Video: Experimental Representations
Nov13
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VIDEO: The Boys
Oct06

VIDEO: The Boys

This is a sample of the scenes you wrote and presented based on Act I, Scene i of Shakespreare’s Romeo and Juliet. Everyone was successful at maintaining the nuances of the meaning of the original script while adapting it for a contemporary ‘South London’ location. It’s a far cry from Verona, but not so far at all from Shakespeare’s own turf, after all.

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Fate, Free Will & Figurative Language
Oct03

Fate, Free Will & Figurative Language

This presentation explores references to fate and the use of figurative language in Shakespeare’s Romeo and Juliet

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The Entire Script Online
Oct01

The Entire Script Online

Should you miss a lesson where the play is read, or if you would like to go back and re-read sections of the play, you are encouraged to use these two sources. There is a No Fear Shakespeare version of the play online which includes a somewhat over-simplified modern English version and then there’s a great Shakespeare resource that offers you a annotated complete text.

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Treading the Boards: Act I, Scene 1
Sep17

Treading the Boards: Act I, Scene 1

This period we look at Romeo and Juliet as a play – examining the features of the text that are typical of what you’d expect from a play text – intended to be viewed rather than read. The attached presentation explores these features, provides a guide to annotation and contains an excerpt of a filmed interpretation to demonstrate how much of a play’s interpretation is left to the actors and director.  Your...

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Iambic Pentameter
Sep13

Iambic Pentameter

In today’s lesson we explored the notion of meter. We discovered that there is an underlying rhythm to a great deal of Shakespeare’s drama. A quick gallop around the room on our virtual Iambic horses lead us to discover that the “unstress/stress” pattern can be applied to the whole of the prologue to Romeo and Juliet. In future we will examine the presence of this meter and what effect it may have in great detail – but currently it is...

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