March 16

AP Literature Week 11 March 19-23

Week 11

Planning Your Week

F 3/23: Group meeting for EPCOT project; you will begin brainstorming research topics at this meeting.


Monday, March 19

Opener: MCM prose

Work Session:

  1. Review test structure; finish reading 1.1; discuss the following questions:
    • Why do Iago, Roderigo, and Brabantio hate the man they are discussing?
    • What reasons does Iago give for continuing to follow his master?
    • What kind of person do you expect the man they discuss to be? How do you imagine him?
    • Count the number of times the word Moor is used in 1.1. Can you draw any conclusions? 

Closer: View PBS Othello

HW: Read research novels and prepare for Friday’s group meeting.


Tuesday, March 20

Opener: Rehearse and perform group scenes 1.2.

Work Session:

  1. Discuss the following:
    • We saw Othello for the first time in this scene—is he what you thought he would be? Is he respected by his associates? How do you know?
    • What contrasts are there between the way Iago, Roderigo, and Brabantio have described Othello and the way he looks and behaves when he actually appears?
    • Do you notice basic differences in attitude between Cassio and Iago in their short conversation (1.2.60-65) following Othello’s exit?
    • Why is Brabantio convinced that Othello must have used witchcraft on his daughter? Why does he have difficulty believing his daughter could run to Othello’s “sooty bosom’?
    • Complete a “Somebody Wanted But So” for what we have read of Othello
      1. What are Iago’s motivations?
      2. What are Roderigo’s desires?
      3. What are Othello’s desires?
      4. How does each man react/adapt in order to achieve his objective?

Closer: Select a passage from your research novel for a style analysis.

HW: Read research novels and prepare for Friday’s group meeting.


Wednesday, March 21

Opener: Read 1.3 antiphonally, focusing on parallel structure and Othello’s rhetoric.

Work Session:

  1. Compare/contrast Iago’s characterization of Othello in 1.1 with Othello’s representation of himself and the council’s reactions to him in 1.3 (complete STEAL with textual evidence for both scenes).
  2. Complete Act 1 Scene 3 close reading questions with a partner
  3. Discuss responses (entire class)
  4. Ring the changes–1.3 Brabantio’s parting shot
  5. View some clips from various Othello versions

Closer: Compare/contrast professional adaptations of Act I.

HW: Post passage for TWIST analysis to Schoology; read research novels and prepare for Friday’s group meeting.


Thursday, March 22

Opener: Complete TWIST analysis for passage from research novel. Review Othello Act I, Scenes 1, 2, 3

Work Session:

  1. Analyze Iago’s rhetoric 1.3: complete questions on handout and identify literary and rhetorical strategies (metaphor, motif, ethos, logos, pathos); pay attention to Iago’s soliloquy at the end of the scene.
  2. 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. Continue reading 2.1, analyzing Iago’s asides and soliloquys and the interaction between Roderigo and Iago.
  3. Compare/contrast Iago’s soliloquy from Act I with this one. Has his motive changed in any way? Coleridge referred to Iago’s “motiveless malignity.” Do you agree that his malignity is fundamentally without motive?

Closer: Compare/contrast our performance with professional performances.

HW: Read research novels and prepare for Friday’s group meeting.


Friday, March 23

Opener: Review the list of major tasks from last Friday, comparing with the rubric. Make sure you have started on all sections and have a plan for interactive stations within your EPCOT presentation.

Work Session:

  1. Read Othello 2.2 (the Herald’s scene); review the implications of the setting change from Venice to Cyprus.
  2. Perform subtext scenarios (Fred); discuss the importance of adding cues for subtext (blocking, movement on stage, physical gestures, voice inflection, emphasis, props).
  3. Read 2.3.1-40; use stage directions promptbook to model adding cues for subtext; introduce blocking and 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.

Closer: Assign 2.3 Drinking Scene to three groups; annotate scripts to add cues for subtext; justify directorial choices; plan props, costumes, stage scenery/backdrops for classroom productions.

HW: Work on EPCOT project requirements and begin research.

Posted March 16, 2018 by Rachael Sanford in category AP Literature

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