September 16

AP Literature Sept. 19-23


Monday, September 19

1. Warm-up: MCM #4 (prose)

2. Read Act I Scene 3:

a.    Divide into two groups; facing each other, read antiphonally Othello’s speech beginning “Her father loved me . . . “ (1.3.149-96) to end-stops (period, colon, or semicolon)

b.    Read again, with a three-person group miming as the class reads.

c.    “Ring the Changes”—several volunteers should individually read Brabantio’s parting shot (1.3.333-34) focusing on different interpretations.

3. Close read (handout) 1.3.343-447, analyzing Iago’s persuasive & rhetorical techniques, comparing/contrasting AP Language strategies with AP Literature strategies. 

4. View the film adaptation and analyze the director’s choices.

*Homework:  Read research novels; prepare for group meetings.

           Learning Goal(s): Identify a range of interpretations of a play script.


Tuesday, September 20

1. Warm-up: Creative Writing (slide 5)

2. Review “Hawk Roosting” and “Golden Retrievals” with poetry strategies.

3. Introduce character objectives—Act II, Scene 1; assign parts & read through 2.1.204; discuss character objectives (what he/she wants for that scene; a goal—after each attempt to achieve it, a “beat change” occurs where he/she shifts gears to try to achieve it a different way (one also occurs when the goal is achieved, and the character creates a new goal); the “superobjective” is what he/she means to have by the end of the play.

4. Choose five students to read 2.1.161-204 on their feet (one is Emilia, who has no lines, but is in the scene); direct

5. Paraphrase Iago’s first aside 2.1.161-170; “Ring the Changes” for Iago’s second aside 2.1.190-92

6. Continue reading 2.1; for the conversation between Roderigo & Iago, cast one person as Roderigo & three as Iago (read “Round-Robin”/each person reads one sentence). Explain how Iago’s mind moves at three times the speed of Roderigo’s.

a. Cast two people to take turns reading alternating sentences for Iago’s soliloquy.

b. Discuss the opening scene of Act II:

1. Roderigo is first astonished when Iago tells him that Desdemona is in love with Cassio. How does Iago convince him?

2. What does Iago mean when he says of Desdemona “Now, I do love her too”? Do you believe Iago when he says, “I fear Cassio with my nightcap too”?

3. Do you notice particular lines that add to or change the impression give so far of any character’s personality?

4. Compare Iago’s soliloquy from Act I with this one. Has his motive changed in any way?

5. Coleridge referred to Iago’s “motiveless malignity.” Do you agree that his malignity is fundamentally without motive?

7. Closer: Read Act II Scene 2 (the Herald’s short scene); Why does Shakespeare include this scene? What effect does it have on the audience?

*Homework:  Read research novels; prepare for group meetings.

 Learning goal(s): Use nonverbal, performance-related aspects of a script to influence the audience’s perception of theme.


Wednesday, September 20

1. Computer Lab: Revise FRQ#4 Poetry; complete peer review through

*Homework: Read research novels; prepare for group meetings.

          Learning goal(s): Demonstrate mastery of standards on timed writing assessment.


Thursday, September 21

1.    Warm-up: Pondering Poetry

2.    Present Ira Aldridge, Paul Robeson, and Other Othello Productions

3.    Finish discussion of 2.1-2; compare/contrast with film adaptation.

*Homework:  Read research novels; prepare for group meetings.

Learning goal(s): Use nonverbal, performance-related aspects of a script to influence the audience’s perception of theme.


Friday, September 22

1.    Warm-up: “Fun” Friday; collaborate with research novel groups to continue analyzing the novel and planning the museum.

2.   Review Act I and Act II Scenes 1-2

3.    Introduce blocking & stage directions; the way a director decides to block a scene conveys meaning that can either reinforce or contradict the spoken word; use four – ten volunteers (Cassio, Othello, Desdemona, Iago, & attendees) to be silent actors while four other actors read the scene to line 37. The remaining class will direct. Decide how the characters enter, how many attendants enter, where they stand, whether all or only some exit with Othello, where they stand in relation to each other, and so on.

4.    Perform subtext scenarios, focusing on intonation of words and nonverbal cues that express meaning to an audience. 

5.    Assign three acting companies for the “Drinking Scene.” Collaborate to analyze Othello 2.3; design a performance with blocking, stage directions, and subtext, justifying the directorial choices. 

*Homework:  Read research novels; enjoy your break!

            Learning goal(s): Develop collaboration with peers to deepen analysis and extension of a text.

Posted September 16, 2016 by Rachael Sanford in category AP Literature

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