides students with the opportunity to apply their knowledge of the text to creative writing prompt. Students use the quote “something wicked this way comes” to explore the character of Macbeth in free-­‐style creative prose activity. At the end of this lesson students are familiar with the idea of the essay task, and are considering Macbeth in terms of this outcome. 8 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth D. Resources: “Whoosh” (Appendix D & E): The “whoosh” is a tool used throughout this unit on Macbeth, as an alternative to reading the full play. The “whoosh” material, written by the teacher, provides students with an edited version of the text, particularly highlighting the key action and drama of each scene, as well as the key quotations. Humour is often employed within the “whoosh” activity, as students become not only the characters but inanimate objects within the scene. As previously noted, many students find Shakespearean language intimidating and inaccessible. Revising the play into a “whoosh” maintains the integrity of the language, but removes some of the fear associated with reading it aloud. The language is modelled by the teacher before it is said aloud by the student, which similarly detracts from the difficulty with pronunciation. It also involves every student in the class, as the students gather in a circle and participate when called upon by the teacher. In this way it is a highly inclusive and engaging way of teaching the text. From a practical perspective, the “whoosh” is an effective and faster way to teach the text, given the time-­‐constraint on the unit. The “whoosh” as a teaching technique is energetic and engaging, but also is highly ‘democratic’ and inclusive, allowing a larger number of students to be involved (Doona, J., 2011). Memes homework task (Appendix C): The ‘make a meme’ task is set for homework, as is designed to engage students in the text. Using a form of text that students have a strong prior knowledge of, the task asks students to design a visual/caption-­‐style meme based on Macbeth. Students are able to draw from popular culture and their own prior knowledge, which in turn links back to the text. This task provides evidence of student understanding of the text, and is designed to assist in their engagement of the text. By using a medium that is relevant to the students, so to the text becomes relevant, practical and authentic. The task requires very little scaffolding, as students are very familiar with codes and conventions and typical audience of the meme genre. Upon submission, the teacher is able to print and display the memes in the classroom, which gives students an ownership of the space. The students were familiar with the concept of adapting the language and ideas into a colloquial and modern setting, through their homework task in lesson 2, re-­‐writing Lady Macbeth’s soliloquy (Appendix H). The teacher can use this task as a formative assessment to monitor learning and understanding of the text, and to ensure students are able to transfer their knowledge to various tasks. 9 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix A: Scope and sequence of lessons in the unit of work LESSON NUMBER 1 2 3 4 5 6 7 LEARNING FOCUS/ACTVITIES/ASSESSMENT 
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Warm-­‐up game (the name game) Introducing Shakespeare and Shakespearean language (practical tips for reading Macbeth aloud)  Polanski’s Macbeth as a point of visual reference (watch Act 1)  Act 1, Scene 1  Who are ‘the witches,’ and what other ways could we imagine them? – activity in small groups, reimagine the characters of the witches and perform Act 1, Scene 1. Home-­‐work: write a horoscope for Macbeth based on what the witches have told him  Warm-­‐up game (tarot cards)  Recap witches – compare several representations of the witches. Key concept ‘Fair and Foul’  Act 1 Whoosh  Lady Macbeth convinces Macbeth – persuasive language activity (what role does Lady Macbeth play in bringing about Duncan’s murder?) Home-­‐work: re-­‐write Lady Macbeth’s soliloquy in colloquial, modern language  Warm-­‐up game (can you hear me?)  Recap Act 1 – key characters and our perception of them at this point  Act 2 Whoosh Home-­‐work: select 3 key quotes so far in the play. Why are they important/relevant? Share via GoogleDocs.  Warm up-­‐game (Shakespearean insults)  Recap through Tableaux (before, during and after the murder)  Act 3 Whoosh  Key themes, key quotes activity Home-­‐work: create a Macbeth meme  Warm-­‐up game (fair, foul and hurly-­‐burly)  Act 3 key quotes, pair and share activity  Recap on Macbeth and Lady Macbeth – how have their characters changed? Conscience corridor activity  Practice essay question, “who is to blame for Macbeth’s fate/downfall?” – we write an example introduction as a class. Home-­‐work: draft structure of the practice essay  Warm-­‐up game (Macbeth “Perfect Match”)  Act 4 whoosh  “something wicked this way comes” – is Macbeth wicked? Use persuasive writing to argue for or against this statement.  Practice essay question, “who is to blame for Macbeth’s downfall?” Homework: consider the witches involvement in Macbeth’s downfall. How does Macbeth react to the prophesies/apparitions? What does this reveal about his state of mind?  Warm-­‐up game  “brave Macbeth” – through tableaux, students explore the change in Macbeth from Act 1 to Act 4.  “partner in greatness” – through tableaux, students explore the change in Lady Macbeth from Act 1 to Act 4. 10 English Learning Area 8 9 10 Katherine Barton 359 561 Unit of Work: Macbeth  Practice essay question, “dead butcher and his fiendish wife” Homework: practice essays  Warm-­‐up game  Act 5 whoosh  Activity “Life is but a walking shadow” – analyse Macbeth’s soliloquy, what is Shakespeare saying about the human condition?  Practice essay question, ‘Macbeth and Lady Macbeth are described as a “dead butcher and his fiendish wife.” Is this a fair and true evaluation?’ Homework: practice essays  Class brainstorm  Key themes and quotes relating to them  Key characters and their role  Key moments in the play – turning points (cause and effect)  Practice essay question, ‘what role does equivocation play within Macbeth?’ Homework: practice essays  Students work independently on practice essays while teacher circulates helping individual students  Practice essay question, “what role does equivocation play within Macbeth?”  Members of the class share their introductions etc. EXAMINATION 11 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix B: Shakespearean Insults Warm-­‐Up Game: Thou bootless pottle-deep pumpion!
Thou fusty ill-nurtured clack-dish!
Thou pribbling brazen-faced skainsmate!
Thou cockered beef-witted scut!
Get thee to a nunnery
12 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Thou art essentially a natural coward without instinct.
Thou lumpish dizzy-eyed hugger-mugger!
Would thou wert clean enough to spit upon!
Hence rotten thing! Or I shall shake thy bones out of thy garments
O illiterate loiterer!
13 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Thou clouted brazen-faced foot-licker!
May the worm of conscience still begnaw thy soul
Thou paunchy idle-headed mumble-news!
Thou call'st thyself a hotter name than any is in hell.
Thou clay-brained guts, thou knotty-pated fool, thou whoreson
obscene greasy tallow-catch!
14 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Thou wert best set thy lower part where thy nose stands.
Thou mangled clapper-clawed scullian!
Thou bawdy dismal-dreaming popinjay!
Thou art a dull and muddy-mettled rascal.
Thou artless dread-bolted fustilarian!
15 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Thy lips rot off!
A weasel hath not such a deal of spleen as you are toss'd with.
Thou art some fool, I am loath to beat thee.
Thou reeky rump-fed gudgeon!
In civility thou seem'st so empty.
16 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Thou art as loathsome as a toad.
Thou villainous abominable misleader of youth!
Thou pribbling lily-livered apple-john!
I think thou never wast where grace was said.
Thou craven guts-griping nut-hook!
17 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix C: Example memes: Meme Home-­‐work Task: Create a “meme” based on what you have read of Macbeth so far. Use the visual and caption structure (like the ones provided). You can use any image from popular culture – for the caption you may use either a quote from Macbeth, or a quote from popular culture that relates to Macbeth. If you are stuck, try using a meme-­‐creator website such as www.memecrunch.com Due: next class. 18 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix D: Act 3 ‘whoosh’ ACT THREE: Banquo walks around Macbeth’s palace, considering the events that have occurred. He is sceptical of Macbeth’s innocence, saying “I fear thou play’dst most foully for it.” Macbeth enters, and invites him to a dinner party at the castle tonight, for which Banquo is the honoured guest. Macbeth, who is also sceptical of Banquo, susses out his movements for the evening, “ride you this afternoon?” Banquo leaves for his journey with his son Fleance. Macbeth is now alone, and he expresses his worry about Banquo. He feels unsafe in his position, lamenting “to be thus, is nothing, but to be safely thus.” Macbeth knows that Banquo is a good man, saying “he hath a wisdom that doth guide his valour.” As he ponders, Macbeth considers the witches prophesy that Banquo’s sons will be kings, and suddenly realises that all his treasons ensure that THEY will be kings, “for them the gracious Duncan I have murdered!” Two murderers enters, whom Macbeth spoke with yesterday. Macbeth persuades these men to kill Banquo and his son Fleance, insisting “it must be done tonight!” Macbeth is resolved that Banquo is his enemy and must be eliminated, and concludes “Banquo, thy soul’s flight, if it find heaven, must find it out tonight.” WHOOSH Lady Macbeth paces around her room, and learns from a servant that Banquo is gone from the court. Once alone, she admits that attaining the throne has not resulted in happiness or peace of mind, saying “naught’s had, all’s spent.” Macbeth enters, and he too reveals that his mind has been tortured with fears of Banquo. He fears that the job is not complete, “we have scorched the snake, not killed it.” Macbeth discusses his depression and sleep deprivation since the murder of Duncan, he has been plagued by terrible dreams, and wishes he was dead, “full of scorpions is my mind.” Lady Macbeth reminds him of the dinner party that night, and cautions him to “be bright and jovial among your guests tonight.” Macbeth agrees, saying that his face shall be a mask that hides their true selves. Macbeth does not share his plan for Banquo with his wife, wanting her to remain innocent of the deed. WHOOSH Meanwhile in a dark park near the palace, the murderers ambush Banquo and his son Fleance. In the confusion, Fleance escapes. Banquo cries “fly, Fleance, fly, fly fly!” WHOOSH The banquet at the palace is well underway, and all the noblemen are having a splendid time, Macbeth and Lady Macbeth are playing the role of gracious hosts. One of the murderers appears to report Banquo’s death to Macbeth. Macbeth is delighted to hear this news, but is dismayed to learn that Fleance has escaped. He decides to deal with that problem tomorrow, and enjoy the party at the present time. But as he walks towards the table, the Ghost of Banquo appears before him and sits in Macbeth’s place. Macbeth engages in a psychotic conversation with the Ghost, while Lady 19 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Macbeth attempts to keep the guests calm by saying “the fit is momentary.” Lady Macbeth reasons with Macbeth, asserting that this hallucination is just like the dagger, she says “this is the very painting of your fear.” Macbeth is driven to insanity by the ghost, ordering it to leave the party. “Hence, horrible shadow! Unreal mockery, hence!” With Macbeth deep in his hallucination, Lady Macbeth swiftly asks the guests to leave. Macbeth expresses his concern that his bloody business is never ending, “blood will have blood.” He resolves that he will visit the witches tomorrow who will provide him with more explanation of what is to occur. He knows that there is more violence and death in their future, saying to his wife “we are yet but young in the deed” WHOOSH Meanwhile we learn from Lennox that many are convinced of Macbeth’s role in the murders of Duncan and Banquo. We also learn that Macduff has fled to England to meet with the King’s son Malcom, in an attempt to join forces and to rid Scotland of Macbeth’s bloody tyranny. 20 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix E: Act 4 whoosh ACT FOUR: The Weird Sisters, huddled around a boiling cauldron, are preparing a spell. They chant together, “double, double, toil and trouble. Fire burn and cauldron bubble.” They fill the cauldron with vile ingredients, when they notice Macbeth’s arrival. The second witch says “by the pricking of my thumbs, something wicked this way comes.” Macbeth appears and demands information. A series of apparitions appear before Macbeth. An armed Head appears, and says “Beware Macduff, beware the Thane of Fife.” Next a bloody child appears, and says “laugh to scorn the power of man, for none of woman born shall harm Macbeth.” The final apparition appears as a child crowned with a tree in his hand, saying “Macbeth shall never vanquished be, until the Great Birnam Wood to high Dunsinane Hill shall come against him.” Macbeth is satisfied, shouting “that will never be!” The witches disappear. Macbeth is encouraged by the prophesies and feels invincible. Lennox arrives, and instructs Macbeth that Macduff has fled to England. Macbeth resolves to attack Macduff’s castle and have everyone within killed. WHOOSH Meanwhile at the Macduff castle in Fife, Ross and Lady Macduff discuss Macduff’s abandonment of his family. Lady Macduff is distraught, “what had he done, to make him fly the land?” She is angry at her husband, saying “his flight is madness!” She holds her son close to her. The nobleman Ross reassures the Lady of her husband’s good nature, arguing that he is “noble, wise, judicious.” Ross leaves. Lady Macduff and her son discuss what it means to be a traitor. They are interrupted by murderers, who kill Macduff’s son, and pursue Lady Macduff off-­‐stage. WHOOSH Macduff has arrived in England and has met with the King’s son Malcom. Macduff attempts to convince Malcom to lead a military force to overthrow Macbeth. Malcom is sceptical, thinking that he has been sent by Macbeth as a trick! Macduff tells him “I am not treacherous.” Malcom replies “but Macbeth is.” Once Malcom is convinced that Macduff is indeed loyal, he pledges to do all that he can to restore peace and legitimate rule to Scotland. Ross arrives, and reports the slaughter of Macduff’s family and household, “your wife and babes savagely slaughtered.” Malcom encourages Macduff to “let grief convert to anger. Blunt not the heart, enrage it.” They set out to Scotland to seek revenge on Macbeth. 21 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix F: Macbeth Practice Essay Topic Suggestions 1. Macbeth is the one to express doubts over murdering Duncan but it is Lady Macbeth on whom the burden of crime takes its toll. How do the characters of Macbeth and Lady Macbeth develop differently over the course of the play? 2. Is Macbeth a tragic hero according to the classical definition of the term or is he merely a monster? Does Shakespeare succeed in creating sympathy for Macbeth? 3. Macbeth is basically a man of conscience but with a fatal weakness: ambition. Discuss. 4. “This dead butcher and his fiend like queen...” Is this a valid assessment of Macbeth and Lady Macbeth? 5. Fair is foul and foul is fair’. How does equivocation play a vital role in bringing about Macbeth’s destruction? 6. Who is responsible for the downfall of Macbeth? 7. ‘I have no spur/ To prick the sides of my intent, but only/ Vaulting ambition…’ Discuss how ambition is both rewarded and punished in the play. 22 English Learning Area Unit of Work: Macbeth Katherine Barton 359 561 Appendix G:PowerPoint presentation slide, Tableaux TABLEAUX • A Tableaux is a still image or freeze frame created by a group of people to represent a scene. Each group must create a set of 3 tableaux representing the following: 1. Before the murder of King Duncan 2. The murder of King Duncan 3. After the murder of King Duncan • -­‐You must perform your 3 tableaux to the class, holding each one (without any movement!) for 10 seconds. • Handy tips: -­‐Use the space around you effectively -­‐Incorporate a variety of levels -­‐Use exaggerated facial expressions -­‐Actors can be objects 23 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Appendix H: Lady Macbeth’s soliloquy, Act 1, Scene 5. Home-­‐work Task: Re-­‐write/represent Lady Macbeth’s soliloquy from Act 1, Scene 5. Use modern colloquial language to represents her thoughts and emotions at this point in the play. You may choose the mode of text (eg. blog, Facebook updates, Fakebook, tweets, series of Instagrams, text messages etc). Due: next class. Dear readers, Can you please help me! I am having an issue with my bf! Macbeth could totally be the king. But’s he’s weak! He’s too good to make the tough decisions! Like, he wants to be King but he isn’t prepared to suck it up and do the dirty work to get there! Be a man Macbeth! Duncan will come to my house and never leave! Macbeth just needs to hurry home so I can tell him what to do, because clearly he can’t make decisions on his own! Everyone knows what is going to happen… it’s inevitable! And if Macbeth won’t take charge of it then I will. That’s the solution. I’ll do it!!!!! I could TOTALLY be a man, and make the tough calls! Just take away my femininity and I’ll be cruel, and without remorse! I will do it… I’ll kill Duncan and I’ll have no second thoughts about it. Stay tuned for how it goes! Luvs ya faithful readers, L.M @ladymacbeth COMMENTS: @McDuff Lady… are you crazy???? #insane #murderer #nowaymate #craycray @Banquo Macbeth… run! #psychogirlfriend #whipped #dumpher @missbarton He sounds like a nightmare! Just do it yourself, go girlfriend! YOLO swag! #womanpower #mensuck #justdoit @mrsfogarty We are talking about a prophesy from WITCHES here… let’s not get too excited! #superstitious #powerhungry #notworthit 24 English Learning Area Katherine Barton 359 561 Unit of Work: Macbeth Primary Text: Shakespeare, W. (Cambridge version 2005). Macbeth. Cambridge: Cambridge University Press. Dir: Polanski, R. (1971). Macbeth. United States: Columbia Pictures. Reference List: Ackroyd, J. (1998). Much Ado About Shakespeare. NADIE Journal (NJ-­‐Drama Australia Journal). 22, 1. Doona, J. (2001). A Practical Guide to Shakespeare for the Primary School [electronic resource]. Hoboken: Taylor & Francis. Hurley, N. (2009). 175 Theatre Games: warm-­‐up exercises for actors. Colorado: Meriwether Publishing. Johnson, M. (2011). Shakespeare’s Language. Royal Shakespeare Company Education. Accessed at http://www.rsc.org.uk/downloads/rsc-­‐shakespeares-­‐language-­‐2011.pdf O’Toole, J. (2007). Teaching Shakespeare: Why Shakespeare Still Matters in School. Teaching. October. Royal Shakespeare Company. (2009) Stand up for Shakespeare. Accessed at http://www.rsc.org.uk/standupforshakespeare. VCAA.(2013). English Domain. The Australian Curriculum in Victoria (AusVELS). Retrieved May 20 2013. Accessed at hhtp://ausvels.vcaa.vic.edu.au 25