King LearInsight Publications, 2011 - 224 pages Even the most resolutely disengaged students can finally 'discover' and thrill to the rhythms and passions of Shakespeare's plays! Award-winning teachers and Shakespearean scholars have extensively trialled their approach to teaching Shakespeare's plays in the classroom, and this series is the result! The plays in this series are becoming increasingly popular for student resources in schools as English and Drama teachers discover their fabulous teaching and learning qualities. |
From inside the book
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Page 7
... speak very quickly , but you'll be able to hear them clearly where you are . If you look very closely you may even notice something strange about the female characters . All of the parts are played by males , and female characters ...
... speak very quickly , but you'll be able to hear them clearly where you are . If you look very closely you may even notice something strange about the female characters . All of the parts are played by males , and female characters ...
Page 9
... speak in poetry ( verse ) . Shakespeare's language can be challenging , but the reward is in the challenge . Below are some tips on how to read the text and some of the main features to look out for . At this stage in your schooling ...
... speak in poetry ( verse ) . Shakespeare's language can be challenging , but the reward is in the challenge . Below are some tips on how to read the text and some of the main features to look out for . At this stage in your schooling ...
Page 10
... speaking to one character and another [Context: Hurling abuse at Gonerill, Lear interrupts his tirade by issuing a command to his servant.] LEAR Darkness and devils! – Saddle my horses! Call my train together – Degenerate bastard! I'll ...
... speaking to one character and another [Context: Hurling abuse at Gonerill, Lear interrupts his tirade by issuing a command to his servant.] LEAR Darkness and devils! – Saddle my horses! Call my train together – Degenerate bastard! I'll ...
Page 12
... speak immediately after Edgar to complete the rhythm of the iambic pentameter . In this way , the heart of the play does not stop beating . You will not necessarily pick up the rhythm of a line straight away , but the more you read ...
... speak immediately after Edgar to complete the rhythm of the iambic pentameter . In this way , the heart of the play does not stop beating . You will not necessarily pick up the rhythm of a line straight away , but the more you read ...
Page 13
... Speak what we feel, not what we ought to say. ii Chants and songs (Act 5 Scene 3) One of the characteristics of Lear's Fool is that he frequently communicates through chant and song. The first thing we notice about the Fool's chants and ...
... Speak what we feel, not what we ought to say. ii Chants and songs (Act 5 Scene 3) One of the characteristics of Lear's Fool is that he frequently communicates through chant and song. The first thing we notice about the Fool's chants and ...
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Common terms and phrases
Act 1 Scene Alack ALBANY audience Bedlam beggars blinding Burgundy characters Child Rowland complete the table contrast Copy and complete CORDELIA KING LEAR CORNWALL daughters death dost dramatic irony Duke Duke of Cornwall Earl of Gloucester EDGAR GLOUCESTER EDGAR emphasise enters Exit eyes father FOOL KING LEAR Fortune France GENTLEMAN give GLOUCESTER EDGAR GLOUCESTER Gloucester's gods Gonerill and Regan Gonerill's hast hath hear heart iambic pentameter iambs imagery Jacobean James justice KENT KING LEAR Kent’s KING LEAR FOOL KING LEAR KENT kingdom Kingdom of Britain knave language Lear and Cordelia Lear's letter lines look Lord Lord Chamberlain's Men Madam means messenger nature night Nuncle Nunn nutshell OSWALD KENT paraphrase might read pathetic fallacy Peter Brook play play’s poor Prithee Questions REGAN GONERILL servant sister soliloquy speak speech storm tell Text notes thee thine Trevor Nunn trochee villain words