Key Stage 3 Shakespeare 2007 national test …...Using Success in Key Stage 3 Shakespeare: Much Ado...

Key Stage 3Shakespeare

Scene-specific preparation for the

2008 national test

Teacher introduction 2Using Success in Key Stage 3 Shakespeare: Much Ado About Nothing 3Lesson plans 7


MICHAEL JONES KEVIN DYKEand GEORGHIA ELLINAS

Scene-specific preparation for the 2007 national test

Much AdoAbout Nothing


MICHAEL JONES KEVIN DYKEand GEORGHIA ELLINAS

Scene-specific preparation for the 2007 national test

The Tempest

2© Harcourt Education, 2007

Success in Key Stage 3 Shakespeare: Much Ado About Nothing

Teacher introduction: making the most of Success in Key Stage 3 Shakespeare: Much Ado About Nothing Preparing students well for the Key Stage 3 Shakespeare test is an important professional responsibility, but giving them a rewarding experience of studying Shakespeare is even more important.

The student book focuses on the set scenes, but it is assumed that students will have read the play together and/or watched a theatre or video version. Ideally, they should have participated in a dramatic exploration of parts of the play in school so that they are familiar with the rhythms of Shakespeare’s language and have a sense of what happens on stage. Encourage students to download the Globe Theatre podcasts of the 2008 set scenes, when they are available via the Standards website: http://www.standards.dfes.gov.uk/secondary/keystage3/subjects/english/shakespeare/globe_audio/

General reminders• Shakespeare is assessed only for reading and accounts for 18 out of the 50 marks available for

reading. In general students find it harder to achieve high marks on the Shakespeare paper than on the other reading paper.

• You need to prepare students to answer questions on the two sets of scenes printed in the student book, but to do so within the context of the play as a whole. Despite the nature of the test, it is essential for students to engage with Shakespeare as a writer of plays, not just of scenes or of a book.

• In the test itself only two extracts from the specified scenes will be tested, and these are printed on the test paper. Students need to know this, and to be familiar enough with the format of the paper to be confident that they know what is expected in the test itself.

• The Shakespeare paper is not assessed in relation to QCA’s assessment focuses (AFs) for reading which underpin the main reading paper mark scheme. Instead the key areas of focus are character, theme, language and performance and whilst QCA has been emphatic in saying that no question will address more than one of these focuses, it is difficult to envisage a good answer that does not draw from them all. In particular, it is likely that students will need to refer to language in every answer, as can be seen from previous QCA mark schemes.

• The QCA mark scheme shows that while it is essential for students to refer to both extracts in their answers, it is not necessary for them to adopt a comparative approach to the scenes. (Though the choice of passages may allow higher-attaining students to do this, it is not part of the criteria for assessment in the mark band.)

• PEE (Point/Evidence/Explanation) has been and still is a useful mnemonic, but since response features so strongly in the QCA mark scheme, the alternative SPQR (Shakespeare/Point/Quotation/Response) has been used in the 2008 student books with acknowledgements to the Roman Army (raising standards is clearly not a new idea!).

Using Success in Key Stage 3 Shakespeare: Much Ado About NothingThere is no substitute for ensuring that students see the play, whether on screen or in the theatre. If possible, explore aspects of the play through in-class performance, using approaches such as those in the Macbeth workshop outlined in the National Secondary Strategy’s Key Stage 3 Drama Objectives bank. (Otherwise, how can we expect students to write about performance if required to do so?)

Framework objectives which are particularly relevant to a Shakespeare revision programme include:

• 9W6Terminology for analysis• 9W7 Layers of meaning• 9W8 Connectives • 9R2 Synthesise information• 9R3 Note-making at speed• 9R5 Evaluate own critical writing• 9R6 Authorial perspective• 9R7 Compare texts• 9R10 Interpretations of text• 9R12 Rhetorical devices• 9R14 Analyse scenes• 9W17 Cite textual evidence

Encourage students to use the student book effectively by:• Looking back at the illustrated outline of the play to remind themselves of the sequence of

events.• Making sure that they are familiar with the quotations about Beatrice and Benedick and that

they are used to talking about them with other people.• Getting their heads around the four ‘big ideas’ of character, language, theme and performance by

talking with others about the four PQR Focus pages.• Reminding themselves of how each ‘big idea’ features in each extract.• Planning answers to some or all of the sample questions in a specified time.• Working out what are the strengths of the sample answer, and what could be done to improve it.• Looking at the marking criteria on page 25 enough to understand why marks are awarded by the

examiners, and applying those criteria to their own writing.• Following the guidance on planning an answer, and having enough practice to be confident

under time pressure.

Once students have met the play and explored its characters and ideas, the sections of the student book offer focused revision opportunities and are outlined in the following pages.



Contents Page Teaching opportunities

SynopsisThe plot of Much Ado About Nothing

2–3 Using the picture synopsis, including key quotations, is a good way to remind students of the play as a whole. Even as simple an activity as cutting up the pictures and discussing their sequence can be helpful in clarifying understanding.

Set extractsExtract 1: Act 4, Scene 1, lines 196 to 325Extract 2: Act 5, Scene 4

4–99–14

The extracts are annotated in relation to the four main focuses, but students should be encouraged to add their own annotations. (They need to remember that the versions they will meet in the exam will be sections from these extracts, and will not be annotated.)

Much Ado character grid

15 Use the character grid to reinforce students’ knowledge of the play and of the characters of Beatrice and Benedick in particular. Develop their personal responses to character by using role-on-the-wall techniques which encourage them to select evidence to prove their points about character.

Focus on character

16–17 From the beginning, emphasise the importance of not just selecting quotations, but of explaining the effect language has on an audience and on the students themselves. Model doing so in relation to the characters of Beatrice and Benedick.

Focus on theme

18–19 Again, emphasise the importance of not just selecting quotations, but of explaining the effect language has on an audience. This time it is in relation to themes and ideas. See what other themes students can suggest and ask them to find the points and quotations. Stress the need to refer to both extracts in an answer.

Focus on language

20–21 The most difficult and most important of the four focuses, since awareness of the impact of language should inform every answer. Use the PQR pages to help students to be comfortable with commenting on language, and have as much fun with the sounds of words as possible.

Focus on performance

22–23 The more active the classroom/studio engagement with the dramatic dimensions of the text, the better, but since students are tested on how they write about Shakespeare, rather than on how they perform it, the experience should build towards improving written answers. Give students the chance to be actors and directors for classroom performances.

The Key Stage 3 Shakespeare test: how to approach the test

24 This advice on approaching the Key Stage 3 tests is fairly dense: take the time that students need to explore and understand it (for example by using the Top Tips as the basis for a starter activity).

�© Harcourt Education, 2007



Marking criteria

25 Students should be helped to understand what they need to do to gain higher marks by exploring the mark scheme and assessing as many sample answers as possible.

Sample questions

26 Modelling how to interpret and answer test questions is vital. Pick out the parts of the question that are central and highlight key words that students should cover when writing an answer.

Clarify and explain the main focuses of the question, for example:• the attitudes and actions of characters• the language used, and its impact• themes and ideas• the text in dramatic performance.

Sample answer 27–28 Use the sample answer to deepen students’ understanding of how the mark bands are applied, and repeat the process as often as appropriate, using students’ own answers. Help them to recognise that a level 5+ answer will usually be expected to:• comment with understanding on character and dramatic

action• analyse the features and effect of language • show some awareness of audience response• illustrate by evidence from the text, picking out words or

phrases• convey a considered personal view• comment on both parts of the text referred to in the task.

Encourage students to assess each others’ work as often as possible. Set students personal targets based on the criteria, for example:• when you make a point about a character, an action or an

image, remember to say what impact/effect it has on the audience and on your own thoughts

• when you make a point, always back it up by giving an example or quotation and by exploring your personal response

• when you quote or give an example to illustrate a point, always explain why it is effective

• make sure that your conclusion sums up the main points you have made and is relevant to the question.




Planning your answers CharacterTheme Language Performance

29303132

Planning answers well is the key to success in Key Stage 3 Shakespeare tests. Point out that the time available for planning in the test is so limited that it needs to be used effectively. • Show students, through modelling, how to create a plan

that addresses the main focuses of the question and links the key ideas with evidence, explanation and exploration.

• Explain that it is not enough just to catch initial ideas in a diagram: they need to be shaped rapidly into a relevant answer.

• Show how to use connectives to build a line of argument with an introduction, with linked points that draw on both extracts and with a conclusion that relates back to the question. Demonstrate how this can be done either by numbering the big ideas in the pattern plan or turning them into a sequence of paragraphs that answers the question.

• The more short, sharp planning sessions you can arrange, the better, so that students can be confident about planning under pressure in the test.

• Ensure that all four focuses are featured in this process.



Lesson plansThis set of 14 revision lessons focuses on the set scenes. All page numbers refer to the student book Success in Key Stage 3 Shakespeare: Much Ado About Nothing.

Lesson 1

Objectives • To introduce the four focus areas that are the basis for Key Stage 3 assessment of Shakespeare.

• To enable students to select and comment on quotations that illustrate characters.

Preparation & resources

• Success in Key Stage 3 Shakespeare student books.• 2 large sheets of flipchart-size paper, one with the outline of a female figure

(Beatrice) and one with a male figure (Benedick).• Strips of paper and pens.• Something to attach smaller slips of paper to the large sheets.

Starter • Ask students to look again through the picture story of Much Ado About Nothing on pages 2–3 of the student book, and to choose one image that triggers a powerful memory for them. This could be taken from the text, from a performance they have seen, or one in which they have participated. They explain to a partner why they chose the image that they did. Sample these explanations by asking one or two students about their neighbour’s reasons for their choices.

Introduction • Inform students of the set scenes that are the basis of the tests, and explain that knowledge of the play as a whole is needed to put those scenes in context. Explain (briefly) how any of the dramatic moments in the play that have been mentioned could be considered in relation to each of the four focus areas that are the basis for Key Stage 3 assessment of Shakespeare:o charactero themeo language o performance.

• Tell the students that future lessons will cover all four focuses, but today’s lesson focuses on character. Using the picture story of Much Ado About Nothing, choose one image from the first of the set scenes. Use that image, and read aloud the relevant sections of the text, to demonstrate some of the comments that could be made on character. Draw on the points and quotations on pages 16–17 as appropriate, citing textual evidence for the points that you make and stressing that the effect of particular language choices is relevant for all of the focuses.


Success in Key Stage 3 Shakespeare: Much Ado About Nothing Lesson 1

Development • Give small groups of students time to look at the first extract and at the quotations on pages 16–17. Ask each group to agree on a particular quotation that they think gives insight into the character of Beatrice or Benedick. They write the quotation visibly on a slip of paper and discuss the comments they could make to explain what this particular quotation shows about one of the characters.

Plenary • In turn, a representative of each group puts their chosen quotation at an appropriate place on the outline portrait (e.g. head, heart or hand) and explains what it reveals to an audience.

Follow-on • The word portraits of Beatrice and Benedick that have been created should be kept for display and development in future lessons.



Lesson 2

Objectives • To consolidate students’ ability to select and comment on quotations that illustrate characters.

Resources • Success in Key Stage 3 Shakespeare student books.• 2 large sheets of flipchart-size paper from the previous lesson, one with the outline

of a female figure (Beatrice) and one with a male figure (Benedick).• Strips of paper (different colour from those in previous lesson) and pens.• Something to attach smaller slips of paper to the large sheets.

Starter • Revisit the previous lesson’s word portraits of Beatrice and Benedick. Ask volunteers to pick out a quotation by or about Beatrice or Benedick that someone else put on the display, and say what it shows about a character.

• Ask pairs of students to use the picture outline of the play on pages 2–3 of the student book and summarise, in up to five sentences, what happens between the first and second scenes.

• Sample those summaries.

Introduction • Explain that the lesson will focus on how character is created and revealed in the second set extract.

• Remind students that we learn about characters from how they behave on stage, from what they do, from what is said about them and, most of all, from what they say themselves.

Development • Ask students, in groups, to focus on image 15 from the picture synopsis. Ask each group to re-read that part of the set scene and select a particular quotation that they think gives insight into the character of Beatrice or Benedick at this stage of the play. They again write the quotation visibly on a slip of paper and discuss the comments they could make to explain what this particular quotation shows about one of the characters. Encourage students to draw on the points and quotations on pages 16–17 as appropriate, citing textual evidence for the points that they make.

Plenary • In turn, a representative of each group puts their chosen quotation at an appropriate place (e.g. head, heart or hand) on the outline of Beatrice or Benedick and explains what it reveals about them to an audience.

Follow-on • For homework, students individually fill in the tick column on page 15 of the student book with their judgements about the characters of Beatrice and Benedick.



Lesson 3


Resources • Student whiteboards or pieces of paper for responses.• Success in Key Stage 3 Shakespeare student books.

Starter • Ask students to have their first attempts at the character response grid on page 15 in front of them.

• Students need a separate piece of paper (or whiteboard) to show their opinions:

1. Definitely2. Yes3. Not really 4. No way

• Read out each statement on page 15 in turn. For each one, ask students to indicate their opinion by showing just one of the above responses. Invite some students who hold minority views to explain why they think as they do.

Introduction • Explain to students that it is important for them to cite textual evidence for their views. Model what you mean in relation to the statement: ‘Claudio just doesn’t deserve Hero as his wife’, by referring to both extracts. Use the evidence on pages 16–17 when appropriate, but encourage students to quarry the extracts rather than rely entirely on the selected quotations in the student book.

Development • Allocate a different statement to each group of students and give them 15 minutes to find the evidence that will justify their shared opinion and write it on an OHT or a large sheet of paper.

Plenary • Each group presents its views and its evidence. Students make notes on the PQR page (pages 16–17) as they do so.

Follow-on • Students add to the evidence they have in relation to each statement.



Lesson 4


Resources • Success in Key Stage 3 Shakespeare student books.• 2 large sheets of flipchart-size paper from the previous lessons, one with the

outline of a female figure (Beatrice) and one with a male figure (Benedick).

Starter • Students need to have pages 16–17, the PQR ‘character’ pages, open in front of them.

• The teacher reads out a point and after allowing a ‘think time’ of 1 minute, asks for quotations that illustrate that point, taken from the quotations column or from the original text. Always ask for explanation as well as evidence, and push for comments on the effect of language.

Introduction • Draw two overlapping circles on the board or on a large sheet of paper. Label one ‘Extract 1’ and the other ‘Extract 2’ and ask students to create their own versions of the circles.

• Ask students to suggest points about Beatrice’s character that are appropriate for extract 1, and put them in the appropriate circle.

• Do the same for extract 2.

Development • Ask students which points can go in the overlapping section because they are relevant in both extracts.

Plenary • Invite students to suggest what points have emerged during discussion that can be added to the portrait of Beatrice, created in earlier lessons.

Follow-on • Students repeat the process with Benedick.• Students repeat the process with Claudio and Hero.



Lesson 5

Objectives • To develop students’ ability to select and comment on quotations that illustrate themes.


of a female figure (Beatrice) and one with a male figure (Benedick).• Blank A4 sheets or whiteboards.

Starter • Students need to have the ‘theme’ pages (pages 18–19) of the student book open in front of them.

• Ask students to discuss with a partner what they think a ‘theme’ is, and to write their joint explanation of what a theme might be on a sheet of paper or whiteboard.

• Explanations are displayed at the front of the class.• Pick out explanations that help the class to a shared understanding that

a theme is a ‘big idea’ threaded through the play, and that it reflects Shakespeare’s views rather than those of any particular character.

Introduction • Model picking out a point from Love and marriage and citing quotations from both extracts to illustrate that point, taken from the quotations column or from the original text. Always give explanation as well as evidence, and comment on the effect of language.

Development • Allocate the other points in Love and marriage to different groups, and ask them to identify quotations that illustrate that point, taken from the quotations column or from the original text.

• Take feedback from each group.

Plenary • Draw two overlapping circles on the board or on a large sheet of paper. Label one ‘Extract 1’ and the other ‘Extract 2’ and ask students to create their own versions of the circles.

• Ask students to suggest points about Love and marriage that are appropriate for extract 1, and put them in the appropriate circle.

• Do the same for extract 2.• Decide with the class which points can go in the overlapping section

because they are relevant in both extracts.

Follow-on • Students find textual evidence for the points made on the circles.• Students link points and quotations about Love and marriage on page 19,

highlighting them in different colours.



Lesson 6

Objectives • To develop students’ ability to select and comment on quotations that illustrate themes.


of a female figure (Beatrice) and one with a male figure (Benedick).

Starter • In pairs, and using the ‘theme’ pages of the student book (pages 18–19), students are given 3 minutes to prepare questions for Shakespeare about what ideas or themes he was exploring in the part of Much Ado covered in the set scenes.

• The teacher (or a student who can cope) is hot-seated as Shakespeare and answers as honestly as possible.

Introduction • Repeat the process of the previous lesson, but this time with the theme of Deception, allocating each point to a different group.

• Expect each group to identify quotations that illustrate their point, taken from the quotations column or from the original text.

• Take feedback from each group.

Development • Draw two overlapping circles on the board or on a large sheet of paper. Label one ‘Extract 1’ and the other ‘Extract 2’ and ask students to create their own versions of the circles.

• Ask students to suggest points about Deception that are appropriate for extract 1, and put them in the appropriate circle.

• Do the same for extract 2.

Plenary • Decide with the class which points can go in the overlapping section because they are relevant in both extracts.

Follow-on • Students link points and quotations about Deception on page 18, highlighting them in different colours.



Lesson 7

Objectives • To develop students’ understanding of Men and women as a possible theme and to develop their ability to select and comment on quotations that illustrate themes.

Resources • Success in Key Stage 3 Shakespeare student books.

Starter • Discuss the students’ impressions of the men and women in Much Ado by offering them slips of paper in a range of colours, and asking them which colours suit which characters best. Students have to justify their views by reference to particular quotations. Any student can challenge a suggestion and put forward their own colour instead.

• Push the discussion further by asking for the ‘best’ colours for men and for women.

Introduction • Look at page 19 in the student book and ask for additional points in relation to Men and women.

• Repeat the process of the previous lessons, this time with the theme of Men and women, allocating each point to two different groups.

• Expect each group to focus on one of the set extracts and to identify quotations that illustrate their point, taken from the quotations column or from the original text.

Development • Take feedback from each group by drawing two overlapping circles on the board or on a large sheet of paper. Label one ‘Extract 1’ and the other ‘Extract 2’ and ask students to create their own versions of the circles.

• Ask students to suggest a point about Men and women that is appropriate for extract 1, and put it in the appropriate circle.

• Do the same for extract 2 with that point before moving on to the next point.

• Invite suggestions for additional themes, e.g. Self-knowledge, Loyalty.

Plenary • Decide with the class which points can go in the overlapping section because they are relevant in both extracts.

Follow-on • Students link points and quotations about Men and women on page 19, highlighting them in different colours.

• Using the annotated extracts in the student book, students pick out five words from the set extracts that have a definite dramatic effect, and prepare explanations of how that effect is achieved.

1�© Harcourt Education, 2007


Lesson 8

Objectives • To develop students’ ability to explore and explain the effect of language in particular quotations.

Resources • Large pieces of card or paper.• Success in Key Stage 3 Shakespeare student books.

Starter • Divide the class into two groups, depending on which extract they want to quote from. When pointed at by the teacher, students call out one of the words they chose from that extract.

• Hear several of the words that students picked out from the first set extract because they have a definite dramatic effect.

• Hear several of the words that students picked out from the second set extract because they have a definite dramatic effect.

• Discuss the similarities and contrasts in sound, sense, mood and imagery between the language of the two extracts.

Introduction • Choose one or two words and, drawing on suggestions from students, show the class how to explain the way an effect is achieved.

• Take the opportunity to consolidate understanding of critical terms that might be useful, e.g. imagery, sound, alliteration, pace, tone, repetition.

Development • Using the student book for support, students write on pieces of card or paper one of the words they have chosen, and write an explanation of its effect in the theatre.

• They exchange and discuss words with a partner and then go on to other words they chose.

• Students add their cards to a class display.

Plenary • Sample the best of these explanations, drawing attention to why they are successful in explaining the effect of particular uses of language.

Follow-on • Students link points and quotations on pages 20–21, highlighting them in different colours.

• Students learn by heart a phrase, line or sentence from one of the extracts, and prepare it for the next lesson.



Lesson 9

Objectives • To help students engage with the process of directing a performance of the play.

Resources • Sufficient open space for movement. • Success in Key Stage 3 Shakespeare student books.

Starter • Find out which student chose the quotation nearest to the start of the first extract. Ask them to say their words or lines aloud, and ask others to judge when to come in at the appropriate point in sequence. Where more than one person has chosen the same quotation, hear the different versions, but offer no comment until all have spoken.

• Discuss with selected students why they spoke their lines as they did. • Where readings differed, discuss the impact of each reading.

Introduction • Using two volunteer students, ask them to stand in a space and read the conversation between Beatrice and Benedick from the final 20 lines in the first extract in a monotone, with as little expression as possible.

• Other students then give them directions on how to stand, speak and move in order to do justice to the lines.

Development • The class direct volunteers on how to perform the exchange between Beatrice and Benedick (with interjections from Claudio and Hero) in the second extract that begins Soft and fair, Friar. Which is Beatrice? until Peace! I will stop your mouth.

Plenary • Discuss what students have learnt about language in performance during the lesson.

Follow-on • Students prepare a cast list for Much Ado About Nothing, using contemporary media people. Who would they choose as the main characters, and why?



Lesson 10

Objectives • To help students engage with the process of directing a performance of the play.

Resources • Success in Key Stage 3 Shakespeare student books.

Starter • Sample the students’ cast lists for Much Ado About Nothing, using contemporary media people.

• Discuss the casting of any performance that the students have seen.

Introduction • Look at the PQR ‘performance’ pages (pages 22–23) with students and allocate each point to a pair or group. Their tasks are (a) to decide on a question they want to ask about the point being made and (b) to find a quotation that links with the point.

Development • Listen to the questions and answer them as a class.• Students highlight quotations in their student books as discussion

continues.

Plenary • Draw on pages 22–23 of the student book to develop with students a list of the aspects of performance that would usually be relevant in an essay about performance: words, actions, stage context and impact on an audience.

Follow-on • Students decide which character they would like to be if they were taking part in a school performance. (It must be a character who appears in one or both of the extracts.)



Lesson 11

Objectives • To help students plan and write an answer about the process of directing a performance of the play.

Resources • Success in Key Stage 3 Shakespeare student books.• Board, OHP or whiteboard.

Starter • Discuss any performances students have seen or taken part in previously.• Hear which character students would like to be if they were taking part in

a school performance.

Introduction • Direct students to page 32 of the student book: ‘Planning a performance answer’, which is the basis of an answer on a performance question. (Pattern or linear notes may not suit everyone, so be open to other preferred ways of planning, but any planning approach must help students to organise their answers and evidence into a line of argument.) Stress that planning is not just amassing ideas – it is organising them into a relevant answer.

Development • Model the planning of an answer to the question on page 32, using the information on that page as appropriate. A possible sequence could be:

1. Put the main points of the plan on OHT or whiteboard.2. Number them in order to build an argument, thinking aloud as you

do so to give students insight into your reasoning.3. Explain each main point.4. Add textual evidence for each of those main points.5. Comment on the effect of language.6. Decide on the conclusion, relating it back to the title.

Plenary • Discuss the process you have just demonstrated, taking comments from students on what they find easiest and what they find most challenging.

• Together, write the opening sentences of this planned answer.

Follow-on • Students plan their answers to a question on performance from page 26.



Lesson 12

Objectives • To help students plan and write an answer to a question that focuses on themes.


Starter • Students have 5 minutes to write the opening sentences of their planned answer.

• Sample those opening sentences.

Introduction • Use page 30 to model the reading of a test question aloud and underline key words. Explain what sort of response the examiners expect.

• Ask students to ‘unpack’ another theme question from page 26 in pairs. Sample their attempts and share good practice with the class.

• Revisit the process of planning an answer, this time illustrating with reference to a theme question, using the plan on page 30. Model the process of writing the opening and closing paragraphs.

Development • Students make their own plan and write the opening and closing paragraphs. Give some students OHTs on which to write their plans and paragraphs.

Plenary • Share via OHT some of the plans and paragraphs.

Follow-on • Students complete their answers in under 45 minutes.



Lesson 13

Objectives • To help students use their understanding of how test answers are judged to improve their own answers.

• To help students plan and write an answer to a question that focuses on character.


Starter • Explain that answers are marked in six mark bands.• Ask students to look at the table of mark bands on page 25. Discuss the

features that earn marks in the higher bands.

Introduction • Read through the sample answer on pages 27–28.• Ask students to annotate the text, underlining positive points and noting

possible improvements before deciding which mark band they would put it in.

• Discuss the strengths and shortcomings of the essay, which would be in a high mark band and would earn a mark above level 5. Draw attention to the genuine engagement with the play, to the way ideas are linked, to the analysis of the impact of language, to the expression of personal opinion backed up by textual evidence and to the focus on the question asked.

Development • Students look at page 29, which is the basis for planning an answer on character, and in pairs write their own plans for an answer to the question. Give OHTs to one or two pairs.

Plenary • Share and discuss the plans.

Follow-on • Students write a timed essay on one of the sample questions on character on page 26.



Lesson 14

Objectives • To help students plan and write an answer to a question that focuses on language.


Starter • Ask students to look at the first question on language on page 26. Divide the class into two groups, so that one half, working in pairs, identifies the features of Beatrice’s language, while the other half, also working in pairs, identifies the features of Benedick’s language.

• Create groups of four by joining pairs from the two halves. They compare what they have noted.

• Discuss what students have found out about the language of these two characters.

Introduction • Point out that there is likely to be an element of comment on the effect of language in every answer.

• Draw on the material on page 31 of the student book to build a plan with the class in response to the question. Make explicit and exemplify the power of connectives to convey lines of argument, without allowing students to become dependent on a writing frame.

Development • Students write their own opening and closing paragraphs for the shared plan. Give some students OHTs to facilitate sharing.

• Select and share some of those paragraphs.

Plenary • Discuss with students the page of the student book that gives advice on how to approach the test (page 24). Encourage them to annotate or highlight the points that are most useful for them.

• Finish with a sharing of ideas about what makes them confident about approaching the Shakespeare test.

Follow-on • As many practice answers as practicable!• Shakespeare at GCSE and beyond.



Key Stage 3 Shakespeare 2007 national test …...Using Success in Key Stage 3 Shakespeare: Much Ado...

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