A midsummer night’s dream Year 7 Term 4 assignment

The task - summarised Modernised script of the dialogue between 2 - 3 characters 1 page of annotations of stage directions 1 page of annotations of figurative language You may condense both pages of stage directions/figurative language into one document, though this will only grant you a C as a sound analysis of both elements. Speak to me if you believe you will struggle with this task. Reflection – critical evaluation in week 6 (after performances) Each individual student is to submit their own script, and two pages of annotations of their OWN lines on the DAY OF PERFORMANCES in week 6. SET UP A GOOGLE DOCUMENTS ACCOUNT SO BOTH OF YOU CAN REMOTELY ACCESS YOUR SCRIPT. THIS WILL ENSURE YOU AVOID RETYPING ANYTHING/LOSING YOUR WORK.

How to effectively structure your time BY WEEK 2 FRIDAY – TASK IS DISTRIBUTED TO STUDENTS By week 3 Friday = your script should be nearly complete By week 4 Friday = submit your draft of your pair/group script Begin practicing your script with your partner/your lines at home By week 5 Monday = receive your script feedback from me/make any necessary changes By week 5 Friday = Have your annotations completed (both pages – or condensed into one) Have your props/costume items sorted, and continue practicing over the weekend Week 6 Monday = Be ready to present with your partner. Have all prop/costume items ready to present. Submit the following as hard copies: Script Page 1 annotation (stage directions) Page 2 annotation (figurative language) Week 6 Wednesday/Thursday = In class critical evaluation/reflection on your performance.

Scene options Choose your scene from the list below: ** Page numbers follow the Cambridge University Press Edition I’m confident in drama: Hermia and Lysander (lines 128 – 167) – page 11 – 13 Oberon and Titania (lines 60 – 80) – page 31 and (lines 138 – 147) – page 35 Demetrius and Helena (lines 188 – 219) – page 41 or you may edit pages 39 and 41 to condense this script. Hermia and Lysander (lines 94 – 128) – page 51 or you may edit pages 51 and 53 to condense this script. Demetrius and Hermia (lines 41 – 81) – pages 71 – 73 Hermia and Helena (lines 282 – 320 and then 340 - 344) – page 87 – 89 I’m less confident in drama: Theseus and Hermia (lines 46 – 90) – page 7 - 9 Quince and Bottom (lines 1 – 33) – page 19 – 21 Hermia and Lysander (lines 41 – 71) – page 49 Oberon and Titania (lines 369 – 400) – page 145

Remember, you are modernising your OWN lines but in a conversation, not a soliloquy or monologue Sample modernisation Here I come, bursting with anger and complaint Against my child, my very own daughter Hermia. Step forward, Demetrius! My Lord, this man has my consent to marry Hermia. Stand forward, Lysander. My gracious Duke, like a brazen thief, this man deceitfully entered the safe confines of my innocent daughter’s heart and wilfully stole her affections. You, you Lysander, you’ve given her rhymes, And exchanged presents of love with my child. You’ve pretended to love her, singing false-hearted love songs at her window under the shadowy light of the moon with untruthful poetry verses of disingenuous love, and sinisterly stirred her imagination With bracelets, rings and fancy charms made of your hair, knickknacks, bouquets of flowers and lollies. These small, useless presents can be very convincing on a young, naïve person such as she; You’ve very slyly stolen the faithfulness of my daughter’s heart by night, And even turned her obedience, which is due to me, To harsh stubbornness. My gracious Duke, If she persists to disobey me, I do wish to use my right, as an Athenian father; Because she is my possession, I may do whatever I want with her; And as the law clearly states, I can either give her to this gallant gentleman Demetrius or have her killed. Full of vexation come I with complaint Against my child, my daughter Hermia.— Stand forth, Demetrius. My noble lord, This man hath my consent to marry her.— Stand forth, Lysander.—And my gracious duke, This man hath bewitched the bosom of my child.— Thou, thou, Lysander, thou hast given her rhymes, And interchanged love tokens with my child. Thou hast by moonlight at her window sung With feigning voice verses of feigning love, And stol'n the impression of her fantasy With bracelets of thy hair, rings, gauds, conceits, Knacks, trifles, nosegays, sweetmeats—messengers Of strong prevailment in unhardened youth. With cunning hast thou filched my daughter’s heart, Turned her obedience (which is due to me) To stubborn harshness.—And, my gracious duke, Be it so she will not here before your grace Consent to marry with Demetrius, I beg the ancient privilege of Athens. As she is mine, I may dispose of her—Which shall be either to this gentleman Or to her death—according to our law Immediately provided in that case.

What your script will look like You might choose to bolden your own lines, or use a different coloured font. What your script will look like My lines are in green, modernised. Hermia: I frown at him, but he says he loves me still. Helena: If only your frowns could teach my smiles that skill!   Hermia: I shout abuse at him, yet he still says he loves me! Helena: Oh, if only my prayers could inspire such love in him! Hermia: The more I hate him, the more he follows me! Helena: The more I love him, the more he hates me! Hermia: His stupidity Helena, is not my fault… Helena: No but your beauty is your fault; I wish your fault was mine! My partner’s lines are in black, modernised. Structure: A new line is needed for each character’s lines, as well as the name of the character who speaks the line.

You still need to maintain proper language conventions: -Spelling -Grammar -Punctuation This has been done on Google Documents – you should do the same.

Part 1: annotation: stage directions You should be annotating for these 7 aspects on your own lines on your script

Stage directions definitions Body language: a type of a nonverbal communication in which physical behaviors, as opposed to words, are used to express or convey the information.  This refers to your POSTURE only. Actions and pace: This refers to what your body is doing (movement) while you are stationary (standing still). I also want to know how slowly or quickly you will perform these actions. Facial expressions: Refers to what your face is doing to show emotion – including your eyes, gaze, mouth etc. Voice (volume): refers to how loudly or quietly you are speaking. Voice (tone): refers to how you say particular words, which is reflective of feeling. Voice (pace): refers to how quickly or slowly you are speaking. Blocking: refers to what your body is doing (movement) in a physical sense around the stage – where you are moving and how.

Part 2: Annotation: devices: Impact Hyperbole Exaggerates Metaphor Compares/vivid imagery Simile Alliteration Creates sound pattern – harsh/soft Rhetorical question Conveys frustration, doubt, engages reader Personification Gives human qualities – characterises the object and its environment Emotive language Projects emotions strongly on a reader –encourages empathy Imagery Provides a vivid image for a reader Juxtaposition/contrast Emphasises the differences between two things Oxymoron Emphasises confusion or mixed emotions. Part 2: Annotation: devices: Remember the function of devices ! Remember when analysing your quotes, you need to identity and discuss the device in DETAIL. You must remember the function of these devices  In your annotations, you need to refer to the impact of the technique in relation to the meaning of the quote. E.g. The metaphor compares the … to suggest that The hyperbole serves to exaggerate …to imply that… Aim to showcase your knowledge of figurative devices and word choice. Aim to annotate for at least 5 devices on your script.

Sample annotations Note: There are more on the task assignment sheet! Metaphor  Egeus implies that Hermia’s heart is a ‘house’ that Lysander has unlawfully entered. He suggests her heart was safe, humble and cared for until she fell in love with Lysander. Simile  Egeus compares Lysander to a thief, suggesting he is dishonest, greedy, invasive, and therefore a criminal in how he pursued Hermia. Note: There are more on the task assignment sheet! Auditory imagery/adjective  This appeals to our sense of sound, allowing readers to imagine Lysander singing sweetly to Hermia, though the adjective ‘false-hearted’ prompts audiences to question the sincerity of his love, and even conceive Lysander’s voice to be overly dramatic in his attempts to woo her. Contrast  The noun ‘obedience’ is contrasted to ‘harsh stubbornness’ to demonstrate that Hermia’s loyalties have drastically changed. The adjective ‘harsh’ further exaggerates this.

Evaluation – in week 6 After you present your performance early in week 6, you will be expected to formally reflect on your performance in the form of a critical evaluation piece. Your critical evaluation of the performance is very important as it will reveal your understanding of what makes an effective performance and how language can be used to convey meaning and entertain an audience. You will complete this in class (1 period), where you will reflect meaningfully on how well you executed your scene. You will submit these paragraphs to your teacher for marking at the end of the lesson. Your critical evaluation will include a reflection on the following prompts (but not limited to): Your interpretation of the meaning and key ideas of the scene and dialogue. The key words and language features that you emphasised in the performance and why? Why you chose to perform the scene in this way.  How well you believe you performed scene.

7C Pairs/groups 1 2 3 4 5 Freya Ari Samson Tom Michaela Hayley Hunter Katya Lachlan Zali 20 students 6 7 8 9 10 Laura Charlotte Max Naite Ethan Charlize Lili Rory Kailee Jake

7D Pairs/groups 1 2 3 4 5 Archie Jake Vaughn Jessica Dakota Callum Nelson Hamzah Georgia Bella 16 students 6 7 8 Brayden Lachlan Meredith Rohan Himanshu Audrey