apply knowledge and The explosive entrance understanding from Students list the characteristics of Hotspur in his entrance in the popinjay speech in Act 1 Sc 3 their own context, by: and appreciation of analysing his sudden, explosive nature other contexts, in evaluating the stylistic elements Shakespeare uses to foreground his rapture at the responding to thought of honour challenging texts commenting on how this foreshadows the later development of his character. explain the ways specific language Students experiment with introducing a character in a different situation through hyperbolising concepts, for particular character traits as Shakespeare does. Students: example imagery, select a scenario drawn from relationships, families, business or social institutions symbolism or sound, draft the scene where the character is introduced shape meaning for their writing and discuss whether the audience is required to make judgements different audiences about the character’s personality traits. and purposes analyse how Introducing a character in absentia significant language Hal is introduced to the audience in absentia, through the eyes of a disappointed father. The concepts, for teacher invites students to read Act I Sc 1 lines 76 Students read this scene in pairs, reading –95. example motif, can it two or three times. Students remain in the role and answer these questions: guide audiences to Who am I? make meaning of What am I saying Hal? unfamiliar texts Why am I saying this? Students could answer questions with beginnings such as: Because I want … thinks Because I think EA12-5 … imaginatively, creatively, Because I feel … interpretively, critically and Because this is what I am like discerningly to respond to, How do I speak? evaluate and compose texts that synthesise As a class, students discuss the effects of introducing characters this way. In the discussion, complex information, students consider how: ideas and arguments Shakespearean plays are not narrated through a single point of view but through a Students: series of voices where there is no omniscient narrator critically investigate a characters present their own points of view and these are partial wide range of dramatic techniques such as this manipulate audience perceptions of Hal. complex texts,
apply knowledge and understanding from their own context, and appreciation of other contexts, in responding to challenging texts explain the ways specific language concepts, for example imagery, symbolism or sound, shape meaning for different audiences and purposes analyse how significant language concepts, for example motif, can guide audiences to make meaning of unfamiliar texts EA12-5 thinks imaginatively, creatively, interpretively, critically and discerningly to respond to, evaluate and compose texts that synthesise complex information, ideas and arguments Students: critically investigate a wide range of complex texts, The explosive entrance Students list the characteristics of Hotspur in his entrance in the popinjay speech in Act 1 Sc 3 by: analysing his sudden, explosive nature evaluating the stylistic elements Shakespeare uses to foreground his rapture at the thought of honour commenting on how this foreshadows the later development of his character. Students experiment with introducing a character in a different situation through hyperbolising particular character traits as Shakespeare does. Students: select a scenario drawn from relationships, families, business or social institutions draft the scene where the character is introduced their writing and discuss whether the audience is required to make judgements about the character’s personality traits. Introducing a character in absentia Hal is introduced to the audience in absentia, through the eyes of a disappointed father. The teacher invites students to read Act I Sc 1 lines 76 –95. Students read this scene in pairs, reading it two or three times. Students remain in the role and answer these questions: Who am I? What am I saying Hal? Why am I saying this? Students could answer questions with beginnings such as: Because I want … Because I think … Because I feel … Because this is what I am like How do I speak? As a class, students discuss the effects of introducing characters this way. In the discussion, students consider how: Shakespearean plays are not narrated through a single point of view but through a series of voices where there is no omniscient narrator characters present their own points of view and these are partial dramatic techniques such as this manipulate audience perceptions of Hal.
stage-6-english-advanced-year-12-module-c-unit.docx