Session 1: · Web view2020-03-23 · Session 2: Macbeth – The murder of King Duncan Macbeth –...

Introducing Shakespeare

Front cover

© www.teachitprimary.co.uk 2016 25961 of 146


ContentsFinding your way around the curriculum pack.............................................. 4

Curriculum coverage and mapping............................................................... 5

Session 1: Macbeth – Witches

Teaching sequence....................................................................................... 9

Resource listing.......................................................................................... 12

Resource printouts...................................................................................... 13

Session 2: Macbeth – The murder of King Duncan

Teaching sequence..................................................................................... 18



Session 3: Macbeth – CSI Banquo




Session 4: Macbeth – Double, double, toil and trouble




Session 5: Macbeth – The battle






Session 6: The Tempest – The storm




Session 7: The Tempest – Full fathom five




Session 8: The Tempest – Comedy and confusion




Session 9: The Tempest – Magic and monsters

Teaching sequence................................................................................... 100

Resource listing........................................................................................ 104

Resource printouts.................................................................................... 105

Session 10: The Tempest – Magical Island

Teaching sequence................................................................................... 107

Resource listing........................................................................................ 112

Resource printouts.................................................................................... 113


Overview

Finding your way around the curriculum pack

The pack aims to provide creative teaching ideas within a structured sequence of lessons complete with supporting resources. The pack contains ten structured sessions made up of starter activities, main teaching activities, plenary sessions, and extension/homework suggestions. Where appropriate, cross-curricular learning opportunities are incorporated into each of the teaching sessions.

The pack lends itself to be used in different ways. It could form the basis of a two-week mini project or form a teaching sequence for a term’s work.

We’ve included links within the sessions to each separate resource included in this pack. Lots of the resources in this pack are Word documents, but we’ve also included links to PowerPoints. Please log in first in order to access any of these PowerPoint resources on Teachit Primary.

We hope you enjoy using this pack. If you have any questions, please get in touch: email [email protected] or call us on 01225 788851. Alternatively, you might like to give some feedback for other Teachit Primary members – you can do this by adding a comment on the Introducing Shakespeare Pack page on Teachit Primary (please log in to access this!).

Please note that, at the time of publishing, all external links referenced within the pack are fully functioning. However, Teachit Primary cannot take responsibility for the maintenance of external websites.


http://www.teachitprimary.co.uk/introducing-shakespeare-ks2

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Overview

Curriculum coverage and mapping

This pack matches the requirements of the statutory guidance in the New Curriculum for September 2014 for English upper Key Stage 2 – years 5 and 6 as follows:

Spoken language

Participate in discussions, presentations, performances, role play, improvisations and debates.

Reading comprehension

Continuing to read and discuss an increasingly wide range of fiction, poetry, plays, non-fiction and reference books or textbooks.

Making comparisons within and across books. Checking that the text makes sense to them, discussing their

understanding and exploring the meaning of words in context. Drawing inferences such as inferring characters’ feelings, thoughts and

motives from their actions, and justifying inferences with evidence. Summarising the main ideas drawn from more than one paragraph.

Writing composition

Identifying the audience for and purpose of their writing, selecting the appropriate form and using other similar writing as models for their own.

Selecting appropriate grammar and vocabulary, understanding how such choices can change and enhance meaning.

In narratives, describing settings, characters and atmosphere and integrating dialogue to convey character and advance action.

Perform their own compositions, using appropriate intonation, volume and movement so that meaning is clear.

Assessing the effectiveness of their own and others’ writing.


Overview

Vocabulary, grammar and punctuation (Y5/6)

Recognising vocabulary and structures that are appropriate for formal speech and writing, including subjunctive forms.

Using expanded noun phrases to convey complicated information concisely.

Indicating degrees of possibility using modal verbs. Using relative clauses. Punctuating bullet points consistently. How words are related by meaning as synonyms and antonyms. Linking ideas across paragraphs using adverbials of time, place and

number, or tense choices.

Vocabulary, grammar and punctuation (Y3/4)

Using and punctuating direct speech. Indicating possession by using the possessive apostrophe with plural

nouns. Using commas after fronted adverbials.


Overview

Statutory requirements as set out above

Curriculum coverage 1 2 3 4 5 6 7 8 9 10

Spoken language:Participate in discussions, presentations, performances, role play, improvisations and debates.

Reading comprehension:Continuing to read and discuss an increasingly wide range of fiction, poetry, plays, non-fiction and reference books or textbooks.Making comparisons within and across books.Checking that the text makes sense to them, discussing their understanding and exploring the meaning of words in context.Drawing inferences such as inferring characters’ feelings, thoughts and motives from their actions, and justifying inferences with evidenceSummarising the main ideas drawn from more than one paragraph.

Writing composition:Identifying the audience for and purpose of their writing, selecting the appropriate form and using other similar writing as models for their own.Selecting appropriate grammar and vocabulary, understanding how such choices can change and enhance meaningIn narratives, describing settings, characters and atmosphere and integrating dialogue to convey character and advance actionPerform their own compositions, using appropriate intonation, volume and movement so that meaning is clear.Assessing the effectiveness of their own and others’ writing.

Vocabulary, grammar and punctuation (Y5/6):Recognising vocabulary and structures that are appropriate for formal speech and writing, including subjunctive forms.


OverviewUsing expanded noun phrases to convey complicated information concisely.


Overview

Curriculum coverage 1 2 3 4 5 6 7 8 9 10

Vocabulary, grammar and punctuation (Y5/6):

Using relative clauses.

Punctuating bullet points consistently.How words are related by meaning as synonyms and antonymsLinking ideas across paragraphs using adverbials of time, place and number, or tense choicesVocabulary, grammar and punctuation (Y3/4):Using and punctuating direct speech.Indicating possession by using the possessive apostrophe with plural nouns.Using commas after fronted adverbials.

Cross-curricular:

Art

Computing

Design Technology

Geography

History

Maths

Music

PE

PSHE



Session 1: Macbeth – Witches (Statutory requirements covered: 3)

English curriculum coverage:

Spoken language:Pupils should be taught to: participate in discussions, presentations, performances, role

play, improvisations and debates.

Reading – comprehension:Pupils should be taught to maintain positive attitudes to reading and understanding of what they read by: continuing to read and discuss an increasingly wide range of

fiction, poetry, plays, non-fiction and reference books or textbooks.

Writing – composition:Pupils should be taught to draft and write by: selecting appropriate grammar and vocabulary, understanding

how such choices can change and enhance meaning.

Getting ready:

Before you begin this unit of work, please ensure you have introduced your class to the story of Macbeth, using one of the following books:

Shakespeare Stories by Leon Garfield Stories from Shakespeare by Geraldine McCaughrean Illustrated Stories from Shakespeare by Usborne (this is a much simpler

version, helpful for less able readers)

Plot Focus: The witches’ prophecies (Act I, Scenes I–III).

Curriculum Focus: Spoken language: performance; Writing composition: using figurative language to create effect (similes).

Cross-curricular: Art: sculpture; History: select and organise information; Computing: use search technologies effectively.



Getting started:

Performance: The witches in the storm (Act I, Scene I). Ask children to work in groups of three to read out a short excerpt from the witches’ opening speech, Macbeth – Resource 1 . To add some atmosphere, choose children to create storm sound effects e.g. using hands and feet to build up storm sound effects or by using instruments such as cymbals, shakers and drums. Alternatively play a storm soundtrack.

Rhyme cauldron: Display the PowerPoint of the witches’ opening speech (Act I, Scene I), Macbeth – Resource 2 , and ask children to identify the rhyme pattern (rhyming couplets). Choose children to type the rhyming words into the witches’ cauldron on-screen. In pairs or table groups, challenge the children to come up with as many words as they can that rhyme with the words already in the cauldron (e.g. ‘death’ with ‘Macbeth’, or ‘pain’ with ‘rain’). Set a short time limit (three minutes) and reward the winning pair / table. Provide each trio with a sugar paper cauldron and ask them to see how many rhyming words they can write on it before the time is up.

Getting into the detail:

Group task: Performing the witches’ prophecies (Act I, Scene III). In this scene, the three witches prophesise that Macbeth shall become Thane of Cawdor, and then shall become King. Divide the class into groups of four or five (the three witches, Macbeth and Banquo if numbers allow). Ask them to try and convey the scene without using any dialogue. Can they show what is happening just through their actions and facial expressions? Encourage them to shape their bodies according to their characters, e.g. the witches may be hunched and twisted. Ask each group to perform their scene to the class. Can the audience tell which character is which? How would they improve each performance?

Independent task: Exploring character through simile (Act I, Scene III). From one of the children’s versions of the play, read aloud the section of the story where Macbeth hears the witches’ predictions for his future. How does Macbeth feel and react when the first of the predictions, that he would become Thane of Cawdor, immediately comes true? Ask the children to annotate the drawing of Macbeth on the accompanying sheet, Macbeth – Resource 3 , using interesting similes to describe how different parts of his body respond e.g. ‘his mind was swirling like the stormy sea, his fists were clenched as tight as knots’.


Session 1: Macbeth – Witches Differentiation: Challenge more able writers to ensure that their

similes fit the atmosphere of the scene (e.g. his heart is hammering like thunder; his eyes flash with greed like lightning bolts).



Rounding things up:

If I met the witches… For Macbeth, being told he would become King was the most wonderful thing imaginable. If the children bumped into the witches, what prophecy would they like to hear? (e.g. That they will become a striker for England women’s football team? That they will write a book as successful as Harry Potter?) Children could use the witches’ prophecies sheet to record their ideas, Macbeth – Resource 4 . Choose some children to share their prophecies with the class. Alternatively, to encourage positive relationships within the class, pair the children at random, and ask them to think of an exciting prophecy for their partner.

Class simile poem: Following on from the simile activity, ask children to choose their best simile to share with the class. Compile these in a class list-poem on the IWB or flipchart. A copy of this poem could be displayed on the Working Wall for children to use as inspiration in future writing.

Taking it further:

Art: Scene-in-a-box: Working independently or in pairs, ask children to use a shoebox turned on its side to create a diorama model of the three witches telling Banquo and Macbeth their prophecies. Ask children to consider carefully what colour they will paint the inside of the boxes to help create a moody atmosphere for their scene. Depending on the availability of resources children could collect, or teachers could provide, a selection of natural objects – leaves, twigs, branches, moss and pebbles – for the children to use to build a landscape within their box. Cotton wool, pulled thinly, could be used to suggest mist swirling around the characters.

History/Computing: What do we know about witches? Explain to the children that between the 15th and 18th centuries, women believed to be witches were put on trial, tortured, and even put to death. Allocate research topics to pairs or groups Macbeth – Resource 5 provides the tools for this task and includes a list of suggested websites. Remind children of e-safety considerations when researching information online. Set a time limit, e.g. 20 minutes, for internet-based research and note-making, and then another time limit, e.g. 15 minutes, for the children to assemble a short presentation to give to the class. At the end of the presentations, give each child a sticky note for them to write on their favourite fact they have learned from another group’s work. These sticky notes could be stuck onto a paper cut-out of a cauldron for a quick, interactive classroom display.



Resources contained within Session 1

Macbeth – Resource 1 ..................................................................................... 13






Macbeth – Resource 1

Macbeth: The witches’ opening speech

1. In groups of three, act out the scene below.

Macbeth: Act I, Scene I: An open place

[Thunder and lightning.] [Enter three Witches.]

1st Witch: When shall we three meet again? In thunder, lightning, or in rain?

2nd Witch: When the hurlyburly’s done, When the battle’s lost and won.

3rd Witch: That will be ere* the set of sun.

1st Witch: Where the place?

2nd Witch: Upon the heath.

3rd Witch: There to meet with Macbeth.

1st Witch: I come, Graymalkin**.

2nd Witch: Paddock*** calls.

3rd Witch: Anon!

All: Fair is foul, and foul is fair: Hover through fog and filthy air.

[Witches vanish.]

* ‘ere’ means ‘before’, i.e. ‘Before the sun sets.’

** Graymalkin is a cat, and is this witch’s familiar – an enchanted animal who helps her with her spells.

*** Paddock is a toad, and is the second witch’s familiar.




To download this PowerPoint, go to the following page:Teachit Primary members:www.teachitprimary.co.uk/introducing-shakespeare-ks2-powerpoints

http://www.teachitprimary.co.uk/introducing-shakespeare-ks2-powerpoints


Macbeth – Resource 3Name: ................................................ Date:...................................................

Exploring character through simileInstructions:

1. Think about how Macbeth feels when the first of the witches’ predictions comes true.

2. How does he respond on the outside, and on the inside? 3. Annotate this drawing of Macbeth with similes to show his reactions. An

example has been given to help you.

Sir Henry Irving (John Henry Brodribb) as Macbeth / Credit: National Portrait Gallery / Universal Images Group / Copyright © National Portrait Gallery / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial


His mind is swirling in confusion like a

stormy sea.

http://www.britannica.co.uk/trial


If I met the witches…

Instructions:

1. When Macbeth met the witches and they told him he would become King, it was the most wonderful thing he could imagine.

2. If you met the three witches, what wonderful prophecies would you like to hear?

3. Write what you would like to hear the witches say in the following boxes.

Witch number 1

Witch number 2 Witch number 3



Witch research1. Cut up the following sheet of research topics and distribute to pairs or

trios of children.

2. Give the children a 20-minute limit for online research and then a further 15 minutes to put together a short presentation of the information they have found to share with the class.

The following links are examples of websites to direct children to for their research.

www.historic-uk.com/CultureUK/Witches-in-Britain/ www.educationscotland.gov.uk/scotlandshistory/

unioncrownsparliaments/northberwickwwitchtrials/index.asp www.medieval-life-and-times.info/medieval-torture-and-punishment/

ducking-stool.htm en.wikipedia.org/wiki/Agnes_Waterhouse www.elizabethan-era.org.uk/elizabethan-witchcraft-and-witches.htm www.museumofwitchcraft.com/tour_mow.php?num=15

Witches’ familiars

The Witchfinder General Devil’s marks

Ducking stool Wise women and white witches

The North Berwick witch

trials

Medieval spells and superstitions

Burning witches at the stake

Witches and thumb screws

Witch cake Agnes Waterhouse Mother Shipton

Witches and black magic Witch trials The witch’s

bridle


http://www.museumofwitchcraft.com/tour_mow.php?num=15

http://www.elizabethan-era.org.uk/elizabethan-witchcraft-and-witches.htm

https://en.wikipedia.org/wiki/Agnes_Waterhouse

http://www.medieval-life-and-times.info/medieval-torture-and-punishment/ducking-stool.htm

http://www.medieval-life-and-times.info/medieval-torture-and-punishment/ducking-stool.htm

http://www.educationscotland.gov.uk/scotlandshistory/unioncrownsparliaments/northberwickwwitchtrials/index.asp

http://www.educationscotland.gov.uk/scotlandshistory/unioncrownsparliaments/northberwickwwitchtrials/index.asp

http://www.historic-uk.com/CultureUK/Witches-in-Britain/


Session 2: Macbeth – The murder of King Duncan(Statutory requirements covered: 6)




Writing – composition:Pupils should be taught to: perform their own compositions, using appropriate intonation,

volume and movement so that meaning is clear.

Writing – vocabulary, grammar and punctuation (Year 5/6):Pupils should be taught to develop their understanding of the concepts set out in English Appendix 2 by: using relative clauses beginning with who, which, where,

when, whose, that or with an implied (i.e. omitted) relative pronoun.

Pupils should be taught to indicate grammatical and other features by: punctuating bullet points consistently.

Writing – vocabulary, grammar and punctuation (Year 3/4):Pupils should be taught to indicate grammatical and other features by: using commas after fronted adverbials using and punctuating direct speech.

Getting ready:

Plot Focus: The murder of King Duncan (Act I, Scene V–VII; Act II, Scene I–III).


Session 2: Macbeth – The murder of King DuncanCurriculum Focus: Punctuation: bullet points, commas; Writing composition: using relative clauses to enhance description; using and punctuating direct speech.

Cross-curricular: Geography: eight-point compass work; PE: dance.



Getting started:

Bullet points for and against – Y5/6 Grammar (Act I, Scene VII): When King Duncan comes to stay at Macbeth’s home, he and Lady Macbeth have a choice: to kill the king, or to let him live. Divide the class into two: one half must come up with a list of reasons for killing the King, and the other half must come up with a list of reasons against killing the King (this task could be performed individually or in groups). Children must use a colon to introduce the list, and separate each bullet point with a semi-colon, e.g.

Macbeth should kill King Duncan because: the witches told him he should become King; he may not get such a good opportunity again; and Lady Macbeth will never let him hear the end of it if he doesn’t.

Pin the comma on the sentence – Y3/4 Grammar, useful as revision for Y5/6 (Act I, Scene VII): Using the PowerPoint Macbeth – Resource 6, show each sentence from this scene one at a time on the interactive whiteboard (IWB). Choose a child to come up and use the IWB to ‘pin’ the comma in the correct place on the sentence, following the fronted adverbial.

Optional: Give each child the worksheet with all of the sentences for them to try adding commas to independently, first Macbeth – Resource 7. Then ask the children to self-mark by playing ‘pin the comma’ as a class, as before.


Whole class task: Dazzling description – Y5/6 Grammar (Act I, Scenes V–VII). Work through the ‘Using relative clauses to make sentences’ PowerPoint with children, which shows how to use relative clauses to improve sentences, Macbeth – Resource 8 .

Mini paired task: Provide pairs of children with a set of cards displaying parts of sentences about Macbeth and Lady Macbeth’s plot to murder King Duncan, Macbeth – Resource 9 . The children must rearrange the cards so that the correct relative clause is matched with the correct noun and the rest of the sentence. For children who need support, a simpler


Session 2: Macbeth – The murder of King Duncanset of cards is provided where the child simply has to match the missing relative clause, Macbeth – Resource 10 .



Writing Task: Ask children to play the dice game, Macbeth – Resource 11, to construct their own sentences with relative clauses, based on this scene from Macbeth. Extend the more able children by including relative clauses for more than one noun per sentence.

Independent task: Character Conversations – Y3/4 Grammar; useful Y5/6 revision (Act II, Scene I): Using and punctuating direct speech. Hand out a set of scenario cards to each pair of children, Macbeth – Resource 12 . They must shuffle the cards and deal themselves one scenario. Then ask children to do one of the following tasks. To extend more able writers use the challenge scenario cards, Macbeth – Resource 13 , which require them to devise a conversation between three or more characters.

1. Task one: In pairs, the children should role-play a conversation between their characters based on the scenario they have been dealt. Ask the children to really think about the emotions that their character would be experiencing, and how they might express those emotions in their speech. Once they have finished their conversation, the pair of children should deal themselves new cards, and try a different scenario.

2. Task two: Ask the children to write out the role-play conversation that they thought was the most effective. You may like to model this task for them first, reminding them of correct speech punctuation, and of the potential for adding more description through the speech tags, e.g. by using different words for ‘said’, and by adding adverbs or adverbial phrases.

Rounding things up:

Horror-struck headlines: ‘Stop the press: Duncan is dead!’ Ask the children to come up with attention-grabbing headlines to announce this shocking news. Bonus points for emotive language, alliteration and word-play.

Chatterboxes: Following on from the direct speech activity, children should now swap their written conversations with other pairs/groups, and have a go at reading this new work aloud, focusing on suitable expression. If there is time, choose two or three groups to perform these to the class.



Taking it further:

Geography: Map to murder. On squared paper, ask children to create their own maps of Macbeth’s castle, marking on it features such as the kitchens, the dining hall and the bedchambers of King Duncan, Macbeth and Lady Macbeth. Challenge them to place ‘danger zones’ in the castle, such as squares inhabited by King Duncan’s guards. Using the eight-point compass, children can give directions for Macbeth to move through the castle from his own bedchamber to that of King Duncan, without crossing any ‘danger zones’ e.g. two squares South-West, one square West, four squares North-West. They should then swap their completed maps and instructions with a partner, who then has to see if they can follow the instructions to reach King Duncan without getting caught!

PE: Deadly dance. Show children clips of death scenes acted out through dance, e.g. the deaths of Romeo and Juliet or the death of Tybalt in Prokofiev’s ballet, or the Dying Swan from Swan Lake (available on YouTube). How do the dancers make what is happening clear to the audience? What do the children notice about the way they use their bodies? In groups of three to five, children work together to retell the story of King Duncan’s murder through dance. Challenge them to include repetition, reflection and rotations in their dance movements.








Macbeth – Resource 10 ................................................................................... 29







To download this PowerPoint, go to the following page:www.teachitprimary.co.uk/introducing-shakespeare-ks2-powerpoints




Pin the comma on the sentence

Act I, Scene VII: The murder of King Duncan

Read the following sentences, and place the comma after the fronted adverbial.

1. When Macbeth returned Lady Macbeth told him that he must kill the King.

2. After the King arrived a great feast took place in Macbeth’s castle.

3. Once the feast was over Macbeth waited while King Duncan and his men went to bed.

4. Tiptoeing through the darkness Macbeth made his way through the courtyard.

5. Before him a blood-smeared dagger dangled in the air.

6. Quietly Macbeth asked: “Is this a dagger which I see before me?”

7. Grasping his own dagger Macbeth crept up the stairs to the King’s chamber.

8. In the darkness Macbeth cut King Duncan’s throat.

9. The next morning Macduff found the King dead in his bed.

10. When the dead King’s sons ran away Macbeth was crowned King.



Pin the comma on the sentence – Answers

1. When Macbeth returned, Lady Macbeth told him that he must kill the King.

2. After the King arrived, a great feast took place in Macbeth’s castle.

3. Once the feast was over, Macbeth waited while King Duncan and his men went to bed.

4. Tiptoeing through the darkness, Macbeth made his way through the courtyard.

5. Before him, a blood-smeared dagger dangled in the air.

6. Quietly, Macbeth asked: “Is this a dagger which I see before me?”

7. Grasping his own dagger, Macbeth crept up the stairs to the King’s chamber.

8. In the darkness, Macbeth cut King Duncan’s throat.

9. The next morning, Macduff found the King dead in his bed.

10. When the dead King’s sons ran away, Macbeth was crowned King.



Macbeth – Relative clauses

Instructions:

1. Cut out the cards, and rearrange them into sentences using the correct noun and relative clause.

Macbeth which was as red as hellfire

fled the castle in fear for his life.

Lady Macbethwho had eaten and

drunk heartily at the feast

slept unsuspecting in

his velvet-draped bed.

A dagger whose heart was pounding

hovered in the air before Macbeth.

King Duncan who was King Duncan’s son

urged her husband to carry out the dreadful

deed.

The bloodwhose greed was far greater than

her mercyspilled across the

bedsheets.

Prince Malcolmwhich glinted cruelly in the

moonlight

approached the door to King

Duncan’s chamber.



Macbeth – Relative clauses

Instructions:

1. Cut out the cards and rearrange them to match the missing relative clause to each sentence.

Macbeth, .................., approached the door to the King’s chamber.

who was very greedy

Lady Macbeth, ................., urged her husband to carry out the murder.

which was as red as hellfire

A dagger, ......................., hovered in the air before Macbeth.

who had eaten and drunk heartily at the feast

King Duncan, ...................., slept unsuspecting in his bed.

whose heart was pounding

The blood, ...................., spilled across the bedsheets.

who was King Duncan’s son

Prince Malcolm, ................., fled the castle in fear for his life.

which glinted in the moonlight



Relative clause dice game

If you roll a… First noun Second noun Relative

pronoun

crown Macbeth that

bed King Duncan Roll again!

dagger Prince Malcolm who

shadow Lady Macbeth whose

blood guards Roll again!

hand servants which


Instructions:

1. Roll the dice to choose your first noun, e.g. crown.

2. Roll the dice to choose your second noun, e.g. guards.

3. Roll the dice for a final time to choose your relative pronoun, e.g. who.

4. Using your two nouns in any order, write a sentence which includes a relative clause beginning with your relative pronoun.

For example: The guards, who were asleep outside the King’s door, were all that stood between Macbeth and the crown.

5. Repeat, rolling the dice to find a new set of words!


Conversation scenario cards

Instructions:

1. Cut out the following scenario cards, shuffle and hand out a set to each pair of children.

2. Task one – Children pick the scenario card from the top of the set and have to role-play a conversation between their characters based on the scenario. Once completed, they can pick the next scenario card and try the next role-play scenario.

3. Task two – Children could write out the role-play conversation that they felt was the most successful. Encourage children to explore opportunities for adding description by using different words for ‘said’.

Lady Macbeth is angry with her servant, who has spilled some

wine at the feast.

Outside King Duncan’s bedchamber, both of the guards

are feeling sleepy after the feast.

Lady Macbeth is trying to persuade Macbeth to kill King

Duncan.

King Duncan is very pleased with the delicious feast, and is

complimenting Lady Macbeth on her wonderful hospitality.

Prince Malcolm has heard the news of his father’s death, and

is afraid for his own life. He discusses with his brother,

Donalbain, what they should do next.

Macduff has arrived at the castle in the night and has

found King Duncan’s body. He is very upset. He comes to tell Macbeth the dreadful news –

and Macbeth has to pretend to be shocked!

Macbeth has returned to his bedchamber, still carrying the

dagger he used to kill King Duncan. Lady Macbeth is furious

with him for not getting rid of the weapon.

Macbeth has bumped into Banquo in the courtyard.

Banquo wants to talk about the witches’ prophecies, but

Macbeth wants Banquo to go away so that he can get on with

killing King Duncan.



Conversation scenario cards: Extension version

Instructions:

1. Cut out the following scenario cards, shuffle and hand out a set to each trio of children.

2. Task one – Children pick the scenario card from the top of the set and have to role-play a conversation between their characters based on the scenario. Once completed, they can pick the next scenario card and try the next role-play scenario.

3. Task two – Children could write out the role-play conversation that they felt was the most successful. Encourage children to explore opportunities for adding description by using different words for ‘said’.

Lady Macbeth is angry with two of her servants at the feast, who are so nervous in the presence of King Duncan that they have spilled wine and dropped food

on the floor.

Outside King Duncan’s bedchamber, both of the guards

are feeling sleepy after the feast. A servant comes along

and tells them off for not being vigilant.

Macbeth has bumped into Banquo and Banquo’s son, Fleance, in the courtyard.

Banquo and Fleance want to talk about the witches’

prophecies, but Macbeth wants them to go away so that he can get on with killing King Duncan.

King Duncan and one of his lords are both very pleased with

the delicious feast, and they compliment Lady Macbeth on

her wonderful hospitality.

Prince Malcolm and Prince Donalbain have heard the news of their father’s death, and they

are afraid for their own lives. They discuss with Macduff what

they should do next.

Macduff has arrived at the castle in the night and has

found King Duncan’s body. He is very upset. He comes to tell

Macbeth and Lady Macbeth the dreadful news – and they have

to pretend to be shocked!



Session 3: Macbeth – CSI Banquo(Statutory requirements covered: 6)




Pupils should be taught to understand what they read by: checking that the book makes sense to them, discussing their

understanding and explaining the meaning of words in context.

summarising the main ideas drawn from more than one paragraph, identifying key details that support the main ideas.

Writing – vocabulary, grammar and punctuation (Year 5/6):Pupils should be taught to develop their understanding of the concepts set out in English Appendix 2 by: using modal verbs or adverbs to indicate degrees of possibility.

Writing – vocabulary, grammar and punctuation (Year 3/4):Pupils should be taught to indicate grammatical and other features by: indicating possession by using the possessive apostrophe with

plural nouns.

Getting ready:

Plot Focus: The murder of Banquo, and Banquo’s ghost (Act III, Scenes I–IV).

Curriculum Focus: Grammar and punctuation: modal verbs, apostrophes for possession; Reading: comprehension; summarising the main ideas.

Cross-curricular: Maths: investigation; History: selection of relevant historical information.



Getting started:

Murderous modal verbs – Y5/6 Grammar: In pairs, or table groups, ask children to arrange the statements (provided in Macbeth – Resource 14 ) about Macbeth’s plan to murder Banquo in order of likelihood. Set a time limit of five minutes for this task. Ask groups to share which statements they chose as most likely, and which as least likely, and to explain why.

Macbeth’s dagger – Y3/4 Grammar; useful Y5/6 revision: Children rewrite phrases related to Macbeth using apostrophes to indicate possession, using Macbeth – Resource 15 . Includes use of possessive apostrophe with plural nouns. How many can the children get correct within a time limit?


Group task: Crime Scene Investigation (Act III, Scene IV). When Macbeth asks the murderers whether they have completed their task and killed Banquo, they reply with details of how he was murdered. Divide the class into mixed-ability groups and provide them with the copy of Act III Scene IV, from the point at which the murderers enter, Macbeth – Resource 16. Ask them to find the details of Banquo’s death in the text. You may wish to provide the children with dictionaries so that they can look up unfamiliar vocabulary. Once this is completed, ask the group to fill in the crime scene report form detailing Banquo’s murder, Macbeth – Resource 17.

Independent task: Tragic strip (Act III, Scene IV). Using one of the versions of Macbeth written for children, e.g. by Leon Garfield, Geraldine McCaughrean or Usborne, read children the section of the play where Banquo’s ghost appears at the feast. Ask the children to retell the scene in the form of a comic strip, including speech bubbles for dialogue, using the comic strip format Macbeth – Resource 18 . You may wish to enlarge this resource to A3 size. Challenge more able children to include thought bubbles to show the characters’ inner feelings.



Rounding things up:

Word bank: Following on from the crime scene text analysis, ask each group to suggest an interesting vocabulary word from the scene to go into the class word bank. A drawing of a large cauldron, or a king’s treasure chest, would make a good basis for a word bank display. Encourage children to keep adding to the word bank as they come across interesting words in the text. The word bank can then be used as a resource when they come to write their main piece of work in Session 5: Macbeth – The Battle.

Three-word Character Summaries: Challenge the children to pick a character from the character list sheet, Macbeth – Resource 19 , and summarise them in three words. Choose children to share their three words aloud: can the rest of the class guess who the character is? Challenge the children to do the same three-word summaries for all the characters.

Taking things further:

Maths: Dinner party places. At Macbeth’s feast, the ghost of Banquo enters the room and sits in Macbeth’s place. When Macbeth enters the room the table is full and the ghost is in his seat. Ask the children to follow the clues set out in the ‘Dinner party places’ sheet, Macbeth – Resource 20, to work out where each guest is sitting.

History: A Scottish feast. Macbeth is set in Scotland in the Middle Ages – somewhere around the 11th century. Challenge the children to research the types of food that would have been cooked and served at grand feasts at this time. From roasted peacocks to whole boar’s heads, can they work in groups to create an extravagant menu fit for a wicked king?



Murderous modal verbsInstructions:

1. Cut out the sentences below, and arrange them in order of likelihood, from least likely to most likely.

Macbeth could murder Banquo.

Macbeth will murder Banquo.

Macbeth should murder Banquo.

Macbeth might murder Banquo.

Macbeth shall murder Banquo.

Macbeth must murder Banquo.

Macbeth may murder Banquo.

Macbeth can murder Banquo.



Macbeth’s dagger

Place one or more apostrophes to show possession in the sentences below. The first sentence has been done for you.

1. Macbeth’s dagger was dripping with blood.

2. Lady Macbeths eyes flashed greedily in the darkness.

3. Once Macbeth had heard the witches prophecies, he knew that he was destined for great things.

4. The lords faces grew white when they heard of their kings death.

5. At Macbeths feast, Banquos ghost appeared at the end of the table.

6. Macbeths fear of losing his crown led to him ordering the death of Macduffs wife and children.

7. Many Scottish noblemen rode out to join Prince Malcolms army.

8. The trees branches hid the army as they marched to Dunsinane Castle.

9. Macbeths sword clashed against Macduffs as they whirled about in a fury of fighting.

10. Finally, Macduffs sword brought an end to Macbeths terrible reign.



Macbeth’s dagger: Answers

1. Macbeth’s dagger was dripping with blood.

2. Lady Macbeth’s eyes flashed greedily in the darkness.

3. Once Macbeth had heard the witches’ prophecies, he knew that he was destined for great things.

4. The lords’ faces grew white when they heard of their king’s death.

5. At Macbeth’s feast, Banquo’s ghost appeared at the end of the table.

6. Macbeth’s fear of losing his crown led to him ordering the death of Macduff’s wife and children.

7. Many Scottish noblemen rode out to join Prince Malcolm’s army.

8. The trees’ branches hid the army as they marched to Dunsinane Castle.

9. Macbeth’s sword clashed against Macduff’s as they whirled about in a fury of fighting.

10. Finally, Macduff’s sword brought an end to Macbeth’s terrible reign.



Crime scene investigation1. Look through the text carefully to find clues about

how Banquo was murdered. Use a pencil or a highlighter to underline key points. Some of the lines are starred with explanations below to help you.

2. Once you have finished, fill out your Crime Scene Report worksheet with as many details of Banquo’s murder as possible.

Macbeth: Act III, Scene IV [extract]

[Enter Murderer]

Macbeth: There’s blood upon thy face.

Murderer: ‘Tis Banquo’s then.

Macbeth: ‘Tis better thee without than he within.*Is he despatched?

Murderer: My lord, his throat is cut;That I did for him.

Macbeth: Thou art the best o’ th’ cut-throats;Yet he’s good that did the like for Fleance.**If thou didst it, thou art the nonpareil.

Murderer: Most royal sir – Fleance is ‘scap’d.***

Macbeth: Then comes my fit again.**** I had else been perfect,Whole as the marble, founded as the rock,As broad and general as the casing air,But now I am cabin’d, cribb’d, confin’d, bound inTo saucy doubts and fears. But Banquo’s safe?

Murderer: Ay, my good lord. Safe in a ditch he bides,With twenty trenched gashes on his head,The least a death to nature.



Macbeth: Thanks for that.There the grown serpent lies; the worm that’s fledHath nature that in time will venom breed,No teeth for th’ present.***** Get thee gone; tomorrowWe’ll hear, ourselves, again.

[Exit Murderer].

* It’s better that that blood is on the outside of you than on the inside of Banquo.** Whoever killed Fleance is also very good.*** escaped**** Now I feel scared again.***** The adult is dead, his young son will become dangerous in time, but for the moment does not pose a threat.



Crime scene reportInstructions:

1. Fill out your Crime Scene Report worksheet with as many details of Banquo’s murder as possible.

2. Use the information you have discovered from the scene as a starting point, and then use your imagination to add extra details.

3. Be creative: what clues might the murderer have left at the scene?

Identity of victim (if known): Portrait of victim:

Description of where the victim was found:

Description of the victim’s injuries:

What weapons do you think were used? What is your evidence for this?

Any additional information which may be useful for the investigation:


Macbeth – Resource 18Name: ..................................................................................... Date:...............................................................................

Tragic strip: Macbeth Act IV, Scene IV

Top tips: Plan out what will go into each box before you start. Make sure you leave enough space for speech bubbles. Use thought bubbles to show what is going on in a character’s head. Give your characters distinguishing features so it is easy to tell who they

are in each frame.


Use the comic strip layout below to retell the scene where Banquo’s ghost appears at Macbeth’s

feast.


Character listInstructions:

1. Pick a character and summarise them in three words. 2. See if you can do the same for all the characters. Then share your words

with the class.

Three words

Duncan, King of Scotland

Malcolm

Donalbain

Macbeth

Banquo

Macduff

Lady Macbeth

Lady Macduff

Fleance, son of Banquo

Lennox

Ross

The Weird Sisters

The ghost (of


Duncan’s sons

Generals of

King Duncan’s

army

Noblemen of

Scotland

Macbeth – Resource 19Banquo)



Dinner party placesInstructions:

1. In Act IV, Scene IV of Macbeth, a feast is held in Dunsinane Castle. Lady Macbeth has decided upon a seating arrangement, but when Macbeth walks in, the table is full – Banquo’s ghost is sitting in his place! But where is everyone sitting?

2. Follow the clues below to solve the problem.

Guests seated at the feast: Banquo’s ghost Lady Macbeth Ross Lady Ross Lennox Lady Lennox Angus Lady Angus

Clues: Lady Ross sits to Banquo’s ghost’s immediate left. Angus sits opposite Banquo’s ghost. No husband sits next to their own wife. Ross does not sit next to Lennox or Banquo’s ghost. Lady Lennox sits opposite Lady Macbeth. Ross does not sit to Lady Macbeth’s immediate right.

Challenge: Once you have found a solution that works, is it possible to find another?



Answer:One solution, amongst others, is as follows:


LR L LM

BG

LA R LL

A


Session 4: Macbeth – Double, double, toil and trouble(Statutory requirements covered: 5)


Spoken language:Pupils should be taught to: partciapte in discussions, presentations, performances, role






Writing – composition:Pupils should be taught to plan their writing by: identifying the audience for and purpose of the writing,

selecting the appropriate form and using other similar writing as models for their own.

Writing – vocabulary, grammar and punctuation (Year 5/6): linking ideas across paragraphs using adverbials of time [for

example, ‘later’], place [for example, ‘nearby’] and number [for example, ‘secondly’] or tense choices [for example, ‘he had seen her before’].

Getting ready:

Plot Focus: The three witches make further predictions / Macduff learns of his family’s murder at the hands of Macbeth (Act IV, Scenes I–III).Curriculum Focus: Writing composition: fronted adverbials, poetic features; Speech and Language: performance, participating in role play.


Session 4: Macbeth – Double, double, toil and troubleCross-curricular: History: select and organise information; Computing: use search technologies effectively; Art: illustration – watercolour, printing, sculpture.



Getting started:

Fun with fronted adverbials: Using the PowerPoint, Macbeth – Resource 21, on the IWB, display the first sentence to which a fronted adverbial must be added. Provide pairs of children with dice and a copy of the dice-game rules, Macbeth – Resource 22 . If they throw a 1 or a 4, they must add an adverbial of time; if it’s a 2 or a 5, add an adverbial of place; or for a 3 or a 6, add an adverbial of manner. Children should then continue to do the same for the rest of the sentences.

Something wicked this way comes (Act IV, Scene I): Provide groups of children with copies of adapted extracts from Act IV, Scene I and challenge them to act out the apparitions and Macbeth’s reactions to them, Macbeth – Resource 23 . Why is Macbeth reassured by what the apparitions tell him? Draw out from the children that Macbeth thinks he can send an assassin to deal with Macduff, that every person is born from a woman and that therefore nobody can hurt him, and that trees cannot move so he thinks he will not be beaten.


Group task: Hot seating (Act IV, Scene I–III). From one of the children’s texts, read aloud the part of the story relating to Act IV of Macbeth (from the witches’ reappearance to Macduff learning of the slaughter of his wife and children). Tell the children they are going to have the chance to interview the following characters: a witch, Macbeth and Macduff. Ask the children to jot down at least one question they would like to ask each of the characters. For the hot-seating, choose children who have demonstrated good comprehension of the text to role-play as the characters. Tell the class to note down anything the characters say that they find interesting – they may be able to use this in their writing in Session 5: Macbeth – The battle.

Group Task: double, double, toil and trouble (Act IV, Scene I). Using the PowerPoint resource Macbeth – Resource 24 , read the witches’ spell together, discussing the trickier vocabulary and revealing definitions. Ask children to work in groups with a copy of the witches’ spell, Macbeth – Resource 25 , highlighting and annotating the poetic features that they find (alliteration, rhyme, repetition). Discuss what they have found, drawing out the AA/BB rhyme pattern. Then move on to one of the following independent tasks:

1. Children write an additional verse for the famous witches’ spell, paying close attention to metre and rhyme.


Session 4: Macbeth – Double, double, toil and trouble2. Using the witches’ spell as a guide, children write a recipe for

a witch’s charm including an ingredients list complete with measurements, and instructions for preparing the charm – as well as, perhaps, a serving suggestion! Use the recipe format, Macbeth – Resource 26 .



Rounding things up:

Quick quotes: Following on from the hot-seating task, ask each child to choose one or two sentences from the notes they have made, rewriting them as a newspaper-style quote, complete with a reporting clause. For example:“You can’t blame me for King Duncan’s murder,” said Grotilda Witch, aged 113, from the Darkest Woods. “I never actually said Macbeth should kill him.” Choose children to read aloud their quotes. For a quick display, provide children with a pre-cut strip of paper and a felt-tip pen to write their quotes out.

Predictive text: Assign the children with the numbers one, two or three. Depending on the number they have been assigned, ask the children to rewrite one of the three apparitions’ predictions as though in a modern text message, on the screen of the mobile phone image sheet provided, Macbeth – Resource 27 .


Medieval medicine: History. Although the ingredients for the witches’ brew in Macbeth sound truly horrifying, there were plenty of ‘wise women’ in medieval times who would have been cooking up all manner of strange ingredients to cure local people’s illnesses. Provide children with the worksheet of medieval maladies and their cures, Macbeth – Resource 28, and challenge them to conduct research on the internet to fill in the blanks.

Illustrated ingredients: Art. Show children the witches’ spell PowerPoint again, Macbeth – Resource 24 . Challenge the children to illustrate some of the ingredients from the witches’ brew in Act IV, Scene I. They may need to find out what some of the ingredients are first. This could be carried out in a number of ways:

1. Using watercolours and wet-on-wet blending to create eerie pictures of murky ingredients.

2. Using monoprinting to create striking black-and-white images.

3. Sculpting the ingredients with air-drying clay, before painting them and ‘bottling’ them in real jam jars.



Fun with fronted adverbials: Dice game

If you roll a… Type of fronted adverbial For example…

or

Time

(when it happened)

At the first light of dawn…

During the storm…The following

week…

or

Place

(where it happened)

Up on the hill…Below the bruised

sky…In the darkest

shadows…

or

Manner

(how it happened)

As fast as an arrow…

Trembling like a frightened dog…

Without warning…


Instructions:

1. Read the first sentence on the board.

2. Roll the dice to determine your type of fronted adverbial.

3. Think of a fronted adverbial to go with the sentence.

4. Write out the new sentence, remembering to put a comma after the fronted adverbial!

5. Repeat for the next sentence!For example: Time:As daylight faded, the Weird Sisters stirred their cauldron.Place:In a dank and steamy cave, the Weird Sisters stirred their cauldron.Manner:Muttering feverishly, the Weird Sisters stirred their cauldron.


Something wicked this way comes1. In groups of seven, act out the adapted extract below.Macbeth: Act IV, Scene I (extract)

[Macbeth is in a cave with the three witches. He has come to find out more information.]

Macbeth: How now, you secret, black and midnight hags! Answer me what I ask you.Witch 1: Wouldst thou rather hear it from our mouths, or from our masters?Macbeth: Call your masters; let me see them! Witch 1: Pour in the blood of a sow that hath eaten her nine piglets;

Throw grease from a murderer’s gallows onto the flame.Witches: Come, high or low; Thyself and thy business deftly show.

[Thunder rumbles. The first Apparition appears: a helmeted head.]

Apparition 1: Macbeth! Macbeth! Macbeth! Beware Macduff; Beware the Thane of Fife. Dismiss me. Enough.Macbeth: Whatever you are, I thank you for your warning. You have guessed who I am afraid of. But one more word –Witch 1: He will not speak further. Here’s another, more potent than the first.

[A second Apparition appears: a child covered in blood.]

Apparition 2: Macbeth! Macbeth! Macbeth! Be bloody, bold, and resolute; laugh and scorn the power of man, for none of woman born can harm Macbeth.Macbeth: Then Macduff may live; what fear need I have of him? Yet I’ll make double sure: Macduff shalt not live.

[More thunder rumbles. A third Apparition appears: a child wearing a crown, carrying a tree in its hand.]

Apparition 3: Macbeth shall never be vanquished until Great Birnam Wood comes to high Dunsinane Hill.Macbeth: That will never be! Who can make the tree unfix its earth-bound root?


Macbeth – Resource 23 These are sweet prophecies! I will be King until I die a natural death of old age!



Double, double, toil and troubleInstructions:

1. Read through the following extract from Macbeth and identify the poetic features you find, e.g. alliteration, rhyme, repetition etc.

2. Highlight or annotate what you find.

Macbeth: Act IV, Scene I (extract)

[A dark cave. In the middle, a cauldron boiling.][Thunder rumbles. ENTER: the three Witches.]

Witch 1: Thrice the brinded cat hath mew’d.

Witch 2: Thrice, and once the hedge-pig whin’d.

Witch 3: Harpier cries; ‘tis time, ‘tis time.

Witch 1: Round about the cauldron go; In the poison’d entrails throw. Toad that under cold stone Days and nights has thirty-one Swelt’red venom sleeping got Boil thou first i’ th’ charmed pot.

ALL: Double, double toil and trouble Fire burn and cauldron bubble.

Witch 2: Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt, and toe of frog, Wool of bat, and tongue of dog,

Adder’s fork, and blind-worm’s sting, Lizard’s leg, and howlet’s wing – For a charm of pow’rful trouble, Like a hell-broth boil and bubble.




Witch 3: Scale of dragon, tooth of wolf, Witch’s mummy, maw and gulf Of the ravin’d salt-sea shark, Root of hemlock digg’d I’ th’ dark, Liver of blaspheming Jew, Gall of goat, and slips of yew Sliver’d in the moon’s eclipse, Nose of Turk, and Tartar’s lips, Finger of birth-strangled babe, Ditch-deliver’d by a drab – Make the gruel thick and slab; Add thereto a tiger’s chaudron, For th’ ingredience of our cauldron.


Witch 1: Cool it with a baboon’s blood, Then the charm is firm and good.



Recipe for a witch’s charmInstructions:

1. Using the witches’ spell as a guide, write a recipe for your own witch’s charm.

2. Include an ingredients list with measurements, instructions for preparation and a serving suggestion.

Ingredients: (Don’t forget to include quantities.)

Method: (Include a serving suggestion.)



Predictive text1. Rewrite one of the

apparition’s predictions below as a modern text-message on the mobile phone screen.

First apparition’s prediction:Macbeth! Macbeth! Macbeth! Beware Macduff;Beware the Thane of Fife.

Second apparition’s prediction:Macbeth! Macbeth! Macbeth! Be bloody, bold and resolute; laugh to scorn the power of man, for none of woman born can harm Macbeth.

Third apparition’s prediction:Macbeth shall never vanquished be until Great Birnam Wood to high

1. Rewrite one of the apparition’s predictions below as a modern text-message on the mobile phone screen.

First apparition’s prediction:Macbeth! Macbeth! Macbeth! Beware Macduff;Beware the Thane of Fife.

Second apparition’s prediction:Macbeth! Macbeth! Macbeth! Be bloody, bold and resolute; laugh to scorn the power of man, for none of woman born can harm Macbeth.

Third apparition’s prediction:Macbeth shall never vanquished be until Great Birnam Wood to high Dunsinane Hill shall come


Macbeth – Resource 27Dunsinane Hill shall come against him.

against him.



Medieval medicine

Instructions:

1. Think the witches’ brew in Macbeth sounds horrifying? You should see what medieval people cooked up to cure their illnesses!

2. Use reference books and/or the internet to fill in the missing information in the table.

Illness Ingredients Method

Burns and scalds A live snail

Internal bleeding Wear in a bag around your neck.

The Black Death Human urine

Horehound Make into a syrup and drink.

Gout An owl

Kidney stones A hot plaster.

A spider and a raisin

Swallow a spider wrapped in a

raisin.© www.teachitprimary.co.uk 2016 25961 of 146


Medieval medicine: Suggested websites and answersTo ensure they find the relevant information, encourage children to search using the two pieces of information they have, along with the phrase ‘medieval cure’.

The following sites will also be of use:

www.historyextra.com/article/medieval/9-weird-medieval-medicines www.mostly-medieval.com/explore/remedy.htm www.enkivillage.com/cures-for-the-black-death.html

Illness Ingredients Method

Burns and scalds A live snail Apply snail slime to the burn.

Internal bleeding A dried toad. Wear in a bag around your neck.

The Black Death Human urine Bathe in it.

Coughs Horehound Make into a syrup and drink.

Gout An owl

Pluck it, cut it open, and salt it. Bake it until it is

burned, and grind it into powder. Mix it with boar’s grease and apply to the

patient.

Kidney stones Honey and pigeon dung A hot plaster.

Ague A spider and a raisin Swallow a spider wrapped in a raisin.


http://www.enkivillage.com/cures-for-the-black-death.html

http://www.mostly-medieval.com/explore/remedy.htm

http://www.historyextra.com/article/medieval/9-weird-medieval-medicines


Session 5: Macbeth – The battle (Statutory requirements covered: 8)








Pupils should be taught to draft and write by: selecting appropriate grammar and vocabulary, understanding

how such choices can change and enhance meaning. in narratives, describing settings, characters and atmosphere

and integrating dialogue to convey character and advance the action.

Pupils should be taught to evaluate and edit by: assessing the effectiveness of their own and others’ writing.

Pupils should be taught to: perform their own compositions, using appropriate intonation,

volume and movement so that meaning is clear.

Writing – vocabulary, grammar and punctuation (Year 5/6): Linking ideas across paragraphs using adverbials of time [for

example, ‘later’], place [for example, ‘nearby’] and number [for example, ‘secondly’] or tense choices [for example, ‘he had seen her before’].



Getting ready:

Plot Focus: Birnam Wood comes to Dunsinane / The death of Macbeth (Act V, Scenes III–XI).

Curriculum Focus: Writing transcription: spelling; Writing composition: fiction, formal/persuasive writing.

Cross-curricular: History: research and analysis; Music: composition.

Note: It would be helpful to re-read the last part of Macbeth aloud to the children before beginning this session.

Getting started:

Spelling activity: Birnam Wood comes to Dunsinane. Take the children out onto a field, into the playground or into the hall. Provide each child with a tree branch or twig: these could be real, or cut from card or paper. Divide the class in half. Tell the children that their challenge is to use their branches to spell out one of that week’s key spelling words. The first group to spell the word correctly will win a point! Continue until all the week’s key words have been spelled correctly. The team with the most points are the winners.

Word bank activity: Word soup. Divide the children into groups and provide each group with a ‘cauldron’ (this could be a large cooking pot, or a bowl, preferably black or painted black). Give each group a pile of blank paper pieces and allocate them a word class from the following:

1. nouns2. adjectives3. verbs4. adverbs

Set a five-minute timer and challenge the children to fill their cauldrons with as many exciting words connected to Macbeth as they can possibly think of by writing them on the blank paper strips and putting them in the cauldrons. For a different variation on this, allow each group one to two minutes on each station, and rotate them around the cauldrons so that the children come up with words for every word class. A further


Session 5: Macbeth – The battleextension could be to have cauldrons for ‘phenomenal figurative language’ or ‘startling sentence openers’.




Independent task: First-person perspective. Challenge the children to rewrite the ending of Macbeth as prose narrative from the first-person perspective of one of the characters. They could choose from:

1. Lady Macbeth (although she dies before the final scenes, the rest of the tale could be related by her ghost)

2. Macbeth3. Macduff4. Malcolm5. one of Malcolm’s soldiers

To prepare the children for this task, ask them to fill out the ‘five senses’ sheet, Macbeth – Resource 29 , beforehand, so that they are fully immersed in the perspective of their character before they begin writing.

Independent task: The king’s speech. At the end of Macbeth, Macduff hails Malcolm, the new King of Scotland. Ask the children to imagine that they are Malcolm, newly crowned at Scone as King of Scotland, and about to make a speech to their new subjects, persuading them that he will be a better king than Macbeth. What key points would they want to get across in their speech? Children may like to use the ‘speech planning’ sheet, Macbeth – Resource 30 , and then the ‘speech scaffold’ sheet, Macbeth – Resource 31 , to structure their speech.

Rounding things up:

Fiction detectives: Partner children up to read one another’s stories. Ask them to look through their partner’s work to find three pieces of evidence for how the main character is feeling during the story.

Grand performance: Pair the children up and ask them to take it in turns to read their speech to one another. The listening half of the pair must summarise the three main points made in their partner’s speech.




Medieval weaponry: History. What weapons would have been used in the great battle at the end of Macbeth? Ask children to research different medieval weapons using the ‘Medieval weaponry research’ worksheet, Macbeth – Resource 32 , and decide which they would have liked to use in a fight against Macbeth, and why!

Battle theme: Music. Play the children famous pieces of music which evoke war or battle. You could include:

1. ‘Mars, The Bringer of War’ from The Planets by Gustav Holst2. ‘Ride of the Valkyries’ by Richard Wagner3. ‘1812 Overture’ by Pyotr Tchaikovsky

You could also choose to play soundtracks from battles in films that the children are likely to recognise, e.g. Star Wars. Divide the children into groups, provide them with a wide range of instruments, and challenge them to compose their own battle soundtrack for the final fight in Macbeth. They may like to think about:

1. which instruments will provide the best timbre for battle music;2. how they can use rhythm and pace to build tension;3. how they might use crescendo and diminuendo; and4. how their piece will reflect the narrative journey of Macbeth’s

battle.



Five senses character sheet

Instructions:1. Choose your character from the following list and

complete the senses sheet below: Lady Macbeth’s ghost, Macbeth, Macduff, Malcolm or one of Malcom’s soldiers.

2. Then use your ideas as a reference for rewriting the end of Macbeth from your character’s perspective.

The character I have chosen is:

My character can see …

My character can hear …

My character can smell …

My character can feel …


Macbeth – Resource 29My character can taste …



The king’s speech – planInstructions:

1. Imagine you are King Malcolm, intending to make a speech to persuade people that you will be a better king than Macbeth.

2. Use the boxes below to plan what you will say.

What decisions and personality traits made Macbeth a bad king?

What decisions and personality traits will make you (Malcolm) a good king?

Useful sentence starters (add your own ideas):


I feel thatUndoubtedly I strongly believe

After all

FurthermoreAnother reasonDespite the fact

Let’s not forget that

Likewise In these troubled times

How could anybody prefer

In addition to this In conclusion


The king’s speech – speech scaffold:Instructions:

1. Imagine you are King Malcolm and write your speech to persuade people that you will be a better king than Macbeth.

2. Use your plan and write down in the boxes below what you will say.

Introduction: (Explain what your speech is about.)

Paragraph 2: (Make your first point, and back it up with evidence.)

Paragraph 3: (Make your second point, and back it up with evidence.)

Paragraph 4: (Make your third point, and back it up with evidence.)

Conclusion: (Summarise your three points, and make a final, memorable statement.)


Macbeth – Resource 32Name: ..................................................................................... Date:...............................................................................

Medieval weaponry researchInstructions:

1. Use the internet or non-fiction books to research the weapons in the table. 2. Which would you choose to fight Macbeth?

Name of weapon Sketch of weapon How it works Advantages Disadvantages

Broadsword

Longbow

Battle axe

Mace

Pike

I would choose ..........................................to fight Macbeth because ..................................................................................



Session 6: The Tempest – The storm(Statutory requirements covered: 5)




making comparisons within and across books.



drawing inferences such as inferring characters’ feelings, thoughts and motives from their actions, and justifying inferences with evidence.

Writing – composition:Pupils should be taught: how words are related by meaning as synonyms and

antonyms.

Getting ready:

Before you begin this unit of work, please ensure you have introduced your class to the story of The Tempest, using one of the following books:

Shakespeare Stories by Leon Garfield Stories from Shakespeare by Geraldine McCaughrean Illustrated Stories from Shakespeare by Usborne (this is a much simpler

version, helpful for less able readers)

Plot Focus: The Storm (Act I, Scenes I–II).

Curriculum Focus: Vocabulary, grammar and punctuation: synonyms and antonyms; Writing transcription: dictionary skills; Reading: comprehension.


Session 6: The Tempest – The stormCross-curricular: Art: learning about great artists in history; Music: composition.



Getting started:

Thesaurus corner: Synonyms and antonyms. What does the word ‘tempest’ mean? Challenge groups of children to use a thesaurus (or a thesaurus app on the iPad) to find as many synonyms as possible for this word within a short time limit. Extend more able children by asking them to also find antonyms. The children could write these synonyms and antonyms clearly in felt-tip lettering to begin a working wall display.

Shipwreck! The Tempest opens with a violent storm at sea, which causes a shipwreck. Ask the children what they already know about shipwrecks. How do they happen? Are there any famous shipwrecks the children can name, and what do they know about them? (e.g. The Titanic, The Mary Rose.) In table groups, give the children five minutes to write down everything they know about shipwrecks. Then, allow them to share their ideas with the rest of the class.


Dictionary corner (Act I, Scene I): Provide children with a copy of the original Shakespeare text of Act I, Scene I, The Tempest – Resource 33, and read it through with the children. What is happening in this scene? What makes it hard to understand? Draw out that there are quite a few specialist sailing terms which the children may be unfamiliar with, and that some of the language is rather old-fashioned and difficult to understand. Alternatively, you could play the children a clip from a filmed version of the play. The opening 2.5 minutes of the 2010 film The Tempest is an exciting version, although it is slightly abridged.

Next provide each child with the worksheet listing tricky vocabulary from the opening scene of The Tempest, The Tempest – Resource 34 . Using a dictionary or the internet, the children must investigate the meanings of these unfamiliar words and record them in the spaces provided. (Note: for some of the more archaic words, the internet may need to be used to find definitions.)

Finally, ask the children to re-read Act I, Scene I. Do they find the scene easier to understand now?

Castaway comprehension (Act I, Scene II): Provide the children with the extract from this scene where Prospero describes how he and his daughter survived their exile at the hands of Prospero’s wicked brother, Antonio, The Tempest – Resource 35 . Ask them to read the extract


Session 6: The Tempest – The stormcarefully and answer the comprehension questions at the end of the resource. Once they have answered all the questions, the children must reflect upon which three books they would most wish to have with them if they were a castaway upon a desert island.



Rounding things up:

Title talk: Why do the children think Shakespeare chose The Tempest as the title of this play? In pairs, come up with as many reasons as possible.

Secret pasts: In the second scene of The Tempest, Miranda discovers that she is not the ordinary girl she thought she was, but is in fact the daughter of a noble duke. Can the children think of any other characters in fiction who discover that they are not who they thought they were? Why does this kind of character make for an exciting story? Spoiler alert! Only reveal the following examples if the children have already read the story/seen the film! Harry Potter (who isn’t an ordinary boy; he is a wizard!); Sleeping Beauty (who is raised in the forest not knowing she is a princess); Luke Skywalker: Star Wars (who turns out to be the son of Darth Vader); and Lyra in Northern Lights (who turns out to be the daughter of Lord Asriel and the evil Mrs Coulter).


Stormy sea: Art (learning about great artists in history). Show children images of Turner’s storm paintings, such as ‘Stormy Sea with Blazing Wreck’ and ‘Stormy Sea with Dolphins’. Without telling them the titles of the paintings, ask them to discuss in talking partners what they think each picture is showing. How do the pictures make them feel?

Explain that the paintings are of stormy seas. Tell the children that allegedly, Turner actually tied himself to a mast of a ship during a particularly bad storm in Harwich so that he could experience what it was really like to be in among all those crashing waves.

Provide the children with good quality paper and pastels with which to make their own stormy sea pictures in the style of Turner to illustrate the opening of The Tempest, using blending and layering techniques. Remind them to think carefully about areas of light and dark in the picture.

Shipwreck: Music (compose music for a range of purposes): Play the children ‘Storm’ from the Summer movement of Antonio Vivaldi’s The Four Seasons. As they listen, ask them to think about the following questions:

1. What different instruments can you hear?2. Does this music remind you of a storm? Why / why not?3. How do you feel as you listen to this piece of music?


Session 6: The Tempest – The stormDivide the children into groups and provide them with a range of instruments. Challenge them to compose their own short piece of music telling the story of the storm in The Tempest and the subsequent shipwreck of Ferdinand’s boat.




The Tempest – Resource 33 ............................................................................ 75




The Tempest – Resource 33

The Tempest: Act I, Scene I (extract)

[On a ship at sea; a tempestuous noise of thunder and lightning heard.][Enter: a Shipmaster and a Boatswain.]

Master: Boatswain!

Boatswain: Here, master; what cheer?

Master: Good! Speak to th’ mariners; fall to ‘t yarely, or we run ourselves aground; bestir, bestir.

[Exit][Enter: Mariners]

Boatswain: Heigh, my hearts! Cheerly, cheerly my hearts! Yare, yare! Take in the topsail. Tend to th’ master’s whistle. Blow till thou burst thy wind, if room enough.

[Enter: Alonso, Sebastian, Antonio, Ferdinand, Gonzales and Others.]

Alonso: Good boatswain, have care. Where’s the master? Play the men.

Boatswain: I pray now, keep below.

Antonio: Where is the master, boson?

Boatswain: Do you not hear him? You mar our labour; keep your cabins; you do assist the storm.

Gonzalo: Nay, good, be patient.

Boatswain: When the sea is! Hence! What cares these roarers for the name of king? To cabin! Silence! Trouble us not.

Gonzalo: Good, yet remember whom thou hast aboard.

Boatswain: None that I love more than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more. Use your authority; if you cannot,


The Tempest – Resource 33give thanks you have liv’d so long, and make yourself ready

Boatswain: in your cabin for the mischance of the hour, if it so hap. – Cheerly, good hearts! – Out of our way, I say.

[Exit]

Gonzalo: I have great comfort from this fellow. Methinks he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good Fate, to his hanging; make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hang’d, our case is miserable.

[Exit][Re-enter: the Boatswain]

Boatswain: Down with the topmast. Yare, lower, lower! Bring her to try wi’ th’ maincourse. [A cry within.] A plague upon this howling! They are lowers than the weather or our office.


The Tempest – Resource 34Name: ................................................ Date:...................................................

Dictionary corner: The Tempest

Instructions:

1. Use a dictionary or the internet to find the definitions of these tricky vocabulary words from Act I, Scene I of The Tempest.

Word Definition

boatswain

mariner

topsail

gallows

mischance

yarely

topmast

maincourse

bestir

boson

hap

cheerly

mar

hast

hath



Castaway comprehension

Instructions:

1. Read the following extract carefully and then answer the questions at the end of the text.

The Tempest: Act I, Scene II (extract)

Prospero: In few, they hurried us aboard a bark;Bore us some leagues to sea, where they preparedA rotten carcass of a butt, not rigg’d,Nor tackle, sail, nor mast; the very ratsInstinctively had quit it. There they hoist us,To cry to th’ sea, that roar’d to us; to sighTo the winds, whose pity, sighing back again,Did us but loving wrong.

Miranda: Alack, what troubleWas I then to you!

Prospero: O, a cherubinThou wast that did preserve me! Thou didst smile,Infused with a fortitude from heaven,When I have deck’d the sea with drops full salt,Under my burden groan’d; which rais’d in meAn undergoing stomach, to bear upAgainst what should ensue.

Miranda: How came we ashore?

Prospero: By Providence divine.Some food we had and some fresh water thatA noble Neapolitan, Gonzalo,Out of his charity, who being then appointedMaster of this design, did give us, withRich garments, linens, stuffs, and necessaries,Which since have stead much; so, of his gentleness,Knowing I lov’d my books, he furnish’d meFrom mine own library with volumes thatI prize above my dukedom.



Castaway comprehensionThe Tempest: Act I, Scene II

1. What evidence can you find in the text that the boat on which Prospero and Miranda were cast adrift was not very good quality?

.......................................................................................

.......................................................................................

.......................................................................................

2. What was Prospero given to help him and Miranda to survive?

...................................................................................................................

...................................................................................................................

...................................................................................................................

3. What was the name of the man who took pity on Prospero and provided him with these useful items?

...................................................................................................................

4. What gave Prospero the strength to ‘bear up’ against his situation?

...................................................................................................................

...................................................................................................................

5. What did Prospero think was even more important than his dukedom?

...................................................................................................................

...................................................................................................................

6. If you were castaway on an island, which three books would you most want to take with you?

A. .......................................................................B. .......................................................................C. .......................................................................



Session 7: The Tempest – Full fathom five(Statutory requirements covered: 6)










Writing – vocabulary, grammar and punctuation (Year 5/6):Pupils should be taught to develop their understanding of the concepts set out in English Appendix 2 by: using expanded noun phrases to convey complicated

information concisely.

Pupils should be taught to indicate grammatical and other features by: punctuating bullet points consistently.



Getting ready:

Before beginning this session, it would be helpful to read the story up to the end of Act I, just after Miranda and Ferdinand have fallen in love at first sight.

Plot Focus: Ariel and Caliban (Act I, Scene II).

Curriculum Focus: Vocabulary, grammar and punctuation: punctuation of lists, expanded noun phrases; Spoken language: performance; Writing composition: using similar writing as a model.

Cross-curricular: Geography: mapwork, keys; PSHE: teamwork.

Getting started:

Magical mayhem (Act I, Scene II): In Act I, it is revealed that Prospero commanded the spirit Ariel to create the dreadful sea storm, in order to bring about the shipwreck. Ask the children: if you had a fairy servant, what would you command them to do? This could provide a good opportunity for revisiting the structure and grammar of lists. The children could produce a bullet-pointed list of commands, punctuated consistently.

Performance: Ariel’s entrance (Act I, Scene II). Pair the children up, and ask them to choose which of them will be Prospero and which will be Ariel. Provide them with the very short excerpt from Act I, Scene II in which Ariel first appears, The Tempest – Resource 36 . Ask them to think about the differences between the two characters: Prospero is an old nobleman, stately and commanding, whereas Ariel is a spirit of the air, nimble and mischievous. Challenge the children to think about how the two characters will move, and what sort of gestures they will make. Ask them to act out the short excerpt, focusing on body language.


Paired / Group task: Noun-phrase hunters (Act I, Scene II). Provide pairs or small groups of children with a copy of the excerpt from Act I, Scene II where Prospero describes the history of Sycorax and Caliban, The Tempest – Resource 37 . Ask the children to highlight any noun phrases that they find in the text. They should check any unfamiliar vocabulary using an online dictionary. Can the children identify which characters are being described by the noun phrases?


Session 7: The Tempest – Full fathom fiveNext, can they choose three noun phrases from the text to expand by themselves?


Session 7: The Tempest – Full fathom five Independent Task: Full Fathom Five (Act I, Scene II). Using the

PowerPoint, The Tempest – Resource 38 , read through Ariel’s famous ‘Full fathom five’ speech with the children to explore the meaning of each line. Using the worksheet to support if necessary, The Tempest – Resource 39, children should then write their own additions to Ariel’s description of Ferdinand’s supposedly drowned father, the king.

Rounding things up:

Guess who: In pairs, children each write an expanded noun phrase to describe any character that they have met so far in the play. Their partner must guess who the character is! Choose children to present their expanded noun phrases to the class for a whole-class guessing game.

Famous quotes: The ‘Full fathom five’ speech is a very famous quote from The Tempest. Provide children with a list of other famous Shakespearean quotes, The Tempest – Resource 40 . How many do they recognise? Can they explain what any of them mean?


Brave new world: Geography (mapwork). In Act I, Scene II, Ariel reports to Prospero that he has done as was asked of him, and has ensured that the king, his servants and Prince Ferdinand have all been separated from one another and have washed up on different shores of the island. Provide the children with squared paper and ask them to draw their own map of the island, including the following features:

1. The place Prince Ferdinand washes up on shore.2. The place the king and his followers wash up on shore.3. The place the servants wash up on shore.4. The place where Miranda and Prospero live.5. The pine tree from which Ariel was freed by Prospero. 6. The rocks in the sea where the king’s ship was wrecked in the

storm.

Children should provide a key for their island map.

Castaways: PSHE (teamwork). Divide the class into groups of three or four children. Ask them to imagine that they, like Miranda and Prospero, are about to be castaways on an island in the middle of the sea. Each group is allowed to bring six objects with them, and they must all agree on these six objects. Challenge the children to work together to


Session 7: The Tempest – Full fathom fivechoose six objects that will help them to survive on their unknown island, thinking carefully about the benefits of each object. Once they have decided, they may take turns to present their choices to the class.



Ariel’s entranceInstructions:

1. In pairs, read through the scene below in which Ariel first appears.

2. Think about the differences between the two characters: Prospero a stately, old nobleman and Ariel a nimble, mischievous spirit.

3. Think about how they might move and act out the short scene focussing on body language.


Prospero: Come away, servant; come; I am ready now. Approach, my Ariel. Come.

[Enter Ariel]

Ariel: All hail, great master! grave sir, hail! I come To answer they best pleasure; be’t to fly, To swim, to dive into the fire, to ride On the curl’d clouds. To thy strong bidding task Ariel and all his quality.

Prospero: Hast thou, spirit, Perform’d to point the tempest that I bade thee?

Ariel: To every article.



Noun phrase huntersInstructions:

1. Highlight or underline all the noun phrases in the text below.

2. Use a dictionary to check any unfamiliar words.

3. Once you have finished, answer the questions at the bottom of the worksheet. Then complete the questions at the bottom of the text.


Prospero: Thou liest, malignant thing. Hast thou forgotThe foul witch Sycorax, who with age and envyWas grown into a hoop? Has thou forgot her?

Ariel: No, sir.

Prospero: Thou hast. Where was she born? Speak; tell me.

Ariel: Sir, in Argier.

Prospero: O, was she so? I mustOnce in a month recount what thou hast been, Which thou forget’st. This damn’d witch Sycorax,For mischiefs manifold, and sorceries terribleTo enter human hearing, from ArgierThou know’st was banish’d; for one thing she didThey would not take her life. Is not this true?

Ariel: Ay, sir.

Prospero: This blue-eyed hag was hither brought with child,And here was left by th’ sailors. Thou, my slave,As thou report’st thyself, wast then her servant;And, for thou wast a spirit too delicateTo act her earthy and abhorr’d commands,Refusing her grand hests, she did confine thee,By help of her more potent ministers,And in her most unmitigable rage,


The Tempest – Resource 37Prospero: Into a cloven pine, within which rift

Imprison’d thou didst painfully remainA dozen years; within which space she died,And left thee there, where thou didst vent thy groansAs fast as mill-wheels strike. Then was this island –Save for the son that she did litter here,A freckl’d whep, hag-born – not honoured withA human shape.

Ariel: Yes, Caliban her son.

Prospero: Dull thing, I say so; he, that CalibanWhom now I keep in service. Thou best know’stWhat torment I did find thee in; thy groansDid make wolves howl, and penetrate the breastsOf ever-angry bears; it was a tormentTo lay upon the damn’d, which SycoraxCould not again undo. It was mine art,When I arriv’d and heard thee, that made gapeThe pine, and let thee out.

Ariel: I thank thee, master.

Questions1. Find and copy out a noun phrase which describes each of the following

characters:

a. Sycoraxb. Calibanc. Ariel

2. Choose three noun phrases from the text and expand them. For example, ‘the foul witch’ could become ‘the foul witch with the bedraggled hair’.

a. ............................................................................................................................................................................................................................

b. ............................................................................................................................................................................................................................

c. ............................................................................................................................................................................................................................



Full fathom fiveInstructions:

1. In Ariel’s song in Act I, Scene II of The Tempest, Ferdinand is told that his father, the king, has supposedly drowned, and that some of his body parts have begun to change into things that are found in the sea.

2. What other sea-objects can you think of that you could compare to the drowned king’s body? Fill out the table below with your ideas, and use them to write a short additional verse to Ariel’s song.

Body part The sea changes it to…

bones coral

eyes pearls



Famous Quotes from ShakespeareInstructions:

1. Read the quotes below. 2. Which ones do you recognise?

Highlight or underline them if you have heard them before.

3. Try to explain what each of the quotes mean.

‘If music be the food of love, play on’ – Twelfth Night

means .................................................................................................................

‘The course of true love never did run smooth’ – A Midsummer Night’s Dream

means .................................................................................................................

‘To be, or not to be: that is the question’ – Hamlet

means .................................................................................................................

‘All that glisters is not gold’ – The Merchant of Venice

means .................................................................................................................

‘A horse, a horse! My kingdom for a horse’ – Richard III

means .................................................................................................................

‘What’s in a name? That which we call a rose, by any other name would smell as sweet’ – Romeo and Juliet

means .................................................................................................................

‘All the world’s a stage, and all the men and women merely players’ – As You Like It

means .................................................................................................................

‘Friends, Romans, countrymen: lend me your ears’ – Julius Caesar

means .................................................................................................................

‘This above all: to thine own self be true’ – Hamlet

means .................................................................................................................



Session 8: The Tempest – Comedy and confusion(Statutory requirements covered: 4)








Writing – vocabulary, grammar and punctuation (Year 5/6):Pupils should be taught to develop their understanding of the concepts set out in English Appendix 2 by: recognising vocabulary and structures that are appropriate

for formal speech and writing, including subjunctive forms.

Getting ready:

Before beginning this session, it would be helpful to read the story up to the end of Act II.

Plot Focus: Act II, Scenes I–II.

Curriculum Focus: Reading: comprehension; Vocabulary, grammar and punctuation: the subjunctive form; Spoken language: improvisation and performance.


Session 8: The Tempest – Comedy and confusionCross-curricular: Music: composition; History: select and organise information; Computing: use search technologies effectively.


Session 8: The Tempest – Comedy and confusionGetting started:

Island rules: Comprehension (Act II, Scene I). In this scene, Gonzalo, one of the shipwrecked lords, imagines how he would run the island if he were in charge of it. Provide children with the worksheet The Tempest – Resource 41 . They must cut out and match the lines of original Shakespearean text to the modern translation.

Four-legged monster: Performance (Act II, Scene II). In this scene, Stephano finds Caliban and Trinculo hiding under the same cloak. When he sees their four legs sticking out from the cloth, he assumes he has discovered a four-legged monster! Pair the children up and challenge them to create their own four-legged monster by linking themselves together. They must then find a way of moving across the classroom together, as if they were one body with four legs!


Independent task: ‘If I were king of this isle …’ : Grammar – subjunctive (Act II, Scene I). This activity would run well after the ‘Island rules’ starter, in which children match the lines of the original Shakespearean speech made by Gonzalo with their modern translation. In this speech, Gonzalo lists how he would run the island if he were its king. Provide the children with the scaffold document for writing their very own island rules, The Tempest – Resource 42 . Each rule should begin with the subjunctive construction ‘If I were king/queen …’

Stephano, Trinculo and Caliban: Group Activity (Act II, Scene II): (Performance). Group children into threes, and provide each group with a sheet or large piece of fabric, and a summary of the action that takes place in the first part of Act II, Scene II, The Tempest – Resource 43. The children must work together to create a performance of this part of the play, improvising their own dialogue.

They should think about:

1. How to position their bodies so that the audience can see the action clearly.

2. How to use the ‘cloak’ to comedic effect (e.g. by making exaggerated shaking movements beneath it to show fear).

3. How they will make sure that the audience can hear dialogue spoken beneath the cloak.



Rounding things up:

Three objects: If the children had to represent the story of the play so far in three objects, which would they choose, and why? For example, they might choose a book to represent Prospero’s magic, a crown to represent the King of Naples, and a log to represent the task set for Ferdinand by Prospero.

Freeze-frame feelings: Ask the children how they think the different characters feel at this point in the play. They must then portray that feeling in a freeze-frame of their facial expression and body position. This could be carried out as a whole-class activity, where every child simultaneously shows how they think Caliban is feeling, or you could choose individual children to portray different characters.


Sleeping spell (Music): In Act II, Scene I, Ariel sends Gonzalo, Alonso, Adrian and Francisco into an enchanted sleep, leaving Sebastian and Antonio awake to plot the murder of Alonso, who is King of Naples. This scene provides an excellent opportunity for musical composition.

Divide the class into groups. Each group must compose a short piece of music to represent the ‘solemn music’ played by Ariel, which sends the noblemen to sleep. Encourage the children to look up the meaning of the word ‘solemn’, and to experiment with a range of instruments to find which ones create sounds that reflect this meaning.

When composing their music, the groups may like to think about:

1. How to mimic the rising and falling sounds of sleeping breath (perhaps with rising and falling scales, or with crescendo and diminuendo).

2. How to control the tempo of the music to create a solemn atmosphere.

3. How to use dynamics to contrast the noisy chatter of the noblemen with the peacefulness of their sleep.



Shakespearean seafaring (History): The time in which Shakespeare was writing his plays was also a time of great seafaring for Britain – so it is no surprise that ships and shipwrecks feature so heavily in his work. It was the age of exploration, as well as a time of pirates, of warfare, and of merchant ships trading with faraway lands.

Allocate seafaring research topics to pairs or groups of three by cutting up the topics from The Tempest – Resource 44 . Note that the research topics focus on Elizabethan seafaring, as Elizabeth I was on the throne for the majority of Shakespeare’s writing career – however, The Tempest was actually written after her death, during the rule of James I. Remind children of e-safety considerations when researching information online. Set a time limit, e.g. 20 minutes, for internet-based research and note-making, and then another time limit, e.g. 15 minutes, for the children to assemble a short presentation to give to the class.

At the end of the presentations, give each child a square of blue paper for them to write on their favourite fact they have learned from another group’s work. These squares of paper could be arranged in a ‘sea’ around a picture of a galleon for a quick, child-led display.

.



Island rules: ComprehensionInstructions:

1. Cut out and match the modern version of Gonzalo’s speech to the original Shakespearean text.

Gonzalo’s speech: Original text

Gonzalo’s speech: Modern version

Had I plantation of this isle, my lord –

And were the king on’t, what would I do?

There would be no magistrates. People would not be able to read and write. There would be no rich people,

no poor people, and nobody would use servants.

I’ th’ commonwealth I would by contraries execute all things. For no kind of traffic would I admit.

Nobody would have a job. All men would be able to lie around all day.

The women would have nothing to do either, but they would be innocent

and pure. There would be no kings or queens.

No name of magistrate. Letters should not be known. Riches, poverty, and use of service –

none.

I would not allow treason, crimes, or any weapons.

Contract, succession, bourn, bound of land, tilth, vineyard –

none.

If I could plant things on this island, my lord – and if I were the king of it –

what would I do?

No use of metal, corn, wine or oil.

Everything we need, nature would produce for us, without anyone having to sweat or work hard.

No occupation. All men, idle all. And women too, but innocent

and pure. No sovereignty.But nature would produce abundant harvests to feed my innocent people.

All things in common nature should produce without sweat or

endeavour.There would be nobody using metal,

corn, wine or oil.

Treason, felony, sword, pike, knife, gun, or need of any engine, would I not have.

In this kingdom I would do everything differently. I wouldn’t allow any kind

of business to take place.But nature should bring forth of

its own kind all foison, all abundance, to feed my innocent

people.

There would be no contracts, no inheritance of wealth, nobody would

own land, no agriculture or vineyards.



‘If I were king of this isle…’Instructions:

1. In Act II, Scene II of The Tempest, Gonzalo (a kind nobleman), explains how he would run the island if he were its king.

2. Imagine that you are the king or queen of an island. What rules would you have? How would you make sure that the people living on the island were happy?

3. Fill in the table below, making sure that each of your rules begins with the phrase, ‘If I were…’ You may wish to use the verb bank at the bottom of the page to help you.

If I were king/queen of this isle, I would …

If I were …

Verb bank:

prevent allow forbid order bestowpermit command vow insist declare



Stephano, Trinculo and Caliban: Act II, Scene II:Instructions:

1. In groups of three, read the summary of the scene below and then act out the scene.

2. How will you show the audience what is happening through your dialogue?

3. Remember, this is a funny scene! How will you make your audience laugh?

Event Ideas for dialogue

A. Caliban is carrying wood for Prospero. He is complaining about Prospero, who sometimes sends fairies and spirits to pinch and tease him.

B. Trinculo enters. Caliban mistakes him for one of Prospero’s spirits.

C. Caliban lies down and hides under his cloak, hoping the ‘spirit’ (Trinculo) won’t see him.

D. Thunder roars. Trinculo looks around, worried about getting wet in a storm.

E. Trinculo sees Caliban hiding under the cloak. He wonders if Caliban is a man or some kind of monstrous fish. He certainly smells like a fish!



Event Ideas for dialogue

F. Trinculo decides that Caliban is an island man who has been killed by lightning. He decides to get under his cloak to shelter from the rain.

G. Stephano enters, singing.

H. Caliban cries out in fear, thinking Stephano is another spirit, and asks Stephano not to hurt him.

I. Stephano stops and stares. Here is a cloak, with four legs sticking out from underneath it! It must be a four-legged monster of the island!

J. Stephano begins a conversation with the ‘monster’ under the cloak.



Seafaring researchInstructions:

1. Cut up the following sheet of research topics and distribute to pairs or trios of children. Give the children a 20-minute limit for online research and then a further 15 minutes to put together a short presentation of the information they have found to share with the class.

2. The following links are examples of websites to direct children to for their research.

Useful websites:

goldenhind.co.uk/ www.primaryhomeworkhelp.co.uk/tudors/explorers.htm www.primaryhomeworkhelp.co.uk/tudors/exploration.htm primaryfacts.com/299/the-life-of-a-tudor-sailor-facts-and-information/

Seafaring research topics

Sir Francis Drake The Golden Hind Food on board Tudor ships

ScurvySea dogs(English

privateers)Sir Walter Raleigh

Spanish Armada Jobs on board a Tudor ship

Different types of Tudor ships

Punishment on board a Tudor

shipThe shipwreck of the Sea Venture

The Elizabethan navy


http://primaryfacts.com/299/the-life-of-a-tudor-sailor-facts-and-information/

http://www.primaryhomeworkhelp.co.uk/tudors/exploration.htm

http://www.primaryhomeworkhelp.co.uk/tudors/explorers.htm

http://goldenhind.co.uk/


Session 9: The Tempest – Magic and monsters(Statutory requirements covered: 4)





fiction, poetry, plays, non-fiction and reference books or textbooks


understanding and explaining the meaning of words in context



Getting ready:

Before beginning this session, it would be helpful to read the story up to the end of Act III, when Ariel makes Alonso, Antonio and Sebastian feel guilty for the past wrongs they have done to Prospero.

Plot Focus: Act III, Scenes I–III.

Curriculum Focus: Writing composition: using similar writing as a model; Reading: comprehension; Spoken language: performance.


Session 9: The Tempest – Magic and monstersCross-curricular: Design Technology: cooking and nutrition; Art: collage.



Getting started:

Love declarations: Composition (Act III, Scene I). In this scene, the two lovers, Miranda and Ferdinand, talk while Ferdinand carries out the task of moving logs that Prospero has set him. Ferdinand tells Miranda that ‘Tis fresh morning with me / When you are by at night.’ Ask the children what they think this means (Ferdinand’s love for Miranda is so powerful that if she is near him, even the night-time would seem like a bright new morning).

Challenge the children to come up with their own ‘love declarations’ for Ferdinand to give to Miranda, modelled on the example in the play. For example, ‘When you are near me, even the most rotten meat smells like the sweetest rose’.

Banquet dance: Performance (Act III, Scene III). In this scene, a magical banquet is brought in by strange dancers before Alonso, Antonio and the other noblemen. Display or read the stage directions for this part of the play to the class:

Enter several strange shapes, bringing in a banquet; and dance about it with gentle actions of salutations; and inviting the King etc., to eat, they depart.

Discuss any unfamiliar language (e.g. ‘salutations’) to ensure the children understand the stage directions. Then put on some background music and challenge the class to improvise their own individual dance moves to enact this part of the play. It would be helpful to be in the hall, or to have chairs and tables pushed back to create enough space in the classroom for this. You may wish to film the children’s improvised movements to play back to them for discussion or to inspire further writing.


Alonso’s guilt: Reading (Act III, Scene III). Towards the end of this scene, Ariel appears in the form of a harpy (a mythical monster) to confront Alonso, Antonio and Sebastian with their crimes, and to demand that they show that they are truly sorry for what they have done.

1. Task (harder): In pairs or small groups, provide children with the copy of Alonso’s reaction to Ariel’s speech, The Tempest – Resource 45. Explain that this is the original Shakespearean


Session 9: The Tempest – Magic and monsterstext, showing Alonso’s reaction to Ariel’s terrifying speech. Ask the children to use dictionaries and the internet to try to provide their own modern translation of the speech.

2. Task (easier): Match the modern translation to the original Shakespearean version of Alonso’s speech The Tempest – Resource 46.



Independent task: Believing in magic: Composition. In Act III, Scene III, when the magical banquet appears before Alonso and the other noblemen, Sebastian is so surprised that he states:

Now I will believeThat there are unicorns, that in Arabiathere is one tree, the phoenix’s throne, one phoenixat this hour reigning there.

In other words, he is so overcome with surprise at this magical happening, that now he is willing to believe in other magical or mythical things, such as unicorns and the phoenix.

Discuss this part of the play with the children, and how they would feel if something so incredibly strange and magical appeared before them. Challenge the children to write a poem describing all of the other magical things they might begin to believe, if such a thing happened to them. They could model the poem on the Shakespearean verse, beginning each stanza with the line ‘Now I will believe…’. Encourage them to use other poetic devices, such as alliteration and simile, e.g.

Now I will believeThat sirens’ songs lure sailors to their early deaths,That the kraken swallows ships on lonely seas, and mermaids’ tails flash like shooting starsin the night-depths of the ocean.

Rounding things up:

Write the question: Tell the children that the answer to a question is ‘Prospero’. What could the question be? In groups, challenge the children to think of as many questions as possible that could have the answer ‘Prospero’. Which group can come up with the greatest range of questions?

Tableaux: In small groups, ask the children to create a freeze-frame tableau of a scene from the play so far. The rest of the class must then identify which part of the play the scene comes from. You could even photograph these tableaux and ask the children to order the photographs into a storyboard for a class display.




Island banquet: (Design Technology: Cooking and nutrition – prepare and cook a variety of predominantly savoury dishes using a range of cooking techniques). In Act III, Scene III, a strange banquet appears by magic before the King of Naples and the other noblemen, and then vanishes. Tell the children that they are going to create their own class banquet. Put the children into groups and ask them to choose a recipe for a dish that their group would like to prepare and cook for the class to share.

To ensure that enough savoury dishes are cooked, you may wish to allocate ‘sweet’ or ‘savoury’ to a set number of groups.

The children may like to consider:

1. Quantities needed to feed the whole class – the recipe may need to be scaled up.

2. Dietary requirements that need to be catered for within the class.

3. Whether the dish needs to be served hot or cold – too many hot dishes may be difficult to prepare simultaneously in school!

4. Whether they would like to cook a historical dish that would have been eaten in Shakespeare’s time – if so, an excellent online source of Elizabethan recipes can be found here: www.elizabethan-era.org.uk/old-elizabethan-recipes.htm

5. What ingredients they may need to substitute if they are using a historical recipe.

Alternatively, children could research and cook dishes at home as a homework project, and bring them in on a designated day for a class banquet.

Mythical monsters: Art (improve their mastery of art and design techniques with a range of materials). In Act III, Scene III, Ariel appears before Alonso, Antonio and Sebastian in the form of a harpy (a mythical monster with a woman’s head and a bird’s body). Provide the children with a range of images of animals and humans from magazines and newspapers. They should choose two or more images to cut up, gluing parts of them back together to create a collage of their own mythical monster. As an extension activity, the children could come up with a name for their monster, and a description of its behaviour and key features.


http://www.elizabethan-era.org.uk/old-elizabethan-recipes.htm



The Tempest – Resource 45 .......................................................................... 105




Alonso’s guilt

Instructions:

1. In Act III, Scene III of The Tempest, Ariel appears to Alonso, Antonio and Sebastian in a clap of thunder. He frightens the three noblemen by revealing that he knows what they did to Prospero all those years ago.

2. In the table below, you will find Alonso’s reaction to Ariel. You must read each line of the speech and translate it into modern English. You may like to use a dictionary or the internet to help you.

Alonso’s speech (original) Alonso’s speech (modern translation)

Oh, it is monstrous, monstrous

Methought the billows spoke and told me of it,

the winds did sing it to me,

and the thunder, that deep and dreadful organ pipe, pronounced the name of Prosper.

It did bass my trespass.

Therefore my son i’ th’ ooze is bedded

and I’ll seek him deeper than e’er plummet sounded

And lie with him there mudded.



Alonso’s guilt

In Act III, Scene III of The Tempest, Ariel appears to Alonso, Antonio and Sebastian in a clap of thunder. He frightens the three noblemen by revealing that he knows what they did to Prospero all those years ago.

Instructions:

1. In the table below, you will find Alonso’s reaction to Ariel. 2. You must read each line of the speech and match it to the modern

English version. 3. You may like to use a dictionary or the internet to help you to find

definitions of unfamiliar words.

Alonso’s speech (original) Alonso’s speech (modern translation)

Oh, it is monstrous, monstrous. I thought that the waves spoke and told me about it,

Methought the billows spoke and told me of it,

and the thunder, which sounded like the deep notes of an organ, spoke Prospero’s name.

the winds did sing it to me,Because of the terrible things I’ve done, my son lies in the mud on the ocean floor

and the thunder, that deep and dreadful organ pipe, pronounced the name of Prosper.

and I will lie dead with him in the mud.

It did bass my trespass. It sang about my sins in a deep voice.

Therefore my son i’ th’ ooze is bedded the winds sang it to me,

and I’ll seek him deeper than e’er plummet sounded Oh, it is terrible, terrible.

And lie with him there mudded.and I shall seek my son in the ocean, deeper than any anchor has ever sunk



Session 10: The Tempest – Magical Island(Statutory requirements covered: 4)




Pupils should be taught to draft and write by: in narratives, describing settings, characters and atmosphere

and integrating dialogue to convey character and advance the action.

using further organisational and presentational devices to structure text and to guide the reader [for example, headings, bullet points, underlining].

Getting ready:

Before beginning this session, it would be helpful to read the story up to the end.

Plot Focus: Act IV; Act V.

Curriculum Focus: Writing composition: structuring text with organisational and presentational devices, writing narratives with description and dialogue.

Cross-curricular: Design Technology: designing and constructing textiles; Art: illustration.

Getting started:

Blurb: Composition. Tell the children that they have become the publisher of a new printed version of The Tempest. Their task is to write the blurb for the back of the book – no more than five sentences – using the blurb template, The Tempest – Resource 47 . Look at the blurbs of other books – how much do they reveal? How do they make you want to open the book to read more?



Modern Goddesses (Act IV Scene I). In Act IV, Scene I, Prospero asks the goddesses Iris, Ceres and Juno to appear before Miranda and Ferdinand to bless the couple and to celebrate their engagement. If the play were set in modern times, who would the children pick to be ‘modern goddesses’, and what blessings would they give the couple? For example, the children might choose Taylor Swift to bless the couple with the ability to ‘shake it off’ if anyone is unkind to them!


Travel brochure for a magical island holiday: Provide the children with a range of travel brochures to examine. What key features do they notice? Compile a class list on the interactive whiteboard / flipchart to use as success criteria for writing a travel brochure.

Explain to the children that they are going to write their own travel brochure for the magical island on which The Tempest is set. What unique selling points does the island have? The children could consider writing about:

1. The location of the island. (e.g. ‘A secluded island in the farthest reaches of the ocean – perfect for getting away from it all.’)

2. The accommodation available – how will they make Miranda and Prospero’s ‘cell’ sound appealing? (e.g. ‘A rustic hut which allows you to get back in touch with nature.’)

3. The food provided. (e.g. ‘Sumptuous banquets which appear as if from nowhere.’)

4. Things to do on the island. (e.g. ‘Watch dramatic and breathtaking storms out at sea from the safety of the golden shore.’)

5. Who might want to come to the island. (e.g. ‘Young romantics may find the love of their life awaiting them on this mysterious isle.’)

Ask the children to think carefully about the layout of their brochure. Will they need a subheading for each section? Would some sections be better as bullet points? What pictures will they need, and what captions will they give those pictures?

Provide the children with thesauruses to help them to use rich and exciting vocabulary.



Fiction – a story set on a magical island:

Explain to children that they will use the planning sheet, The Tempest – Resource 48, to take the basic characters and plot of The Tempest and alter them to create their own story set on a magical island. They will need to consider:

1. What seems strange about their island to the ordinary people who land there (for example, the island in The Tempest seems full of strange noises).

2. Which characters will be arriving on the island, and how they will get there. Have they been shipwrecked? Are they explorers? Were they intending to go to Ibiza, and ended up here by mistake?

3. Which characters will already be living on the island? In The Tempest, there was a magician, a princess, a fairy spirit and a witch’s son. Remind the children that it is useful to create ‘good’ and ‘bad’ characters to increase the tension in their story.

4. How will the inhabitants of the island meet the newcomers? What will happen next?

Once the children are happy with their plan for the story, they may begin writing. Remind them to describe settings, characters and atmosphere using imaginative vocabulary and figurative language, but to also ensure that they include dialogue to advance the action.

Rounding things up:

Advert slogan: This plenary activity follows on from the travel brochure writing task. Tell the children to imagine that their magical island holiday has been selected for a national advertising campaign! They need to write a slogan for the advert, pronto. Challenge them to write a short, memorable slogan that uses either alliteration or rhyme to grab the audience’s attention.

Story to script: This plenary activity follows on from the fiction-writing task. Ask the children to highlight their favourite section of dialogue in their story – no more than five lines. Ask them to swap this with a partner’s work, and challenge them to turn their partner’s dialogue into an excerpt from a playscript. What punctuation will they need to


Session 10: The Tempest – Magical Islandchange? How will they deal with the information contained within the reporting clauses? Share finished examples with the class for feedback.




Illustrator for the day: Art (improve their mastery of art and design techniques with a range of materials). Tell the children that they have been given the job of illustrator for a new children’s version of The Tempest. Show them a range of illustrations from children’s editions of Shakespeare such as Leon Garfield’s Shakespeare Stories, and Usborne’s Illustrated Stories from Shakespeare. Can the children identify which parts of the story of The Tempest the illustrations belong to? What makes the illustrations successful?

Ask the children to select a part of the story of The Tempest which they would like to illustrate. Ask them to plan their illustration by jotting down notes of what they need to include – which characters are mentioned in this part of the story? What is the setting? What objects might be part of the picture?

Allow the children to choose their own medium for carrying out their illustration. Ask them to consider the qualities of the media available, and whether it will suit the scene – for example, watercolours could create a dramatic atmospheric effect for the storm at the opening of the story, while colourful pastels might be more suitable for the goddesses who appear before Miranda and Ferdinand in Act IV.

When the children have completed their illustrations, you could create a fantastic interactive display, where other children have to lift a flap below the picture to find out which part of the story the illustration belongs to!

Magical masks: Design and Technology (select from and use a wider range of materials and components, including construction materials, textiles and ingredients, according to their functional properties and aesthetic qualities). Ask the children if they have ever seen masks used in performances and plays. What sort of characters might have masks to wear as part of their costumes? (Animal characters, for example.)

Explain to the children that they are going to be designing their own mask for a character from The Tempest. Look together at some of the different characters, and think about what qualities a mask for that character would need to have. For example, a mask for Ariel might be glittering, to show his magical powers, and might include feathers, to symbolise his ability to fly.



Ask the children to select a character from The Tempest to make a mask for, and then ask them to use the mask design sheet, The Tempest – Resource 49, to come up with three initial designs for their mask, including brief annotations. They may want to consider:

1. What range of embellishment techniques they want to use on their mask (e.g. applique, embroidery).

2. How the actor will see through the mask.3. How comfortable the mask will be for the actor to wear.4. How the mask will fasten/fit to the actor’s head securely.

They should then select the best design to draw in more detail on the other side of the worksheet, with more developed annotation.You may like to allow the children to construct their masks in a separate session. The children could then use their finished masks to help them to put on a performance of part of The Tempest for the rest of the school to enjoy.



Blurb template

Instructions:

1. Use this sheet to write your blurb for the back of a new edition of The Tempest.

Quotes from newspapers and famous authors about the book:Quote 1:

Quote 2:

Quote 3:

Blurb to briefly outline the story and hook the reader in:

Publisher name and website address

Author website address

Barcode and price



Magical island story: Planning sheet

In what way is your island magical?

Who already lives on your island? Are they good or bad? Describe what they look like and any special skills/secrets they have.

Character 1:Name:

Appearance:

Skills/secrets:

Character 2:Name:

Appearance:

Skills/secrets:

Who arrives on your island? Are they good or bad? Describe what they look like and any special skills/secrets they have.

Character 1:Name:

Appearance:

Skills/secrets:

Character 2:Name:

Appearance:

Skills/secrets:



Magical Island Story: Planning Sheet (2)

How do the newcomers end up on the magical island? What do they think of it at first?

How do the characters living on the island first become aware of the newcomers? What do they think of them?

How do the two sets of characters meet? What happens when they do?

There is an argument between two characters. Describe what happens.

What happens at the end of your story? How does everything get resolved? Do any of the characters leave the island? Do any of them remain behind?


The Tempest – Resource 49Name: ..................................................................................... Date:...............................................................................

Designing a mask – The TempestChoose a character from The Tempest to make a mask for. Think about embellishment techniques you will use, how the actor will see through the mask, how you will make the mask comfortable for the actor and how the mask will fasten to the actor’s head.


Chosen design:

Key wordsapplique feltelastic

sequins embroidery symbol fabric

thread

I have chosen design… because…

Design 2

Design 3

Design 1

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