English 9--3/4/2016

Jump Off
--Take out your homework assignment (“Act III--Paraphrasing Practice/Making Inferences”).
--Below, you will find the first line of Benvolio’s lines that you dealt with as part of the homework assignment.  After re-reading the line, decide which of the four “paraphrases” that follow is the best.  Be ready to both share and defend your choice.

“We talk here in the public haunt of men:”

• This place is haunted by our words.
• We are having a conversation out in the open where all the townspeople hang out.
• We discuss here in the not private haunt of males.
• All the townspeople can watch us as we converse in this spot.

S. the C.
--Reminder: It is important for you to stay caught up with regard to all of your coursework.  It would behoove you to check the blog and SchoolTool often.
--Reminder: Beginning with the end in mind--our ultimate purpose when dealing with The Tragedy of Romeo and Juliet (especially when closely re-reading sections of the play):

ROUGH End-of-Unit Assessment Writing Prompt:
Write a multi-paragraph essay in which you argue the extent to which both Romeo and Juliet are fatally impulsive by analyzing their responses to similar circumstances.  Then, answer the "so what" question: Why did Shakespeare develop his two main characters in this manner?

--agenda/HW
--“close out” the homework assignment by:

• discussing the Jump Off
• taking a look at exemplary work
• How did you do?  Can you confidently paraphrase Shakespeare’s work on a future quiz?  If not, what can you do between now and the next assessment?
• engaging in a Q & A (perhaps analyzing a few student work samples?)
• sharing a few responses to the “Making Inferences” portion of the assignment so as to “set the table” for the rest of today’s class block

Transition
--Pick up a copy of the “Romeo & Juliet--Act III Swordfight” document from the front table.  Then, consider the following question and expect me to ask you for a response:

• When a director such as Mr. VanEpps here at Livonia works on turning a script into an actual stage production, what must he consider?

Activity -- Act III Swordfight

--form groups of 7-9 via a drawing of cards

--in groups, determine who will take on each of the following roles:

• Tybalt
• Mercutio
• Romeo
• Page
• Benvolio
• Other(s)
• The Director

--discuss Transition question:

• What ought our directors consider during work time?

--independent work time (directors envision delivery of lines and execution of stage directions and jot down notes accordingly; actors read through and highlight lines/stage directions)
--group work time (directors set forth their “visions” as actors read through lines together--actors do a quick run-through)
--via a card drawing, determine which “acting troupe” will perform the scene for the entire class
--perform the scene!

Transition
--Pick up a copy of the Act III Reading Guide from the front table.

Closure
--independently or with a partner (anchored in to the “Compact for Group Work”), complete questions 1-8 for Act III, scene i based on today’s performances
--quick follow-up discussion (time permitting)

Brain Break -- Mum Ball (time permitting)

HW (Class Preparation)
--Work on finishing your free reading book.  You have about 1.5 weeks between now and the due date of the one-pager.  ALWAYS BRING YOUR FREE READING BOOK TO CLASS!  See me if you have finished your book and need a one-pager.
Miscellaneous
--Enjoy the weekend--you only get so many of 'em!

On the backburner:

• A Paragraph's a Paragraph's a Paragraph instruction (if necessary)
• Break down model paragraph together (if necessary)