By:

William Shakespeare

January 24th to

April 1st

Idaho Shakespeare

Festival‟s

Shakespearience

production is a part of

Shakespeare for a

New Generation, a

national initiative

sponsored by the

National Endowment

for the Arts in

cooperation with Arts

Midwest.

Twelfth Night Or What You Will

2

Topic: Page:

Special Thanks………………………………… 3

In this Study Guide……………………………. 3

A Note from the Director……………………… 4

About our Education Program………………… 4

About the Playwright……………………..……. 5

An Introduction to Twelfth Night ……………….. 6

Plot Summary…………………………………. 7

Meet the Cast………………………………….. 8

Activity—Dramatis Personae………………….. 9

Activity—Soundtrack…………………………. 9

Fun Facts………………………………………. 9

Questions for Discussion: Prior to the Show…... 10

Questions for Discussion: After the Show……… 11

Activity—Play Poster…………………………… 12

Activity—Paraphrasing Passages……………… 13

Activity—Fifteen-minute Twelfth Night…..…… 14

Activity—T.V. Reporter……………………….. 14

Activity—Shakespearian Text Message…..…… 15

Activity—Bardbook……………………………. 16

Activity—Selected Scene……………………… 17

Set Sketches by Josh Frachiseur……………….. 18

Activity—Think Like a Scenic Designer………. 19

Activity—Think Like a Costume Designer…….. 20

Learn to Insult as Shakespeare Does!................... 21

Activity—Memory Mnemonics Experiment!..... 22

Suggestions for Further Reading………………… 23

Table of Contents Twelfth Night Abridged

3

A Very Special Thank You:

As a part of the Idaho Shakespeare Festival‟s educational programming,

Shakespearience performances have enriched the lives of over one million students

and teachers since 1986 with productions that express the unique and impacting voice

of Shakespeare. The magic of this art form is brought to schools across the State of

Idaho each Winter/Spring semester with assistance from a generous group of

underwriters:

Arts Midwest Boise City Department of Arts & History National Endowment for the Arts Home Federal Foundation Idaho Community Foundation and the following funds: Kissler Family Foundation Philanthropic Gift Fund Gladys E. Langroise Advised Fund Sara Maas Fund Perc H. Shelton & Gladys Pospisil Shelton Advised Fund Miles and Virginia Willard Fund Intermountain Gas Industries Foundation Idaho Commission on the Arts Idaho Humanities Council and National Endowment for the Humanities Laura Moore Cunningham Foundation Idaho Power OfficeMax Community Fund Wells Fargo Foundation Union Pacific Foundation The Whittenberger Foundation THANK YOU!

WELCOME!

You will find background information about William

Shakespeare and Twelfth Night to help you and your

students get the most out of the production.

This resource includes a range of information,

discussion topics, and activities. You should also have

received a box of study guide and resource materials

from the Shakespeare for a New Generation, a na-

tional initiative sponsored by the National Endow-

ment for the Arts. If you have not received it, please

contact Renee Knappenberger, Director of Educa-

tion at renee@idahoshakespeare.org.

We encourage you and your students to share your

thoughts with us! Any letters, questions, or artwork

you send will be shared with the actors and artists

who created the 2010 Shakespearience production of

Twelfth Night. Our address can be found at the end

of this study guide.

Thank you so much!

In This Study Guide:

Idaho Content Standards Addressed in this

study guide:

humanities (hum), language arts (la), social studies

(soc), theater (th), and visual arts (va). History (hist),

music (mus)

4

About Our Education Program:

The Idaho Shakespeare Festival has become an integral part of the arts

education throughout Idaho. The Festival‟s annual Shakespearience tour

brings live theater to more than 25,000 high-school students in more than 50

Idaho communities each year. Since it began touring in 1986,

Shakespearience has enriched the lives of nearly 500,000 students.

In 1999, the Festival assumed the operations of Idaho Theater for Youth

(ITY). This alliance has more than doubled the Festival‟s annual educational

programming, resulting in the Festival becoming the largest provider of

professional, performing arts outreach in the state of Idaho. In addition to the

statewide Idaho Theater for Youth school tour, which brings professional

productions to nearly 30,000 students in grades K-6 across Idaho, the

Festival oversees year-round Drama School programs. This series of classes

in acting, playwriting and production, for students of all ages, enrolls over

300 Treasure Valley students each year. Look for upcoming student

productions throughout the summer, fall and spring.

For more information on any of the Festival‟s educational activities, please

contact the Director of Education at the Festival offices, email at

renee@idahoshakespeare.org, or go to www.idahoshakespeare.org.

A Note from the Director:

A little over fifteen years ago the Idaho Shakespeare Festi-

val‟s “Shakespearience” tour came to my high school in Burley,

Idaho. They performed a production of Twelfth Night and it was the

first live performance of Shakespeare I had ever seen. Like most

people, I had read some Shakespeare in my English class, and seen a

couple of clips from a very serious and precious movie version of

Romeo and Juliet. Shakespeare was foreign to me, I couldn‟t iden-

tify with it- it felt very antiquated and quite frankly, boring. All of

this changed, though, when I saw the text performed live. The set,

costumes, music, and vibrancy of the actors elevated the text to a

new level. I understood the plot and characters on a much deeper

level, I was invested. None of this is a fluke- the fact is, Shake-

speare is not meant to be seen on film, or read in a classroom- it is

meant to be experienced live.

So, live, and tailored especially for you we present Shake-

speare‟s comedy Twelfth Night. It was first performed over 400

years ago, and has been seen in innumerable iterations since then

and watched by millions of people. Today, you will join the ranks of

that long line of spectators who have enjoyed this play. Love, loss,

and madness are the main themes of this show- themes we can all

identify with. All of the text that you will hear is Shakespeare‟s

own. All of the design elements (set, costumes, music) are given a

contemporary flavor in order to make the play more current and

fresh. Also, the play is cut down quite drastically from its original

21,000 words to 6400 words- it‟s snack sized Shakespeare.

I don‟t want to tell you what the play is about and how it

will affect you because the answer is different for everyone. If you

engage in this performance I promise you there is something in it for

you. These plays have survived the test of time, and even thrived,

because they are at their core stories about the struggles and tri-

umphs of human beings- this certainly pertains to each and every

one of us. So, I invite you to meet this play half way, we did our

work and all we ask is that you open up your mind, drop any nega-

tive preconceived notions you may have and take a fresh look at live

theater.

Enjoy!

- Sara Bruner, Director

5

William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England‟s Avon River. When he was

eighteen, he married Anne Hathaway. The couple had three children, one of whom died in childhood. The bulk of Shakespeare‟s

working life was spent in London. He enjoyed success not only as a playwright, but also as an actor and shareholder in an acting

company. Shakespeare became a published poet in 1593 because at this time the theaters had been closed due to the plague, a con-

tagious epidemic disease that devastated the population of London. When the theaters reopened in 1594, Shakespeare continued

his career as an actor, playwright, and acting-company shareholder. His career spanned over about the next twenty years.

In the 1590s he wrote his plays on English history as well as several comedies and at least two tragedies (Titus Andronicus

and Romeo and Juliet). It is assumed that Shakespeare‟s sonnets were also written at this time. In 1599, Shakespeare‟s company

built a theater for themselves across the river from London, naming it the Globe. The plays that are considered by many to be

Shakespeare‟s major tragedies (Hamlet, Othello, King Lear, and Macbeth) were written while the company was resident in this

theater, as were such comedies as Twelfth Night and Measure for Measure. Many of Shakespeare‟s plays were performed at court

(both for Queen Elizabeth I and King James the 1), some were presented at the Inns of Court (the residencies of London‟s legal

societies), and some were doubtless performed in other towns, at the universities, and at great houses when the King‟s Men,

Shakespeare‟s acting company, went on tour. Between 1608 and 1612, Shakespeare wrote several plays---among them The Win-

ter’s Tale and The Tempest---presumably for the company‟s new indoor Blackfriars theater, though the plays seemed to have been

performed also at the Globe and at court. Shakespeare wrote very little after 1612, the year he probably wrote King Henry VIII. It

was a performance of Henry VIII in 1613 that the Globe caught fire and burned to the ground. Shakespeare retired from the stage

sometime between 1610 and 1613 and returned to Stratford, where he died in 1616.

Until the 18th Century, Shakespeare was generally thought to have been more than a rough and untutored genius. Theories

were advanced that his plays had actually been written by someone more educated, perhaps statesman and philosopher Sir Francis

Bacon or the Earl of Southampton, who was Shakespeare‟s patron. However, he was celebrated in his own time by English writer

Ben Johnson and others who saw in him a brilliance that would endure. Since the 19th century, Shakespeare‟s achievements have

been more consistently recognized, and throughout the Western world he has come to be regarded as the greatest dramatist ever.

About the Playwright: William Shakespeare

Folger Shakespeare Library

“Shakespeare, William” Microsoft Encarta Online Encyclopedia 2001

6

Twelfth Night was probably written in 1601 and first performed in January of 1602. Twelfth Night was written six

years after Romeo and Juliet. Shakespeare’s treatment of love and romance and his use of dramatic devices are even

more sophisticated than they were in his famous tragedy. Twelfth Night is the fourth in a series of romantic comedies

which all have very bright heroines who end up teaching valuable lessons to men who will become their husbands.

Three of these four plays---The Merchant of Venice, As You Like It, and Twelfth Night—feature heroines who disguise

themselves as men and deal with their male-dominated societies from this secret vantage point.

The immediate source of Twelfth Night is a book by a man named Barnaby Ridge titled Ridge: His Fare-

well to the Military Profession written about 20 years earlier. Ridge’s story is about a young woman who disguises her-

self as a young man and goes to work for a handsome young lord with whom she promptly falls in love with. The Lord

orders her to go off and win the love of a beautiful woman he likes. Comic confusion ensues. Ridge had stolen this story

line from an Italian play written earlier, but in reality the ideas here go back to the ancient Greeks and Romans. The an-

cients also had lots of fun with characters that looked alike or were identical twins.

The title Twelfth Night is named after the twelfth day after Christmas, or January 6. This is the traditional

day of The Epiphany, the day on which the three Wise Men visit Jesus soon after he is born. During medieval times,

Christmas was celebrated for twelve days and the last day was the most festive. Because it is the last day of celebration

the games and disguises must end; this puts pressure on the characters to fix everything before the day ends. It is pos-

tulated that a group of lawyers commissioned Shakespeare to write a play that was set to open on January 6, 1601, but

there is nothing about the actual holiday in the play. Twelfth Night is one of the few plays Shakespeare wrote that has a

secondary or sub-title: What You Will. “Will” in this case means “desire”. Like some of his other comedies, Much Ado

About Nothing and As You Like It, the titles suggest trivial things, unimportant stories made for entertainment, “Whatever

you Desire”.

SOURCES

ASLSHAKESPEARE.COM

www.srvc.net/engl154/html_files/TWELFTH_NIGHT_Lecture.htm

The Context of Twelfth Night soc, hist

7

Thou! Weekly

Life Section Page 1

Illyria, GREECE In a mysterious place called Illyria, Duke Orsino loves two things: music and the Countess Olivia. The problem is Olivia does-

n‟t love him back. She recognizes him as a wonderful candidate for a husband, but not for her. Furthermore, Olivia has sworn 7 years

of mourning for her dear brother‟s recent death, a time in which she says no man shall even behold her face. Regardless of this, Orsino

sends his officers to Olivia‟s house relentlessly, hoping that somehow one of them will be able to woo her to be his wife.

Viola washes up on the shore of Illyria, she and her twin brother have just experienced a terrible shipwreck, and Viola believes her

brother, Sebastian, to be dead. The Captain that is washed ashore with Viola tells her that he saw Sebastian during the shipwreck, and

thinks he may actually be alive. Viola learns from the Captain that Orsino rules the island, and that he is in love with Olivia. In order

to survive on the island, Viola decides to disguise herself as a young man, a “eunuch”, her plan is to serve Orsino.

Orsino accepts the disguised Viola into his court, and has quickly taken a great liking to her/him; in fact he already favors Viola (who

is now going by the name Cesario) over all of his other officers. Orsino believes that Cesario may be the one person who can success-

fully woo Olivia for him, and he insists that Cesario go and deliver his message of love. While Olivia mourns the loss of her brother,

her cousin Sir Toby Belch drinks excessively and parties loudly with his wealthy not-so-smart Olivia wooing friend, Sir Andrew

Aguecheek. Olivia‟s fiery servant Maria tries unsuccessfully to control the men. Olivia‟s other servant, the super uptight Malvolio,

also tries to keep some peace in the house, though his attempts only cause more unrest.

Olivia notes that there is something special about Cesario too, and she is quite smitten with him, in fact, she thinks she‟s falling

in love.

Orsino loves Olivia

Olivia loves Cesario/Viola

Cesario/Viola loves Orsino… you get the picture.

Viola‟s twin brother, Sebastian, washes ashore. He and his new found friend Antonio decide to part ways; Antonio is uncomfortable in

Illyria because he is considered on outlaw there Sebastian falls instantly in love with Olivia, who is pleasantly surprised that her love

for Cesario is suddenly being reciprocated. They decide to get married.

Back at Orsino‟s court, Orsino confronts Antonio, who swears up and down that he and Cesario have know each other for months and

are very good friends; this baffles both Orsino and Cesario since they know that can‟t possibly be true. Then, Olivia enters and refers

to Cesario as her husband; once again Cesario is mistaken for her twin brother. To make matters even worse for Cesario, Sir Toby and

Sir Andrew accuse Cesario of beating them up. Just as all of the misunderstanding start to pile up and cause major problems for Cesa-

rio, Sebastian enters. The twins are reunited at last and Viola is finally able to reveal her true identity to Orsino and Olivia. Viola is

reunited with her twin brother, Olivia and Sebastian will stay happily married, and Orsino and Viola pledge their love to one another.

Hot Mess Love Triangle

8

Meet Our Players!

“All the world's a stage,

And all the men and women merely players;

They have their exits and their entrances,

And one man in his time plays many parts.”

Jacques—As You Like It A II, S VII

Dakotah Brown

Orsino, Sir Andrew Aguecheek “In High School, I pined over a girl who I

dissected a crawfish with in Biology. I

wouldn't shut up about her and constantly

whined to my friends. During lunch one

day, she happened to be eating at our table,

and a friend loudly asked "Hey, isn't she the

girl you really like?" I was mortified.”

Rod Wolfe

Malvolio, Valentine "It was being bullied that hounded

me during my school years. My

saving grace was to make my bully's

laugh. Sometimes it worked and

sometimes not so much. As the mul-

tiple resetting of my nose can

attest."

Luke Massengill

Sebastian, Sir Toby “When I was younger I had

fallen for a girl. I couldn't take it

anymore and I sent her a rose

during class and asked her to be

my girlfriend....she flat out said

no. First time in my life I had

been totally crushed. “

Veronica Von Tobel

Maria, Antonio “At a dance in junior high, a more “nerdy”

guy was dancing and these bullies were

making fun of him. My friends and I saw

this and started crazily dancing too and

soon everyone was! That shut the bullies

right up!”

Nicole Frachiseur

Costume Designer Josh Frachiseur

Set Designer

Sara Bruner

Director

Sarah Gardner

Olivia, Captain “I was really crazy about a guy in high

school. We were both really shy though

and had different friends. I used to write

him love notes but I never had the nerve

to actually give them to him, so by the

end of my junior year I had a stack of

unsent love notes and when I came back

to school the next year, he had moved.”

Elizabeth Conway

Viola “I was in love with my best guy

friend. We shared the night be-

fore graduation with each other

and few friends, and kept willing

the night to go on longer. Alas,

graduation came, and neither of

us were able to admit our feelings

to the other. We live

in completely different cities from

each other now, and even though

we still see each other every year

or so, I still live with that regret

of never making my feelings

known.”

Tim Long

Sound Engineer

Jodi Dominick

Assistant Director

9

Dramatis Personae:

VIOLA—a shipwrecked lady, later disguised as

Cesario

CAPTAIN—of the wrecked ship, who befriends

Viola

SEBASTIAN—Viola’s twin brother, also ship-

wrecked

ANTONIO—a sea-captain, who befriends

Sebastian

ORSINO—Duke of Illyria

VALENTINE—a gentleman attending on

Orsino

OLIVIA—a countess

MARIA—Olivia’s waiting-gentlewoman

SIR TOBY BELCH—Olivia’s kinsman

SIR ANDREW—companion to Sir Toby

MALVOLIO—Olivia’s steward

If you were going to select a musical style or music group/

artist to underscore your production, who would it be?

Why? Pick a theme song for the following characters:

Viola

Duke Orsino

Olivia

Sir Toby Belch

Malvolio

Soundtrack hum, mus

Fun Facts! The average American has a vocabulary of about 10,000 words. Shake-

speare‟s vocabulary was 29,000!

Shakespeare invented a lot of words including: bedroom, bump,

assassination, apostrophe, bloody, dislocate, frugal, majestic and

suspicious.

Shakespeare died on his 52nd birthday.

If you were to Google “Shakespeare,” you would get over 15 million

pages!

Macbeth is performed somewhere in the world once every four hours!

All of Shakespeare‟s family members are thought to have been illiterate.

Shakespeare had no descendants after all his grandchildren died.

All the moon‟s of Uranus are named after Shakespeare characters.

No portrait of Shakespeare was ever painted while he was alive.

The role of Hamlet has nearly 1,500 lines - almost as long as the entire

play, The Comedy of Errors!

Activity!

10

Questions For Discussion: Prior to the Show Have you ever pretended to be someone or something you‟re not? What did you change about yourself, and why?

How might you have been treated differently if you had not disguised the real you? Did you ever go back and

show your true personae to the people you had interacted with? If not, why not? If so, what was their response? If

we act differently depending upon who is around us, how is it possible to know somebody‟s true personality?

Six little words: He’s just not that into you provided the title for Greg Behrendt and Liz Tuccillo‟s bestseller, as

well as the 2009 film of the same name What do you do when someone doesn‟t love you back? How do you suc-

cessfully woo or date an individual? What advice would you give to an individual suffering from unrequited love?

Is it ever possible to make someone fall in love with you? Have you ever known of someone to either fall into or

fall out of love with another? What causes this behavior? How can love be controlled? What is the craziest thing

you‟ve ever done to try to win the heart of another? What happened?

In your opinion, how important is honesty in a relationship? Are deceptions acceptable in certain circumstances,

or are they inappropriate at any cost? Can a relationship withstand deceptions? Why or why not? Have you ever

withheld the truth from someone you loved in order to protect them? If so, how did this situation work out?

What is the most outrageous practical joke you have ever been involved in? How did it turn out? Have you ever

been the target of a practical joke? How did you feel about it? Do you believe a joke can be carried too far? When

does this occur? Do you think we learn anything from practical jokes? If so, what do we learn? If not, why not?

Do you think there is any humor in convincing someone that someone else is in love with them? Why or why not?

Do you believe at the core, men and women are genuinely different? Do women talk differently when there are no

men around? Do men talk differently when no women are present? How important is gender in determining iden-

tity? What do you imagine it would be like if you could walk around in the opposite gender‟s shoes for just one

day? Do you believe you would come out of that experience with a deeper respect for each other, or would the ex-

perience simply confirm currently held beliefs?

11

Consider the character of Malvolio. Do you think that Malvolio is capable of carrying out his threat, “I‟ll be

revenged upon the whole pack of you?” What form do you believe Malvolio‟s revenge will take?

How would you rank the characters from most likeable to least likeable? What qualities did you admire/

dislike in these characters? What casting choices did you find most effective?

How do the actors emphasize the various extremes found in the play (love, drink, self-delusion, grief, etc.)?

Does the mood of the production change with the introduction of each extreme? How do the portrayals of

the extremes advance the plot and the character development?

Both Malvolio and Sir Andrew Aguecheek are gulled in Twelfth Night. Both characters have potentially an-

noying characteristics. At any point in the play, did you feel sympathy for either character? How did the ac-

tors‟ choices influence your feelings?

Viola must adopt the disguise of a eunuch boy “Cesario” in order to enter the service of Duke Orsino. Is the

cross-gender deception effective? Did you accept the portrayal of Viola as Cesario so that the subsequent

events were believable?

Do you think that Sir Toby Belch, Maria, and Sir Andrew take the practical joke on Malvolio too far? Why

The theme of excess runs throughout the play. What excesses are displayed by Sir Toby and Sir Andrew?

What excesses does the puritanical Malvolio display? What excesses does Duke Orsino display? Which

characters have a balanced attitude toward life?

Questions For Discussion: After the Show

12

In professional theatre, there is often a person called the „art director‟ who is responsible for designing all the advertising materials for a production,

including promotional posters, programs, etc. Using any art materials from the classroom or special materials from home (magazines to make a collage, etc.), have

your students design posters for Twelfth Night. They can advertise the Shakespearience! production, or use their imaginations and create their very own productions!

Below are three examples of posters for Twelfth Night you can share with your students for inspiration. Some information they may want to include:

The show‟s title

The dates, times, and location the play is being performed

Contact information (phone numbers, addresses, or websites)

Names of actors appearing in the play (could be their friends, celebrities, anybody!)

A tagline or excerpts from imaginary reviews (“Two paws up!”)

A drawing or collection of drawings that highlights a character, scene, location, or theme from Twelfth Nigh that the student feels is important for a potential au-

dience member to understand about her production.

Play Poster va, th

Activity!

3 Very Different Examples:

Wargrave Thearer Chalk Reparatory Company Jericho Arts Center

13

Paraphrasing Passages la, mus, va, th

Many passages in Twelfth Night contain beautiful language; however, they are sometimes difficult for modern

readers. Select one of the following passages and write it in your own words. Finally, perform your selected

passage for the class. You might wish to dramatize the passage using visual aids, gestures and music. Or, you

may wish to join with other students for a group presentation.

Activity!

Copy this page!

MALVOLIO O, ho! do you come near me now ?

What can be said? Nothing

that can be can come between me

and the full

prospect of my hopes. Well, Jove,

not I, is the

doer of this, and he is to be thanked.

OLIVIA Here, wear this jewel for me, 'tis my picture;

Refuse it not; it hath no tongue to vex you;

Come again to-morrow: fare thee well:

A fiend like thee might bear my soul to hell.

ANTONIO Orsino, noble sir,

a witchcraft drew me hither:

That most ingrateful boy there by your side,

From the rude sea's enraged and foamy mouth

Did I redeem, drew to defend him when he

was beset:

Where being apprehended, his false cunning,

Denied me mine own purse.

VIOLA By innocence I swear, and by my youth

I have one heart, one bosom and one

truth,

And that no woman has; nor never none

Shall mistress be of it, save I alone.

And so adieu, good madam: never more

Will I my master's tears to you deplore.

14

The Fifteen-Minute Twelfth Night th, la

Activity!

Divide the class into five groups. Each group will select an act for their presentation and will construct a three-

minute version of their act. They must use lines from the act. Students will prepare their scripts. (Give a day of

classroom time for group work.) On the following day, the groups perform their scripts. Within fifteen minutes, an

abridged version will be performed. After the conclusion of Act V, have each group explain what events they chose

to include and those events which they chose to ignore.

T.V. Reporter th, la

You are a reporter for the television tabloid Entertainment Tonight. You have just seen a new production of

Twelfth Night at the Idaho Shakespeare Festival. Your job is to present a two minute “review” of the play and

this production.

Write a script and then present your report to the class and your TV audience. You can include:

1. Your opinion of the production

2. Your choices of the best from the production: costumes, scenic design, acting, best scene, best line

etc.

3. Your choices of these production elements that did not work.

4. Your recommendation to the audience. Should they see the play? Why or why not?

Act I Group:

Act II Group:

Act III Group:

Act IV Group:

Act V Group:

15

Shakespearian Text Message th, la

Activity! Copy this page!

If Maria had Olivia‟s cellphone to send the deceptive letter to Malvolio, what would it look like?

EX. To: Malvolio

U R HOTTT! Esp. with yellow sox! LUV O

To: Olivia,

;}……. LUV M Dawg

16

Bardbook th, hum Activity! Copy this page!

Choose one of the characters below and create a Facebook page for that character. Viola Sir Toby Belch Olivia

Malvolio Duke Orsino

17

S

E

L

E

C

T

E

D

S

C

E N

E

For Your Class

The following scene work is included to complement your active exploration of Twelfth Night. The abbreviated scene is

relatively short and can be simply staged. This is the scene where Sir Andrew and Sir Toby are singing and celebrating

late at night. They are scolded by Malvolio, which leads Maria to come up with a plan to get even with Malvolio.

Split the class into groups and ask each of them to perform their own version of this important scene. Allow them to get

creative with how they want to present their scenes to the rest of the class!

th

Sir Toby and Sir Andrew are sing-

ing

Enter MARIA

MARIA What a caterwauling do you keep

here! If my lady

have not called up her steward Mal-

volio and bid him

turn you out of doors, never trust

me.

SIR TOBY BELCH Malvolio‟s a Peg-a-Ramsey. Am not

I consanguineous?

Am I not of her blood?

Tillyvally. Lady!

Sings

MARIA For the love o' God, peace!

Enter MALVOLIO

MALVOLIO

My masters, are you mad? or what

are you? Have ye

no wit, manners, nor honesty, but to

gabble like

tinkers at this time of night? Is there

no respect of place, persons, nor

time in you?

SIR TOBY BELCH

Sneck up! Art any more than a

steward? Dost thou think, because

thou art

virtuous, there shall be no more

cakes and ale?

Go, sir, rub your chain with

crumbs. A stoup of wine, Maria!

MALVOLIO Mistress Mary, if you prized my

lady's favour at any

thing more than contempt, you

would not give means

for this uncivil rule: she shall know

of it, by this hand.

Exit

MARIA Go shake your ears! Let me

alone with Malvolio, I‟ll make him

a common recreation. I know I can

do it.

SIR TOBY BELCH Possess us, possess us; tell us some-

thing of him.

MARIA Marry, sir, sometimes he is a kind

of puritan.

SIR ANDREW O, if I thought that I'ld beat him like

a dog!

SIR TOBY BELCH What wilt thou do?

MARIA I will drop in his way some obscure

epistles of

love. I can write very like my lady

your niece.

SIR TOBY BELCH Excellent! I smell a device.

SIR ANDREW I have't in my nose too.

SIR TOBY BELCH He shall think, by the letters that

thou wilt drop,

that they come from my niece

Olivia, and that she's in

love with him.

18

Twelfth Night Scenic Design by: Josh Frachiseur

19

Design a set for Twelfth Night!

Here is a stage drawing for reference

Copy this page!

Think Like a Scenic Designer! va, th

Activity!

20

The director and costume designer of Twelfth Night worked together to create costumes that would be

colorful, unique and logical for the storyline of Shakespeare’s great work. They had the challenge of

creating costumes that fit each character and were also interesting for the audience to look at.

Think like a costume designer and choose what colors you would want the costumes to be! They can be

the same as in the Shakespearience production, or completely different. Be creative with color!

Think Like a Costume Designer! va, th

Copy this page!

OLIVIA SIR ANDREW ACUECHEEK MALVOLIIO

Activity!

21

COLUMN A COLUMN B COLUMN C

bawdy bunch-backed canker-blossom

brazen clay-brained clotpole

churlish dog-hearted crutch

distempered empty-hearted cutpurse

fitful evil-eyed dogfish

gnarling eye-offending egg-shell

greasy fat-kidneyed gull-catcher

grizzled heavy-headed hedge-pig

haughty horn-mad hempseed

hideous ill-breeding jack-a-nape

jaded ill-composed malkin

knavish ill-nurtured malignancy

lewd iron-witted malt-worm

peevish lean-witted manikin

pernicious lily-livered minimus

prating mad-bread miscreant

purpled motley-minded moldwarp

queasy muddy-mettled nut-hook

rank onion-eyed pantaloon

reeky pale-hearted rabbit-sucker

roynish paper-faced rampallion

saucy pinch-spotted remnant

sottish raw-boned rudesby

unmuzzled rug-headed ruffian

vacant rump-fed scantling

waggish shag-eared scullion

wanton shrill-gorged snipe

wenching sour-faced waterfly

whoreson weak-hinged whipster

yeasty white-livered younker

The Art of the Insult

Directions: Combineth one word

or phrase from each of the Col-

umns below and addeth “Thou”

to the beginning. Make certain

thou knowest the meaning of thy

strong words, and thou shalt

have the perfect insult to fling at

the wretched fools of the oppos-

ing team. Let thyself go. Mix

and match to find that perfect

barb from the Bard.

INSULT HURLER:

___________________________________

INSULT:

Thou ______________________________

__________________________________

__________________________________

DEFINITION:

You _______________________________

___________________________________

___________________________________

22

Memory Mnemonics Experiment! sci Activity!

MNEMONICS:

Have you ever had to memorize a list of words or an equation for a test at school? Maybe it was a list of the planets or all the state capitals. Think about how many

words the actors in Othello had to memorize! Sometimes it can be difficult to remember long lists of words. This is where memory techniques can help. One memory

technique is called mnemonics. A mnemonic (pronounced nuh-MAH-nick) is a memory aid that uses systems of rhymes, acronyms, and diagrams to help you re-

member names, dates, facts, and figures. An example of a mnemonic is the word scuba, which is not just a word—each letter in the word stands for something. Scuba

is an acronym for self-contained underwater breathing apparatus. Another example of a mnemonic is the rhyme "i before e except after c, or when sounding 'a' as in

neighbor or weigh." This mnemonic was designed to help a person remember the order of the letters "i" and "e" in different words. Mnemonics are a great resource not

just for you as students, but for actors trying to memorize lines, teachers to help remember students names, business people to remember a to-do list and even the

president to memorize a speech!

HISTORY:

The term mnemonic is derived from Greek. It is based on the word mnemonikos which means "of memory." This word refers back to mnema, which means

"remembrance." There are several different types of mnemonics. You can use music, name, expression, model, rhyme, note, image, connection, and spelling mnemon-

ics to help you remember just about anything.

PROCEDURE:

Gather six of your friends and separate them into two groups. One group will be the control group and the other will be the experimental group. The purpose of a con-

trol group is to act as a constant and to highlight any effects the variables in an experiment may have on the experimental group. You will ask each member of the

control group to memorize the list below without using a mnemonic, then test them by asking them to repeat the list back. Next, you will ask each member of the ex-

perimental group to memorize the same list of words, but using a mnemonic.

QUESTIONS:

LIST OF WORDS:

Fish Girl

Coffee Apple

Phone Glue

Scissors Dog

Cane Violin

Treacherous Elephant

Snow Number

X-ray Baby

1. Did the mnemonic help you remember the list bet-

ter than the control group, who did not use a mne-

monic?

2. What kind of mnemonic did you use?

3. Did you find the mnemonic to be helpful?

4. What areas of study might be a mnemonic device

be helpful?

5. Which words were the hardest to memorize with-

out a memorizing device? Why?

www.cartoonstock.com

23

Suggestions for Further Study:

BOOKS:

Gordon, Alan: Alan Gordon has written a series of books about the exploits of Feste and

Viola. The first book in the series Thirteenth Night has Feste returning to Illyria to help

Viola and the other characters deal with Malvolio‟s threat, “I‟ll be revenged on the whole

pack of you.” Following Thirteenth Night, Feste and Viola have further adventures in The

Jester Leaps In, A Death in the Venetian Quarter, The Window of Jerusalem, An Antic Dis-

position (the “true Tale” behind Hamlet), The Lark’s Lament, and The Moneylender of

Toulouse.

Marston, Edward: Edward Marston has written a series of mysteries that give the flavor

of an Elizabethan theater company, the factious Westfield‟s men. The leading character is

the book holder Nicholas Bracewell. The first book in the series is The Queen’s Head, an

inn that is the home theater for this company of players.

DVD:

“Twelfth Night” (1996) Directed by Trevor Nunn

“She‟s the Man” (2006) Starring Amanda Bynes

“In Search of Shakespeare” (2004) PBS

24

Idaho Shakespeare Festival

Charles Fee, Producing Artistic Director

Mark Hofflund, Managing Director

P.O. Box 9365

Boise, Idaho 83707

Telephone (208) 429-9908

Box Office (208) 336-9221

www.idahoshakespeare.org

The Idaho Shakespeare Festival has evolved into one of the region‟s premier, professional theater arts organizations, directly serving over 115,000 indi-

viduals annually. It is governed by a volunteer member Board of Trustees, with additional Consulting Members, 2 co-equal executives and a permanent

staff of 10 employees. In addition, the Festival operates as an “artistic home” for over 130 artists and production staff, who are employed during the

summer and at other times of the year, such as during the Festival‟s spring educational tours.

At the organization‟s core is its outdoor summer season which presents classical repertory, focusing on the plays of William Shakespeare, in addition to

some contemporary works including musicals. The Festival‟s Amphitheater and Reserve, now entering its 14th year of operation, is the venue for over

53,000 audience members who come to Boise from across Idaho and increasingly from other states and countries.

In addition to its seasonal productions, the Idaho Shakespeare Festival provides theater arts programming integrated into the curricula of approximately

95% of the school districts in Idaho, as well as serving parts of Oregon, Wyoming, and Nevada. Through its school tours, Shakespearience and Idaho

Theater for Youth, the Festival annually reaches over 50,000 children at all grade levels, particularly focusing on children in remote and rural communi-

ties.

ISF‟s Drama School exemplifies the Festival‟s attempts to foster life-long learning and appreciation of the theater, providing ongoing classes for stu-

dents ranging in age from pre-school to adult. The Festival‟s Summer Apprentice Program and Residencies are also offered for extended theatrical train-

ing. In the tradition of its highly-popular Family Nights, along with Matinees at the Festival serving over 55,000 students in the Amphitheater since

1993, the Festival donates tickets to over 100 non-profit and student groups, has created a special access program for both students and low-income

groups, and now makes low-cost access possible for children and young adults throughout the summer season.

Festival staff members also participate in the community, serving on boards and assisting the activities not only of local and regional organizations, but

also participating at a national level, where Charles Fee is also Producing Artistic Director for Great Lakes Theater Festival (Cleveland) and Lake Tahoe

Shakespeare Festival, and Mark Hofflund served a presidential appointment to the National Council on the Arts (Washington, D.C.). Both Festival ex-

ecutives have been community leaders in Idaho for the better part of two decades, and both maintain fulltime residency with their families in Boise.

ABOUT THE IDAHO SHAKESPEARE FESTIVAL