Grade 9 Unit 16: Elizabethan Drama

Grade 9 Unit 16: Elizabethan Drama

Table of Contents

Introduction 2

Objectives 2

Lesson 1: Drama in the Elizabethan Era 3 Warm-up! 3 Learn About It! 3 Check Your Understanding 8 Let’s Step Up! 8

Lesson 2: Elizabethan Theater: The Globe Theater 9 Warm-up! 9 Learn About It! 9 Check Your Understanding 13 Let’s Step Up! 13

Lesson 3: Shakespearean Tragedy: Selection 14 Warm-up! 14 Learn About It! 14 Check Your Understanding 21 Let’s Step Up! 21

Performance Task 22

Self-Check: How Well Did I Learn? 25

Wrap Up 26

Bibliography 27

GRADE 9 | English

UNIT 16 Elizabethan Drama Drama and theater have made their mark in the social settings of the past and the present. The theater has been part of the customs and social existence of the general population, depicting and affecting the totality of their lifestyle, tragedy, entertainment, and social status. Despite its purpose as a means of amusement, it also functions as more than that, oftentimes giving a glimpse of the nature and lives of individuals or the intricacies of society.

Objectives

In this unit, you should be able to:

● employ effective and appropriate nonverbal communication strategies; ● get familiar with the technical vocabulary for drama and theater (like stage

directions); ● analyze literature as a means of understanding unchanging values in a changing

world; and ● determine tone, mood, technique, and purpose of the author.

2 Copyright © 2018 Quipper Limited

Lesson 1: Drama in the Elizabethan Era

The English Elizabethan era stands out as one of the most intriguing periods in the history of England. The Elizabethan era is named after the Queen Elizabeth I, who reigned over England and Ireland from November 17, 1558 to March 24, 1603. The Elizabethan era was a time of great explorers, for example, Sir Francis Drake and Walter Raleigh, and the principal theater icons in England—William Shakespeare, Christopher Marlowe, and the Globe Theater.

Warm-up!

Quick Writes In five minutes, write as many words or phrases as you can when you hear the name “William Shakespeare.” After the time expires, share your work in class.

Learn About It! Elizabethan Drama All throughout the Middle Ages, English dramatization, similar to that of other European nations, was for the most part religious and instructional. Its main structures were the miracle plays, which were enactments of stories from the Bible and the lives of the holy people, and the morality plays, which portrayed the struggle between good and evil. Morality plays aimed to positively affect the behavior of the audience and help them improve their morals.


During the Renaissance period in England (15th to 17th century), particularly during the Elizabethan era, drama developed to its fullest and most enduring artistic quality. The advancement of language and the types of versification allowed writers to produce the best literary works during that time.

A. Elizabethan Tragedy The early advancement of tragedy was associated with the historical plays. The writers then broke away from reality and used their imagination, and this had an impact in the way tragedies were written. The conventional classical structure and the complete separation of comedy and tragedy were eliminated, resulting in a series of plays that gave a picture of human life depicting pain and suffering. The following are the characteristics that make Elizabethan tragedy different from other types of drama:

1. For a literary work to be considered a tragedy, it must end with an unhappy conclusion. In the Elizabethan era, this typically meant the death of the main character(s).

2. The catastrophic ending should not be brought about by accident. Rather, it

should be directly caused by a flaw in the protagonist’s character through his or her actions or interactions with other characters in the story.

3. The protagonist should possess a quality that outweighs his or her flaws or

defects. This is so that viewers would be interested in the character and care about his or her fate.


The master of tragedy was William Shakespeare, and it was through writing works of tragedy that he achieved his most prominent peak. Hamlet, King Lear, Macbeth, and Othello are among his finest creations. Of these, Hamlet was maybe most well-known during its time. It had also influenced other plays that time. Because of the wonder of its verse, the engrossing idea of the plot, and the striking quality of the characters who radiantly exude uniqueness, Hamlet was compelling to almost everyone. The depiction of the hero, the nuances of the characters’ personalities and the unpredictability of their intentions test the viewers’ ability for solving puzzles. Aside from Shakespeare, other notable dramatists who penned tragedies during the Elizabethan era include the following:

● Christopher Marlowe Marlowe wrote six or seven plays throughout his life, and all of them were greatly successful. Among these were the tragedies Edward II, The Jew of Malta, Doctor Faustus, and Tamburlaine. Tamburlaine is particularly significant because among the many English tragedies, it is the first to use the blank verse, a type of poetry that uses regular meter but does not have rhymes.

● Thomas Kyd Although not as popular as Shakespeare or Marlowe, Kyd is one of the dramatists who greatly influenced the development of Elizabethan drama. One of his works, The Spanish Tragedy, is considered as having pioneered a new genre in Elizabethan drama: the revenge tragedy or revenge play. In fact, Kyd’s work is so significant that several elements of The Spanish Tragedy are used by Shakespeare in his play Hamlet.

● Thomas Middleton A celebrated playwright of the late-Elizabethan era, Middleton was among the most prolific, penning many plays and collaborating with other writers. Two tragedies are considered his masterpieces: Women Beware Women and The Changeling, the latter of which he co-wrote with William Rowley.


B. Elizabethan Comedy Another type of drama is comedy, and the Elizabethan era, though not an age of comedy, certainly had its fair share of it. But what makes a drama a comedy? Many critics attempt to define it as the opposite of tragedy since tragedies are more easily characterized. However, Elizabethan comedy differs significantly from the modern comedy we see today. For instance, Elizabethan comedies are not necessarily funny, and not all the scenes in comedies need to be light-hearted or happy. Here are the characteristics of Shakespearean comedies, the comedies most significant and popular in the Elizabethan era:

● The theme prevalent in all Shakespearean comedies is love. ● A Shakespearean comedy presents a happy ending; typically, this involves the

marriage of unwedded characters or the declaration of love between two characters who have feelings for each other.

● Before the happy conclusion, though, the characters are portrayed as struggling to overcome some difficulties caused by their elders.

● Language is used to make the drama comedic. Insults, metaphors, and witty wordplay are noticeable in comedy.

● Mistaken identity is another element often present in Shakespearean comedies. Sometimes, this is intentional on the character’s part, as some characters take on a disguise in certain scenes. It is also common for women characters to take on a disguise and present themselves as men characters.


The comedies of Shakespeare are far from shallow. For example, two of the comedies he wrote, As You Like It and Twelfth Night, not just show with incredible aptitude many aspects of human nature but also bring before us an entire arrangement of delightful scenes. Another of Shakespeare’s comedies, The Tempest, accomplishes more than this. While it gives us again a significant part of the appeal of the prior comedies, it also exhibits the smooth intelligence of its creator's riper years. Aside from Shakespeare, other notable writers who produced comedies during the Elizabethan era include the following:

● Ben Jonson A friend of Shakespeare and his main rival after Marlowe passed away, Jonson is also one of the notable Elizabethan playwrights. In his comedy The Alchemist, Jonson exhibits a style that is markedly different from that of Shakespeare. While Shakespeare produced romantic comedies, Jonson’s The Alchemist is a realistic comedy, reflecting life in London around the year 1600.

● Thomas Dekker Another playwright who wrote realistic comedies is Thomas Dekker. His comedy The Shoemaker’s Holiday is particularly notable for its usage of multiple plot lines as it seamlessly puts together three subplots. It depicts everyday life in London, and its themes include commerce, gender, social class, fashion, and wartime.

● Robert Greene Although he was known as a pamphleteer and dramatist who negatively critiqued his fellow writers, Greene’s most significant and best work is a comedy. Its title is Friar Bacon and Friar Bungay, and it is about the friars Roger Bacon and Thomas Bungay. This comedy has a multiple plot structure, and it was so successful that it prompted the writing of a sequel.


Check Your Understanding

Answer the following questions.

1. What are the purposes of English drama in the Middle Ages? 2. What influenced the rise of Elizabethan drama? 3. Who is the master of tragedy? Why was he considered as such? 4. In your own words, how are Elizabethan tragedies characterized? 5. How is a Shakespearean comedy different from a realistic comedy?

Let’s Step Up!


Lesson 2: Elizabethan Theater: The Globe Theater

The Globe Theater was the primary performance center in Elizabethan London. It was presented by an Elizabethan business visionary, James Burbage, and was first called The Theater. The Globe was made from the timbers of the "Theater"; William Shakespeare and his organization of performers assisted with the development. The Globe Theater was a stunning achievement, and people in London always clamored for more new plays.

Warm-up!

Quick Writes In five minutes, identify and define as many theater terms as you can based on your previous knowledge and lessons about theater. Afterward, share your answers in class and identify which words are familiar with your classmates.

Learn About It!

The plays performed in the Globe Theater were written by Elizabethan playwrights, for example, William Shakespeare. Excellent performing artists like Richard Burbage, William Kempe, and Edward Alleyn were the local celebrities of the Elizabethan time. They were part of the reason that people gathered in theaters, including the Globe.


Interior of The Globe Theater 1. The Pit or Yard The pit, or yard, was the space surrounding the stage. This was the least expensive area of the Globe Theater, so the people needed to stand. The stage structure extended partially into the "yard" where the ordinary citizens, called groundlings, paid one penny to watch the play.

2. The Galleries Around the theater were three levels of roofed galleries. The galleries were accessed through a hallway in the back. There were wooden seats and a rooftop, offering cover from harsh weather. 3. The Stairs and Access The theater had one main entryway. Some theaters built later had external staircases leading to the galleries. 4. The Stage It is not clear what the dimensions of the Globe stage were. Stage measurements of Elizabethan performance centers ranged from 20 feet wide and 15 to 45 feet deep. The stage was raised 3 to 5 feet and bolstered by strong pillars. The stage floor was wooden and had trap doors to allow for some special effects such as smoke. At the back of the stage, there was a roofed house-like structure bolstered by two pillars. 5. The Heavens The pillars provided support to a roof called the heavens. The heavens is an area that is not visible to the audience, serving as a place for the actors to stay in when they are not needed onstage. This area also has ropes and gear used for special effects such as dramatic entrances or flying.


6. The Frons Scenae Behind the pillars is the frons scenae, which is the stage wall. The term frons scenae was taken from the name given by Imperial Rome to the stage walls of their amphitheaters. There was an entryway to the left and right and a curtained main entryway from which the performing artists made their entrances. Over the door was an immensely decorative screen. 7. The Lord’s Rooms Right above the stage wall was a stage gallery known as the lord's rooms. It was used by actors (such as in Juliet’s scene in the balcony) and by the upper classes and the nobility. The lord's rooms were viewed as the best seats in the house even though it offered a poor view of the back of the performing artists. The cost was five pence, and padded seats were made available to the audience in this part of the theater. 8. The Gentlemen's Rooms On the left and right of the Lord’s rooms were balconies that were known as the gentlemen's rooms. These seats were for wealthy supporters of the Globe theater, and the cost was four pence, which entitled the audience to padded seats. 9. The Tiring House and the Hut The stage wall structure contained no fewer than two entryways, which led backstage to a structure called the tiring house. A curtain covers the stage wall. It was in this area that the performers changed their clothing, which was why it was called the tiring house. Above the tiring house was a little house-like structure called the "hut.". The hut was utilized as a secure storage room for the acting troupe.


Drama Vocabulary In your previous lessons, you encountered vocabulary words that are connected with theater. The following are additional theater vocabulary terms:

1. Allegory - This is a literary device in which characters, events, or objects serve as representations of principles or ideas. An example of allegory is the spiritual journey shown in The Pilgrim’s Progress by John Bunyan.

2. Amphitheater - This is an expansive, semi-round open-air theater with seats ascending in levels from a stage in the center. It is used as a venue for entertainment or performances.

3. Blank verse - This is a kind of poetry with regular meter yet no rhyme. 4. Farce - This is a type of comedy that uses preposterous characters and scenes to incite

the audience to laugh. 5. Heresy - This is a religious theory or idea that goes against common conventions. 6. History chronicle - This is a play based on exceptional individuals or events. 7. Mystery play - This is a play portraying a scene or scenes from the Bible. 8. Pageant - This is a dramatic presentation, such as a play that often shows a historical

or a religious event. 9. Puritans - They are members of a Protestant group in England and New England in the

16th to 17th century who were opposed to the Catholic practices of the Church. 10.Reformation - This is a 16th-century spiritual development that envisioned to change

the Roman Catholic Church and brought about the foundation of Protestant churches. 11.Revenge tragedy - This is a play in which the primary motive of the protagonist is

revenge. 12.Romance - This is a literary work about unrealistic events including characters that are

unique in relation to normal individuals. 13.Soliloquy - This is a discourse in which a character, alone in front of an audience,

communicates his or her mind out loud.



Match the terms from column A to its definition in column B.

Drama Terms Definition 1. farce 2. soliloquy 3. allegory 4. heresy 5. puritans

a. a literary device in which characters, events, or objects serve as representations of principles or ideas b. presents preposterous characters and scenes to influence the audience to laugh c. a religious theory or idea that goes against common conventions d. members of a Protestant group in England and New England in the 16th to 17th century who were opposed to the Catholic practices of the Church e. a discourse in which a character, alone in front of an audience, communicates his or her mind out loud.

Let’s Step Up!


Lesson 3: Shakespearean Tragedy: Selection

Antony and Cleopatra is a tragedy written by William Shakespeare. It was believed to be performed around 1607 in the Globe Theater. The play looks into the relationship of Cleopatra, Queen of Egypt, and Mark Antony, one of the three rulers of the Roman Republic.

Warm-up!

Think-Pair-Share With a partner, look for reference materials in the library and on the internet about the life of Cleopatra and Mark Antony. Draft a report about your research and present it in class. You may use these as reference:

1. Birth and death 2. Rank in their respective countries 3. Relevant contributions in their countries

Learn About It!

Read the excerpt from the play Antony and Cleopatra and answer the guide questions that follow:


Antony and Cleopatra

Act 4 Scene 15 William Shakespeare

[Enter, above, CLEOPATRA, CHARMIAN and IRAS.]

CLEOPATRA.

O Charmian, I will never go from hence! CHARMIAN.

Be comforted, dear madam. CLEOPATRA.

No, I will not: All strange and terrible events are welcome, But comforts we despise; our size of sorrow, Proportion'd to our cause, must be as great As that which makes it.—

[Enter, below, DIOMEDES.]

How now! is he dead? DIOMEDES.

His death's upon him, but not dead.

Look out o' the other side your monument; His guard have brought him thither.

[Enter, below, ANTONY, borne by the Guard.]

CLEOPATRA.

O sun, Burn the great sphere thou mov'st in!—darkling stand

The varying shore o' theworld.—O Antony,


Antony, Antony!—Help, Charmian; help, Iras, help,— Help, friends below;—let's draw him hither.

ANTONY.

Peace! Not Caesar's valour hath o'erthrown Antony,

But Antony's hath triumph'd on itself. CLEOPATRA.

So it should be, that none but Antony

Should conquer Antony; but woe 'tis so! ANTONY.

I am dying, Egypt, dying; only

I here importune death awhile, until Of many thousand kisses the poor last

I lay upon thy lips. CLEOPATRA.

I dare not, dear,—

Dear my lord, pardon,—I dare not, Lest I be taken: not the imperious show

Of the full-fortun'd Caesar ever shall Be brooch'd with me; if knife, drugs, serpents, have

Edge, sting, or operation, I am safe; Your wife Octavia, with her modest eyes

And still conclusion, shall acquire no honour Demuring upon me.—But come, come, Antony,—

Help me, my women,—we must draw thee up; Assist, good friends.

ANTONY.

O, quick, or I am gone. CLEOPATRA.

Here's sport indeed!—How heavy weighs my lord!


Our strength is all gone into heaviness; That makes the weight: had I great Juno's power, The strong-wing'd Mercury should fetch thee up,

And set thee by Jove's side. Yet come a little,— Wishers were ever fools,—O come, come;

[They draw ANTONY up.]

And welcome, welcome! die where thou hast liv'd: Quicken with kissing: had my lips that power,

Thus would I wear them out. ALL.

A heavy sight!

ANTONY.

I am dying, Egypt, dying: Give me some wine, and let me speak a little.

CLEOPATRA.

No, let me speak; and let me rail so high That the false huswife Fortune break her wheel,

Provok'd by my offence. ANTONY.

One word, sweet queen:

Of Caesar seek your honour, with your safety.—O! CLEOPATRA.

They do not go together.

ANTONY.

Gentle, hear me: None about Caesar trust but Proculeius.

CLEOPATRA.

My resolution and my hands I'll trust;


None about Caesar. ANTONY.

The miserable change now at my end

Lament nor sorrow at: but please your thoughts In feeding them with those my former fortunes Wherein I liv'd, the greatest prince o' the world,

The noblest; and do now not basely die, Not cowardly put off my helmet to

My countryman, a Roman by a Roman Valiantly vanquish'd. Now my spirit is going:

I can no more. CLEOPATRA.

Noblest of men, woo't die?

Hast thou no care of me? shall I abide In this dull world, which in thy absence is No better than a sty?—O, see, my women,

[Antony dies.]

The crown o' the earth doth melt.—My lord!— O, wither'd is the garland of the war,

The soldier's pole is fallen: young boys and girls Are level now with men: the odds is gone,

And there is nothing left remarkable Beneath the visiting moon.

[Faints.]

CHARMIAN.

O, quietness, lady! IRAS.

She is dead too, our sovereign.

CHARMIAN.


Lady!— IRAS.

Madam!—

CHARMIAN.

O madam, madam, madam!— IRAS.

Royal Egypt, Empress,—

CHARMIAN.

Peace, peace, Iras! CLEOPATRA.

No more but e'en a woman, and commanded By such poor passion as the maid that milks

And does the meanest chares.—It were for me To throw my sceptre at the injurious gods; To tell them that this world did equal theirs

Till they had stol'n our jewel. All's but naught; Patience is sottish, and impatience does Become a dog that's mad: then is it sin To rush into the secret house of death

Ere death dare come to us?—How do you, women? What, what! good cheer! Why, how now, Charmian!

My noble girls!—Ah, women, women, look, Our lamp is spent, it's out!—Good sirs, take heart:— We'll bury him; and then, what's brave, what's noble,

Let's do it after the high Roman fashion, And make death proud to take us. Come, away:

This case of that huge spirit now is cold: Ah, women, women!—Come; we have no friend

But resolution, and the briefest end. [Exeunt; those above bearing off ANTONY'S body.]


Guide Questions: 1. What was Cleopatra doing in the monument?

2. Who came to see Cleopatra? Why did he want to see her?

3. What was Cleopatra’s visitor’s attitude as he faced death?

4. What did Cleopatra’s visitor reminisce about?

4. What did Cleopatra mean by this statement?

The crown o' the earth doth melt.—My lord!—

O, wither'd is the garland of the war,

The soldier's pole is fallen: young boys and girls

Are level now with men: the odds is gone,

And there is nothing left remarkable

Beneath the visiting moon.

5. Why did Charmian say “She is dead too, our sovereign”?

6. What did Cleopatra ask her maids to do after her visitor died?

7. Is Antony considered a tragic hero? Why or why not?



Write True if the statement is correct and False if the statement is incorrect. _______1. Cleopatra did not want to see Antony despite his condition. _______2. Antony wanted to embrace Cleopatra once more before he dies. _______3. For Cleopatra, life without Antony is compared to a life worth living. _______4. Antony wants Cleopatra to run away from Caesar as much as she can. _______5. Antony believes that he will die gloriously.

Let’s Step Up!


Performance Task

A Modern Movie Adaptation

Goal: Your task is to produce and film a modern movie adaptation of a Shakespearean play. Role: You are an upcoming movie director and producer who wants to produce a modern movie adaptation of a play by Shakespeare. You noticed that there are no modern films dedicated to Shakespeare’s work. Audience: Your target audience are adolescent and young adults who are film and theater enthusiasts. Situation: The challenge involves dealing with individuals who cannot relate to Shakespearean plays. The movie adaptation will help in making these individuals relate to the characters better as they will be done in a modern and age-appropriate setting. Product/Performance and Purpose: You will produce a modernized film adaptation of a Shakespearean play.

1. Choose a Shakespearean play that you believe is a good play to be modernized. You may choose a play based on its theme or characterization. You may also choose a play from the list:

a. Romeo and Juliet b. A Midsummer Night’s Dream c. The Merchant of Venice d. The Taming of the Shrew e. Hamlet

Look for the script of your chosen play from the library or the internet. You may also study the synopsis of your chosen play before starting the production. You may also edit the language used in the script to make it modern. Check with your teacher about any changes that you will make.

2. Plan the characters and production staff of the movie. You may hold an audition for the characters. For the production staff, divide the class so that everyone will have roles such as being in charge of camera and editing, costume planning, lights and sounds, props, movie poster, and cinematography.

3. Plan a storyboard of the scenes you will do in the movie. The storyboard must have a sketch of the scene and a description of what the scene will be like.

4. Create a movie poster of your movie adaptation with the characters.


5. Film and edit the movie to 45 to 60 minutes in length. 6. Submit the movie in MP4 or WMV format and the movie poster on JPEG format on a

USB flash drive. 7. Present your movie adaptation in class.

Standards and Criteria for Success: Your work will be judged based on the following rubric:

Criteria Beginning (0-12 points)

Developing (13-16 points)

Accomplished (17-20 points)

Score

Content (Focus on details/events are clearly evident; it is clearly related to the topic.)

Organization (Logical progression of details/events; clear transitions between ideas.)

Language (spelling, mechanics, grammar and usage)

Punctuality

Concept Little to no effort has been exerted in planning and executing the movie production.

Planning and execution of the movie production is fairly clear.

Very clear planning and execution of the movie production.

Storyboard No storyboard submitted

Storyboard is not in logical or sequential order; description

Storyboard included thumbnails of each scene with complete description of


of the scenes are incomplete.

text, effects to be used, and dialogue.

Movie Poster No movie poster submitted

Movie poster has too many incomprehensive elements.

Movie poster is comprehensive and easily understood.

Quality Movie is done with little or no editing.

Movie is made but the editing was not done as it should have been.

Movie is well edited and all scenes are smooth flowing.

Teamwork A few students contributed to the movie production.

Most of the students contributed to the movie production.

All students contributed to the movie production. Everyone has a clear designation.

Score:


Self-Check: How Well Did I Learn?

Do a self-check on how well you learned the lessons in this unit. Place a checkmark in the appropriate box.

Skills I think I need more

practice and assistance

I am familiar and can perform well

with minimal assistance

I am confident that I can perform this on

my own

I can employ effective and appropriate nonverbal communication strategies.

I can get familiar with the technical vocabulary for drama and theater (like stage directions).

I can analyze literature as a means of understanding unchanging values in a changing world.

I can determine tone, mood, technique, and purpose of the author.


Wrap Up

Elizabethan Drama During the Renaissance period in England, particularly in the Elizabethan era, drama developed its fullest and most enduring artistic quality. The advancement of the language and the types of versification allowed writers to produce the best literary works during that time. The Globe theater was the primary performance center in Elizabethan London. It was presented by an Elizabethan business visionary, James Burbage, and was first called The Theater. The Globe was made from the timbers of the "Theater"; William Shakespeare and his organization of performers assisted with the development. The Globe Theater was a stunning achievement, and people in London clamored for more new plays. Antony and Cleopatra is a Shakespearean tragedy that shows the love between Cleopatra, the queen of Egypt, and Mark Antony, one of the three leaders of the Roman Republic.


Bibliography

Abrams, M.H., and Geoffrey Galt Harpham. 2015. A Glossary of Literary Terms. 11th ed.

Stamford, CT: Cengage Learning. Akande, Posted By: Victor. “Drama/Theatre and society: What relevance?” The Nation

Nigeria, 22 Aug. 2014, thenationonlineng.net/dramatheatre-and-society-what-relevance/. Accessed 9 Sept. 2017.

n.d. "Antony and Cleopatra." Sparknotes. Accessed July 24, 2018.

http://www.sparknotes.com/shakespeare/antony/. Shakespeare, William. n.d. "The Tragedy of Antony and Cleopatra." Wikisource. Accessed

July 24, 2018. https://en.wikisource.org/wiki/The_Tragedy_of_Antony_and_Cleopatra#SCENE_XV._Alexandria._A_monument.

Ed. “NoSweatShakespeare.” No Sweat Shakespeare, 4 Mar. 2017,

www.nosweatshakespeare.com/resources/elizabethan-drama-theatre/. Accessed 9 Sept. 2017.

Recommended Link for This Unit: Sato, Dan. 2011. Elizabethan theater: Shakespeare and The Globe. July 24. Accessed July 24, 2018.

https://www.youtube.com/watch?v=YYfM0RFZ5cs.


Grade 9 Unit 16: Elizabethan Drama

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Transcript of Grade 9 Unit 16: Elizabethan Drama