Curricular Resources > 1993 Volume III > Unit 10 (93.03.10) > Section 4

Twentieth-Century Multicultural Theater

CONTENTS OF CURRICULUM UNIT 93.03.10

Unit Guide

Remember the Time: An Exploration of History Through Drama

Nicolette W. Perrault

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MUCH ADO ABOUT NOTHING

DAY 1: Students will view the film and take notes.
DAY 2: Students will review definitions for the following; Setting, Plot, sub-plot, protagonist, antagonist, rising action, climax, falling action, and outcome.
DAY 3-7: Discussion of play

ACT 1: SCENE 1

1. In the opening scene of Act I Shakespeare immediately sets the play in motion. He creates an atmosphere of expectation. Where is this evidenced?
2. What news is conveyed which also helps to give information that we may need to understand present events?
3. From her tone and the nature of her description of Benedick, what can we assume are Beatrice’s feelings toward him?
4. The action of the play advances with the arrival of Benedick, Claudio, and Don Pedro. Benedick and Beatrice become engaged in verbal banter. What does this reveal about their relationship?
5. The plot is advanced with the arrival of Claudio. What is the significance of his conversation with Benedick? (Is there such a thing as love at first sight?)
6. When Don Pedro enters and hears of the discussion, what does he volunteer to do?
7. What are Benedick’s views toward love and marriage? Do you think this is a view typical of most men?

ACT 1: SCENE 2

8. What news transpires between Leonato and his brother in this scene?

ACT 1: SCENE 3

9. What news does Borachio bring forth that sets this miserable trio into action?

ACT 2: SCENE I

10. What does Beatrice believe to be the ideal suitor?
11. Don Pedro asks Hero if she will walk with him. What is the nature of his business with her?
12. When Beatrice unknowingly engages in conversation with Benedick, believing him to be a stranger, the topic that is brought up is the subject of Benedick himself. What does Beatrice say about him?
13. John and Borachio recognize Claudio in spite of his disguise. By what name do they address him? To set their evil plot into motion what bits of gossip do they leave with him?
14. After hearing the news to what conclusion does Claudio arrive?
15. Why is the scene which takes Place between Claudio and Benedick necessary?
16. When Don Pedro and Benedick meet, what does Benedick first tell him in relation to his teasing of Claudio?
17. Of what does Don Pedro assure Benedick?
18. At the end of their conversation Benedick tells Don Pedro how ill Beatrice had spoken of him. in brief what were Beatrice’s thoughts?
19. As Claudio, Beatrice, Hero, and Leonato reenter, a funny scene takes place between Benedick and Don Pedro. Rather than endure the tongue of Beatrice what does Benedick request of Don Pedro?
20. After Benedick’s hasty departure, what announcement is made by Don Pedro?
21. Don Pedro engages in conversation with Beatrice. What question does he asks her and why?

ACT 2: SCENE 2

22. Borachio after hearing the news of the impending wedding tells John that he can cross it. How does he propose to do this?
23. How much does John offer as payment to Borachio?

ACT 2: SCENE 3

24. Benedick while alone confesses his thoughts on the news of Claudio. Examine his speech. What are his thoughts?
25. When Benedick hides what news does he overhear when Don Pedro, Claudio, Leonato, and Balthasar enter? What does Benedick think of Balthasar’s singing?
26. As Benedick continues to hide what news does he overhear?
27. What reason do the men offer as to their denial of revealing this news to Benedick?
28. After the bait has been placed on the hook. what is the reaction of the fish (Benedick)?
29. Describe Benedick’s behavior when Beatrice is sent to fetch him to dinner.

ACT 3: SCENE 1

30. What request does Hero make of Margaret and why?
31. Of what does Hero advise Ursula?
32. How do Hero and Ursula bait the hook for Beatrice 33. What reason do the women offer for refusing to divulge this
information to Beatrice?
34. What counsel does Hero plan to give Benedick?
35. when Beatrice hears these new developments, what is her reaction and what does she say?

ACT 3: SCENE 2

36. Don Pedro and Claudio tease Benedick. Though they believe him to be in love. of what does Benedick claim to be the nature of his problem?
37. Why does John approach his brother Don Pedro and Claudio?
38. How is the mood of the Play shifted in this scene? Explain in detail.
39. What is your immediate impression of Dogberry?
40. Of what does he instruct the men?
41. Conrade and Borachio enter. What according to Borachio. were the three pieces of evidence which were used to deceive Claudio and Don Pedro?

ACT 3: SCENE 4

42. It is the day of Hero’s wedding, and she is trying to make a decision as to which gown she will wear. What other topics of conversation are touched upon?
43. How would you characterize the role of all three women in this scene?
44. what news does Dogberry present to Leonato? How does he instruct them?

ACT 4: SCENE 1

45. During the wedding ceremony when Claudio is asked if he has come to marry Hero, he responds “No.” Was his respond received seriously? Explain.
46. When the Friar asks if there is any reason why the two should not be joined, Leonato answers for Claudio. How does Claudio react to this response?
47. Of what does Claudio accuse Hero?
48. How does Don Pedro reinforce Claudio’s accusation?
49. How does this news affect Hero?
50. What convinces Leonato of Hero’s guilt?
51. What is the Friar’s plan?
52. What do Beatrice and Benedick reveal to each other?
53. What request does Beatrice make of Benedick?

ACT 4: SCENE 2

54. What information is brought forth by the first and second watch?
55. What news does the sexton bring forth?

ACT 5: SCENE 1

56. Leonato and his brother, Antonio, encounter Claudio and Don Pedro. Of what does Leon accuse Claudio?
57. How does Antonio show his loyalty and support for his brother?
58. To what do Claudio and Don Pedro attribute Benedick’s “angry look?”
59. When Dogberry, Verges, and the Watch approach Don Pedro and Claudio with Borachio and Conrade, what does Borachio confess?
60. When Leonato and Antonio return does Leonato believe Borachio to be the only villain in this foul plot? Explain.
61. What request does Leonato make of Claudio to atone himself for the part he played in bringing about Hero’s death?

ACT 5: SCENE 2

62. Benedick tells Beatrice that he has challenged Claudio. Then on a romantic note he asks her “which of my bad parts dids’t thou first fall in love with me?”
63. At the end of this scene what news is brought by Ursula?

ACT 5: SCENE 3

64. Claudio fulfills his promise to Leonato. What does he promise to do yearly?
65. What request does Benedick make of the Friar?
66. What is Claudio’s reaction when Hero is unmasked? Don Pedro’s?
67. Describe the scene that takes place between Benedick and Beatrice.
68. As in the beginning of the play we hear news which comes from a messenger. What news brings forth the final curtain?

WEEKS 5 & 6: The Modern Theatre

STEP 1: “Are You working on your Projects? If You need ideas or suggestions please come and talk to me. You should be completing the reading of The Colored Museum by George C. Wolfe.” This week I will share information with students on The Modern Theatre. I want to get students out of their seats this week by having them participate in theatre games and improvisations. I would like to have students read and walk through scenes from three contemporary plays. I have chosen scenes from Henrik Ibsen’s A Doll’s House , George Bernard Shaw’s Arms and the Man , and Tennessee Williams’ The Glass Menagerie . Scenes selected from the plays will be viewed on video, and students will be able to compare the live performances with the interpretations of the actors on the screen.

STEP 2: After giving students background information on each of the plays and the characters, I think I would ask students how they might play the role. Here are the specific questions:

1) How would you describe yourself both physically and emotionally?
2) How do You feel about yourself?
3) How do you feel towards your situation?
4) What do you want?
5) How can your movements help you to achieve your desired goal or goals? Well. this is called writing director’s notes, and this is what you will be doing for each scene.

STEP 3: This week I will concentrate on character development, movement, and interpretation. I would like to see students really get into character and try to experience what that character is feeling.

STEP 4: The aspects of dramatic style which most concern me this week are stage presence and delivery. The main question that the student should asks him or herself is ... Is this character believable?

STEP 5: When I explain the content of each of the plays I think the students will get a better idea of what is expected in the individual scenes. I will talk briefly about the themes in each of the plays, but this will not be the focus of this week’s activities.

STEP 6: Students will be able to read and analyze a dramatic scene. Students will be able to write director’s notes for a dramatic scene. Students will be able to compare and contrast two distinct forms of a dramatic scene.

STEP 7: Students will be evaluated in three areas this week: a) Participation b) Written Director’s Notes c) Essay of Comparison & Contrast.

“This is going to be a great week! Are you ready to have fun? Let’s engage in a few warm-up activities before I introduce the lesson for the week. I learned these warm-up activities in my seminar this past summer. The first one is called mirroring. I saw this one on the Lucy Show one time, and she was great. Red Skelton, another great comedian was also excellent with this. Everyone gets up and gets a partner. One person is the leader and initiates the movements while the other person tries to imitate as perfectly as possible.” After a few minutes. the roles are reversed. “For our next activity we are going to create a moving collage with sound effects. Each person will come up to the front of the class and engage in a movement which complements the movement of the previous person. Also remember to add sound to your movement.” This continues until the entire class is involved. “The next activity is my all time favorite, and I’m sure you will enjoy it. one person will assume the movements of an animal or character and continue to move in this manner until the next person in line has mastered the movements. He or she will then transform the character and will relinquish it only when the next person in line has assumed it.” (At your discretion you can add more games or improvs.)

Now let’s talk about the Modern Period in drama. The man who is actually credited with coming up with a formula which helped to set the stage for the basis of successful contemporary plays is a prolific playwright named Scribe. “Scribe wrote more than 400 vaudeville sketches, plays, and operas between 1830 and 1860.” ⁹ Scribe wrote plays which catered to the taste of his middle-classed audience. and because of this he was immensely popular. In 1836 Scribe was elected to the French Academy. The following words justify his dramatic philosophy. “You go to the theatre, not for instruction or correction, but for relaxation and amusement. Now what amuses you most is not truth, but fiction. To represent what is before your eyes every day is not the way to please you; but what does not come to you in your usual life, the extraordinary. the romantic. that is what charms you, that is what one is eager to offer you.” ¹⁰ In essence, I think his philosophy sums up our need not only for the live performances of the theatre but also the moments of escapism we experience while watching a movie.

One person who rebelled this form of “escape philosophy” was Henrik Ibsen, a playwright considered to be the father of the modern drama, and the writer of the first play we will be discussing this week, A Doll’s House (1879). When he presented this play in the late 1800’s, a dramatic bomb exploded. Well, you will see what caused the great uproar when we get to the play. Ghosts (1881). and An Enemy of the People (1882) were even more explosive.

In history you have studied the period of Industrialism. During this period of rapid development there was also the growth of democracy, the rising influence of science in the modern world, and the emergence of new problems. All of these called for dramatic treatment. “Modern dramatists represented life on stage not only in realistic terms but in naturalistic terms, stressing the sordid, ugly aspects “scientifically” and presenting human beings as helpless victims of biological social. and economic forces.” ¹¹

This new approach gave rise to Free Theatres being established in Paris, London, Berlin, and Moscow. In fact, in Moscow the famous Moscow Theatre was established and the most influential leader of realism, Stanislavsky, developed the Method approach. This is where the works of the famous Anton Chekhov were produced.

As we move into the twentieth century we see dramatists who produce an interesting spectrum of romantic. fantastic. and realistic elements in their Plays. Tennessee Williams, playwright of The Glass Menagierie (1944). belongs to this category of renowned playwrights.

Now let me tell you about the plays. the characters, and the scenes we will be focusing on during the next three days.

A Doll’s House is a play which deals with the institution of marriage and the position of women. Nora, the main character, is faced with a dilemma which she elects to hide from her husband. she forges her father’s signature on a promissory note in order to get money to move Torvald, her husband to a warmer climate in the hopes of saving his life. Krogstad, an employee of Nora’s husband. transacted the agreement and later discovered that the date next to the signature was not consistent with the untimely death of her father. Krogstad. in the hopes of furthering his career, threatens Nora with exposure if she does not speak favorably in his behalf so that he can gain a promotion from Torvald. Nora gains no favor with Torvald. Her friend, Christine tries to assist Nora since she at one time was romantically linked with Krogstad. Unfortunately, Torvald, in spite of Nora’s engaging distractions, retrieves a letter revealing all that was written by the disappointed and disillusioned Krogstad. Torvald lashes into Nora unmercifully. In the final scene Nora leaves her husband and children. You can imagine the shocking controversy this play caused. It was simply unthinkable for a woman to desert her family particularly during this time. A contemporary counterpart would be Kramer vs.. Kramer.

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