Dramatic Justice

100 Pages·2016·4.48 MB·English

UNIT
4
Dramatic Justice
Visual Prompt: Characters in dramas communicate emotions through words, actions, gestures,
and facial expressions. How do masks either help or hinder the communication of emotions?
Unit Overview
Every culture must deal with issues of justice.
ed. Great literature, beginning with the dramatic
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ge methods for arriving at justice, but every society
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Coll must explore the question of what is just and
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0 fair. In this unit, you will look at texts from
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around the world as you explore how cultures
address the complex issues of right and wrong.
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Dramatic Justice
UNIT
4
Contents
GOALS:
• To analyze and present
Activities
an oral interpretation of
a monologue conveying a 4.1 Previewing the Unit ................................................................. 270
complex character’s voice
4.2 Characterization ...................................................................... 271
• To evaluate and critique oral
interpretations
4.3 Voices from Literature ............................................................273
• To analyze characterization,
Drama: Excerpt from The Tragedy of Romeo and Juliet,
conflicting motivations of
by William Shakespeare
complex characters, and
major themes in a classic
4.4 Original Monologues ................................................................279
Greek drama
Novel: Excerpt from White Teeth, by Zadie Smith
• To analyze point of view and
cultural experience reflected
4.5 Reflecting on Performance ......................................................282
in literature outside the
United States 4.6 Oral Interpretation of Literature ..............................................284
• To write a literary analysis Dramatic Monologue: Excerpt from The Tragedy of Julius Caesar,
essay examining the
by William Shakespeare
development of a tragic hero
Dramatic Monologue: Excerpt from Les Miserables,
and the development of plot
and theme by Victor Hugo
Dramatic Monologue: Excerpt from Oedipus Rex, by Sophocles
Embedded Assessment 1: Presenting an Oral Interpretation of
ACADEMIC VOCABULARY
Literature ................................................293
justice
criteria
4.7 Previewing Embedded Assessment 2 and Introducing
advance
Greek Drama ...........................................................................295
4.8 A Tragic Family ........................................................................297
Literary Terms
4.9 Soul Sisters ............................................................................. 302 d.
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complex character Drama: Antigone, by Sophocles erv
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direct/indirect characterization s re
character sketch 4.10 Chorus Lines ............................................................................308 ght
monologue Drama: Antigone, by Sophocles All ri
oral interpretation d.
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stage directions 4.11 Enter the King .......................................................................... 312 Bo
stichomythia ge
ode Drama: Antigone, by Sophocles olle
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dynamic/static character 4.12 Conflicting Motivations ............................................................321 017
foil © 2
Drama: Antigone, by Sophocles
4.13 An Epic Foil .............................................................................. 333
Drama: Antigone, by Sophocles
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Language and Writer’s
4.14 Odes to Love and Death Craft
Drama: Antigone, by Sophocles .............................................. 341 • Semicolons and Colons (4.6)
• Consulting a Style
4.15 Tragic Hero ...............................................................................350 Manual (4.12)
Drama: Antigone, by Sophocles
Embedded Assessment 2: Writing a Literary Analysis Essay on
Characterization and Theme ..................365 MY INDEPENDENT
READING LIST
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Previewing the Unit
ACTIVITY
4.1

Learning Targets
LEARNING STRATEGIES:
• Preview the big ideas and the vocabulary for the unit.
QHT, Marking the Text,
• Identify and analyze the skills and knowledge required to complete Embedded
Graphic Organizer
Assessment 1 successfully.
Making Connections
In this unit, you will explore how literature gives us insight into people: their
My Notes
personalities, their motives, their choices, and their relationships with others. You
will study monologues to prepare for an oral interpretation of a piece of literature.
Study of the play Antigone, a classical dramatic work written by Sophocles, one of
the great Greek tragic dramatists, ends the unit.
Essential Questions
Based on your current knowledge, respond to the following Essential Questions.
1. How can one communicate characterization through oral interpretation?
2. How do complex characters advance the plot and develop the themes of
a drama?
Developing Vocabulary
3. Mark the Academic Vocabulary and Literary Terms using the QHT strategy. Then,
in your Reader/Writer Notebook, answer the question: What strategies will you
use to gather knowledge of new terms independently and to develop the ability
to use them accurately?
Unpacking Embedded Assessment 1
INDEPENDENT d.
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Preview the assignment for Embedded Assessment 1: Presenting an Oral v
READING LINK er
Interpretation of Literature. es
Read and Recommend s r
Fdourr iynogu trh iinsd uenpiet,n cdoennsti dreear dai ng Yoof au rm aosnsioglnomgueen.t Y iso utor mreosneoalrocghu, aen sahloyzueld, arenpdr perseesnetn at paoni onrt aolf i nviteewrp orer tcautliotunr al All right
classic or modern play with experience reflected in a work of literature from outside the United States. You ard.
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strong, compelling characters. will need to use vocal and visual delivery to convey a complex character’s voice. e B
Choose a text from a country You will write a character sketch of the character you are portraying. You will eg
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outside of the United States also evaluate your own and other students’ performances and write a reflection C
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to help you prepare for the on your oral interpretation of literature. 01
2
Embedded Assessment. Use ©
a reading strategy such as In your own words, summarize what you will need to know to complete this
note-taking, marking the text, assessment successfully. With your class, create a graphic organizer to represent
or double-entry journals to
the skills and knowledge you will need to complete the tasks identified in the
examine the development of
Embedded Assessment.
complex characters over the
course of the play. In a group
discussion, recommend your
selection to peers, giving clear
reasons why you are making
the recommendation.
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Characterization
ACTIVITY
4.2
Learning Targets
LEARNING STRATEGIES:
• Examine the methods of characterization.
Marking the Text,
• Infer an author’s intended purposes and meanings for using each method.
Brainstorming, Graphic
Organizer
Direct and Indirect Characterization
Earlier you learned about characterization, which includes the methods a
writer uses to describe characters and reveal their personalities. To expand on
that definition, two types of characterization that help writers create complex Literary Terms
characters are direct and indirect characterization. A complex character is
one that has multiple or
1. Think of a memorable and complex character (one with multiple or conflicting
conflicting motivations.
motivations) from a book or film, one who advanced the plot or theme of the
Direct characterization is
work. List three to five adjectives to describe this character. For each adjective,
when the narrator or author
explain why you attribute this trait to the character and determine whether your
provides information
interpretation is based on direct or indirect characterization.
about the character.
Indirect characterization
is when the narrator
or author shows the
character interacting with
others, thinking about
circumstances, or speaking
his or her thoughts aloud.
My Notes
2. From the information that authors share about characters, active readers make
inferences to help their understanding of each character’s personality and
contributions to the narrative.
Work with your group to make inferences about the character Eliza Sommers
from Isabel Allende’s Daughter of Fortune. Highlight or underline clues within
d. each excerpt that led to your interpretation.
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All ri Development
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B Indirect—The “I am eighteen, and I am not looking
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speaks)
Indirect—The “If those women could make the voyage
character’s thoughts alone, and survive without help, she could
(what the character do it, too, she resolved.”
thinks)
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ACTIVITY
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Methods of Character Example What can I infer?
Development
Indirect—The “She walked quickly, her heart thudding
character’s actions and her face half hidden behind her fan,
(what the character sweating in the December heat. She had
does) brought her little velvet bag with the
jewels of her trousseau.”
Indirect—Comments “Tao Chi’en had to admit that he felt
or thoughts by other bound to Eliza by countless fine threads,
characters (what other each easily cut but when twisted together
characters say or think) forming strands like steel. They had
known each other only a few years but
they could look to the past and see the
obstacle-filled road they had traveled
together. Their similarities had erased
differences of race.”
Indirect—The “Tao instructed Azucena to braid Eliza’s
character’s appearance long hair in a queue like his own while
(how the character he went to look for a set of his clothes.
dresses; physical They dressed the girl in cut-off pants, a
appearance) smocked tied at the waist with a cord, and
a straw hat like a Japanese parasol.”
Direct—Comments from “Everyone is born with some special
the story’s narrator talent, and Eliza Sommers discovered
(information and details early on that she had two: a good sense
the narrator or speaker of smell and a good memory. She used
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shares with the readers) the first to earn a living and the second to e
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3. When you have completed the chart, compare your interpretations with your All ri
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My Notes class, and make inferences about the author’s purpose for using each method ar
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textual evidence. olle
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Check Your Understanding 20
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Choose a character from your independent reading and describe how the author
uses both direct and indirect characterization to develop the character.
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Voices from Literature
ACTIVITY
4.3
Learning Targets
LEARNING STRATEGIES:
• Analyze a scene from a play to determine how a writer develops a character
Drama Game, Role Playing,
through the use of direct and indirect characterization.
Rehearsal, Discussion
• Perform an oral interpretation by adapting speech to convey an analysis of a
Groups, Visualizing, Graphic
character.
Organizer
Preview
In this activity, you will read an excerpt from Shakespeare’s The Tragedy of Romeo
and Juliet and perform an oral interpretation based on your analysis of a character. My Notes
Performance Practice
1. A requirement for effective oral performance is strong vocal delivery. Review
the elements of vocal delivery and explain why each one is critical to an oral
performance.
Elements of Explanation of Importance to an Oral
Vocal Delivery Performance
Tone
Pitch
Volume
Pace
d. Pause
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d.
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© 2. Your teacher will provide you with a scenario and a line of dialogue. Study your
assigned scenario to decide what emotion would be appropriate in that context.
During your performance, you can speak only the line of dialogue provided. In
order to convey your scenario, rehearse your vocal and visual delivery (gestures,
pantomime, and facial expressions).
3. As an audience member, try to make inferences about each scenario by
observing the actor’s vocal and visual delivery. Use the following graphic
organizer to reflect on your observations and inferences.

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AVocitciveisty f rToimtle Literature
ACTIVITY
XA.CXTIVITY 4.3

continued
Performance Reflection
Visual Delivery Vocal Delivery What inferences can you make
(gestures, posture, (pitch, volume, pace, rate, pauses, regarding this scenario?
movement, eye vocal variety, pronunciation/
contact) articulation)
d.
Setting a Purpose for Reading e
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ACADEMIC VOCABULARY er
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Justice is the quality of being • Two families—the Montagues and the Capulets—are enemies. Romeo, a s re
reasonable and fair in the Montague, has killed Tybalt, a Capulet, after Tybalt killed Romeo’s friend, ght
administration of the law. Mercutio. Both sides appeal to the Prince, who just so happens to be Mercutio’s All ri
uncle, for justice. Benvolio pleads for the Montagues, while Lady Capulet d.
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speaks for her family. As you read, consider each character’s point of view on an Bo
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issue of justice that leads to the Prince’s decree. eg
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My Notes • Circle unknown words and phrases. Try to determine the meanings of the words 7 C
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by using context clues, word parts, or a dictionary. 0
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ABOUT THE AUTHOR
William Shakespeare (1564–1616) is considered one of the most perceptive
writers in the English language. He pursued a career in London as an actor
but found more success as a playwright and poet, producing more than three
dozen plays and many sonnets that are still performed and read today. His
strength as a writer was in his ability to portray basic human emotions and
situations in memorable, often heartbreaking, verse.
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ACTIVITY 4.3
continued
Drama
My Notes
The Tragedy of
Excerpt from
Romeo and Juliet
by William Shakespeare
ACT III, SCENE I:
PRINCE
Where are the vile beginners of this fray? vile: awful
fray: fight
BENVOLIO
O noble prince, I can discover all
WORD
Th e unlucky manage of this fatal brawl:
CONNECTIONS
Th ere lies the man, slain by young Romeo,
Multiple-Meaning Words
5 Th at slew thy kinsman, brave Mercutio.
Shakespeare uses the word fair
LADY CAPULET in line 13 of Benvolio’s speech.
Tybalt, my cousin! O my brother’s child! The word fair has multiple
meanings. When used as an
O prince! O cousin! husband! O, the blood is spilt
adjective, it means “attractive
Of my dear kinsman! Prince, as thou art true, in appearance” or “impartial.”
As a noun, it means “a public
For blood of ours, shed blood of Montague.
show.” As an adverb, it means
10 O cousin, cousin! “honest” or “according to
the rules.” Research other
PRINCE
meanings and use context
Benvolio, who began this bloody fray? clues to determine the meaning
Shakespeare intended for the
d. BENVOLIO
ve word fair in Benvolio’s speech.
ser Tybalt, here slain, whom Romeo’s did slay;
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ht Romeo that spoke him fair, bade him bethink
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All ri How nice the quarrel was, and urged withal withal: besides
d.
oar 15 Your high displeasure: all this uttered
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© 2 Of Tybalt deaf to peace, but that he tilts
With piercing steel at bold Mercutio’s breast,
20 Who all as hot, turns deadly point to point,
And, with a martial scorn, with one hand beats
Cold death aside, and with the other sends
It back to Tybalt, whose dexterity,
Retorts it: Romeo he cries aloud, retorts: returns
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AVocitciveisty f rToimtle Literature
ACTIVITY
XA.CXTIVITY 4.3

continued
25 ‘Hold , friends! friends, part!’ and, swift er than
My Notes
his tongue,
His agile arm beats down their fatal points,
And ’twixt them rushes; underneath whose arm
An envious thrust from Tybalt hit the life
30 Of stout Mercutio, and then Tybalt fl ed;
But by and by comes back to Romeo,
Who had but newly entertain’d revenge,
And to ’t they go like lightning, for, ere I
Could draw to part them, was stout Tybalt slain.
35 And, as he fell, did Romeo turn and fl y.
Th is is the truth, or let Benvolio die.
LADY CAPULET
He is a kinsman to the Montague;
Aff ection makes him false; he speaks not true:
Some twenty of them fought in this black strife,
40 And all those twenty could but kill one life.
I beg for justice, which thou, prince, must give;
Romeo slew Tybalt, Romeo must not live.
PRINCE
Romeo slew him, he slew Mercutio;
Who now the price of his dear blood doth owe?
MONTAGUE
45 Not Romeo, prince, he was Mercutio’s friend;
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His fault concludes but what the law should end, erv
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Th e life of Tybalt. s r
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exile: force to leave P R INACndE for that off ence d. All ri
amerce: punish oar
Immediately we do exile him hence: e B
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WORD 50 I have an interest in your hate’s proceeding, Coll
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CONNECTIONS My blood for your rude brawls doth lie a-bleeding; 01
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But I’ll amerce you with so strong a fi ne ©
Etymology
Th at you shall all repent the loss of mine:
In Shakespeare’s time, hence
was an adverb that was I will be deaf to pleading and excuses;
frequently used to mean “away
55 Nor tears nor prayers shall purchase out abuses:
from here” or “in the future.”
It comes from the Old English Th erefore use none: let Romeo hence in haste,
heonan, meaning “away.” Else, when he’s found, that hour is his last.
Here, the Prince is saying that
Bear hence this body and attend our will:
Romeo will be immediately
banned from Verona. Mercy but murders, pardoning those that kill.
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