Student's Workbook 1A - Shakespeare WA

Student’s 

Workbook 1A 

three fold shakespeare 

Presented by: 

In partnership with:

This educational resource was created for Shakespeare WA, as part of 

the 2012 ―Shakespeare in the Park‖ season of The Comedy of Errors 

and The Tempest. This workbook provides various teaching materials to 

support senior secondary education programming. 

This is a free resource which has been created with the sole purpose of 

providing accessible materials and ideas to increase (and encourage) 

the value and importance of Shakespearean education. Material 

collated within this package has been sourced from online websites. 

ALL information and worksheets copied have been acknowledged and 

duly referenced. At the time of going to print, the websites mentioned 

were accessible and accurate. The material has been collated for 

practical usage within the classroom environment, not for financial gain. 

We would sincerely appreciate any comments, feedback or suggestions 

for improving this document. Please contact us if you wish to use any of 

the material located in the package 

This material was collated and published by Shakespeare WA LTD. 

38 St Georges Terrace, Perth, Western Australia, 6000. 

Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12

Acknowledgements 

Artistic Director Paige Newmark 

General Manager Katie Kent 

Education Liaison Elisa Dumitru 

Editors 

Andrew Kocsis Tiffany Wendt 

With additional assistance from 

Jenny de Reuck 

Cover Design 

Karen Smart 

Illustrations 

Karen Smart Allison Bell 

Thanks to 


Introduction to Three Fold Shakespeare 

When approaching this workbook, each ‗scene‘ provides a three ‗fold‘ (or 

three step) approach to completing the student objectives. In each ‗scene‘, 

three different descriptions are used to provide a bridge to the next ‗scene‘. 

The eight individual ‗scenes‘ have been scaffolded towards a final 

performance piece. ‗Folds‘ focus predominantly upon the following concepts... 

View 

Play 

Discuss 

Research 

Read 

Write 

Perform 

– Suggest websites or videos of interest to engage and 

focus the learning. 

– Provide improvisational tasks or theatre games to 

explore subject themes. 

– Encourage class discussion as a means to examine the 

text, characters or other areas of interest. 

– Create opportunities for investigation into the historical 

aspects of the text and themes 

– Allow the reading and comprehension of textual 

examples of the subject and its influences 

– Offer scope for creative writing and drawing as a means 

of communicating personal ideas 

– Provide an arena for staging (in front of the class) a 

progression or final assessment piece. 

The individual ‗Scenes‘ follow the Department of Education‘s Scope and 

Sequence descriptors. This enables the workbook to support the principles of 

an effective Drama program and the assessment requirements of each 

course. Please note there are direct references to indicate the source of the 

various student worksheets. Some worksheets and activities have been 

altered to fit the requirement of this package and to link more appropriately 

with the scope of the program. 

The activities and worksheets included in this package have been chosen to 

support the differentiation of learning and the development of individual 

learning styles in order to make the program more accessible and inclusive. 

Warm up and vocal exercises have not been included in this package as 

these aspects are a reflection of the style and preference of the individual 

teacher. Please feel free to make use of the resources provided in a manner 

which best suits the requirements of your students and your personal teaching 

approach. 


View 

Write 

Perform 

Dissembling harlot, 

thou art false in all! 

The Comedy of Errors 

(Act 4, Scene 4) 

Locate YouTube clips of comedy in 

The Comedy of Errors, then discuss the style shown... 

Propeller Theatre Company 

http://www.youtube.com/watch?v=ha6-15TVQOM 

Southwest Shakespeare Company's production 

http://www.youtube.com/watch?v=P6imsiLMyOU 

Royal Shakespeare Company's 

http://www.youtube.com/watch?NR=1&v=-hie-ks6gD8 

Identify the comedic elements in The Comedy of Errors, 

and compare them to modern day TV Shows... 

Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12 

See page 6 

Terms sourced from http://artsalive.ca/pdf/eth/activities/comedy_of_errors_guide.pdf 

Use the Shakespearean insult lines to create a comedic 

scene in a modern setting... 

. 

In small groups, improvise a scene 

in a Courthouse, a Department Store 

or a traditionally “unfunny” location. 

Then occasionally use “insult” lines 

to change the space into a comedic scene 

See pages 7 and 8 

Sourced from http://www.pangloss.com/seidel/shake_rule.html

Sources of Humour in The Comedy of Errors 

The Situation 

Plot: 

Character: 

Mistaken Identity: 

Misunderstanding: 

Timing 

Coincidence 

Physical Humour 

Language (Puns, 

Images, Bawdy, 

Insults, Jokes, Wit 

Surprise 

Example in the Play 

Example in Popular 

Culture 


Shakespearean Insults 

Thou artless base-court apple-john 

Thou bawdy bat-fowling baggage 

Thou beslubbering beef-witted barnacle 

Thou bootless beetle-headed bladder 

Thou churlish boil-brained boar-pig 

Thou cockered clapper-clawed bugbear 

Thou clouted clay-brained bum-bailey 

Thou craven common-kissing canker-blossom 

Thou currish crook-pated clack-dish 

Thou dankish dismal-dreaming clotpole 

Thou dissembling dizzy-eyed coxcomb 

Thou droning doghearted codpiece 

Thou errant dread-bolted death-token 

Thou fawning earth-vexing dewberry 

Thou fobbing elf-skinned flap-dragon 

Thou froward fat-kidneyed flax-wench 

Thou frothy fen-sucked flirt-gill 

Thou gleeking flap-mouthed foot-licker 

Thou goatish fly-bitten fustilarian 

Thou gorbellied folly-fallen giglet 

Thou impertinent fool-born gudgeon 

Thou infectious full-gorged haggard 

Thou jarring guts-griping harpy 

Thou loggerheaded half-faced hedge-pig 


Thou lumpish hasty-witted horn-beast 

Thou mammering hedge-born hugger-mugger 

Thou mangled hell-hated joithead 

Thou mewling idle-headed lewdster 

Thou paunchy ill-breeding lout 

Thou pribbling ill-nurtured maggot-pie 

Thou puking knotty-pated malt-worm 

Thou puny milk-livered mammet 

Thou qualling motley-minded measle 

Thou rank onion-eyed minnow 

Thou reeky plume-plucked miscreant 

Thou roguish pottle-deep moldwarp 

Thou ruttish pox-marked mumble-news 

Thou saucy reeling-ripe nut-hook 

Thou spleeny rough-hewn pigeon-egg 

Thou spongy rude-growing pignut 

Thou surly rump-fed puttock 

Thou tottering shard-borne pumpion 

Thou unmuzzled sheep-biting ratsbane 

Thou vain spur-galled scut 

Thou venomed swag-bellied skainsmate 

Thou villainous tardy-gaited strumpet 

Thou warped tickle-brained varlot 

Thou wayward toad-spotted vassal 

Thou weedy unchin-snouted whey-face 


Read 

Write 

Play 

Read through a review of The Comedy of Errors. 

Highlight points where the reviewer employs 

description and comparison to discuss characters and 

popular culture... 


Write a personal response for The Comedy of Errors 

production identifying your opinions... 

Try to include aspects like 

the effects of the play for you 

and whether you found it 

believable or interesting, and why 


Devised from http://www.squidoo.com/TheatreReviews 

Conduct ‘Hot Seating’ interviews with characters from 

The Comedy of Errors, with one individual taking on the 

role of the interviewer - asking characters about their 

hobbies and interests... 

. 


The Comedy of Errors Review 

18 March 2011 

Propeller, the all-male British theater troupe that routinely turns Shakespeare into a 

donnybrook, has never hesitated to hit below the belt. Or above it, or behind it, or 

right in the buckle. But it has surely never landed as many blows as it does in its 

relentlessly punch-drunk production of ―The Comedy of Errors,‖ which runs through 

March 27 at the Harvey Theater of the Brooklyn Academy of Music.. 

Edward Hall‘s eye-popping staging of this early Shakespeare comedy works its way 

through a wide vocabulary of martial arts moves — boxing jabs, swift kicks to the 

rear, karate chops, wrestling locks — and weapons that include nightsticks, 

nunchaku sticks, whips, dinner plates and cans of mace. Yet despite such variety, an 

air of sameness soon pervades the ancient town of Ephesus, as if one were watching 

an endless loop of a particularly frenzied episode of ―The Itchy and Scratchy Show‖ 

from ―The Simpsons.‖ With a lively mariachi band setting the rhythms for this 

production, it‘s not only the beat that goes on and on; the beatings do too. 

In the past Propeller has used its no-holds-barred approach to surprisingly unsettling 

and illuminating effect. Their twinned interpretations of ―The Taming of the Shrew‖ 

and ―Twelfth Night‖ (seen at the Brooklyn Academy in 2007) brought out a cruelty in 

those works that most directors choose to finesse and that made us think twice about 

what we reflexively laugh at. 

But if ever a play didn‘t cry out for this company‘s brand of man-handling, it‘s ―The 

Comedy of Errors.‖ Scaling up the brutality in what is Shakespeare‘s most purely 

farcical work is like putting Charlie Sheen on a heavy diet of steroids. There‘s more 

than enough testosterone to begin with. And since a Keystone Kops style of mayhem 

has been the default setting for ―Errors‖ for many decades, the more startling 

approach would have been to turn down the violence and look for the poetry. The 

slapstick can almost automatically take care of itself. 

As it is, this tale of the chaos and confusion inspired by the convergence of two longseparated 

sets of identical twins has been given inspired touches of theatrical 

ingenuity, though they are often overwhelmed by the nonstop punching and shouting. 

Mr. Hall and the designer Michael Pavelka have reconceived Ephesus as a sort of 

Tijuana-type border town, a place where guys go to get drunk, get lucky and get lost. 

When Antipholus of Syracuse (Dugald Bruce-Lockhart) arrives here in search of his 

long-lost brother, accompanied by his servant, Dromio (Richard Frame), he finds that 

festive, presumably potent drinks keep materializing out of nowhere. So does a tribe 

of musicians wearing sombreros, who provide a stream of mood-reflecting melody. 

These strolling troubadours create the senses-blurring element through which all the 

characters swim, and they‘re the best thing in the show. 

Traditionally the biggest problem in staging ―Errors‖ is its demand for two pairs of 

actors who can pass for mirror images of each other. Mr. Hall‘s production solves this 

quite nicely. He introduces the four twins in the play‘s opening scene by having them 

materialize as a kind of illuminated Exhibit A, when the travel-weary Aegeon (John 

Dougall), tells the story of how he lost his sons. 


Mr. Bruce-Lockhart and Mr. Frame, as the visiting Antipholus and Dromio, and Sam 

Swainsbury and Jon Trenchard as the home-town Ephesian characters of the same 

names, have been attired and coiffed to such distinctively lurid effect that you don‘t 

really look beyond the surface. Each set of twins is dressed identically (as this 

improbable story demands), and that first superficial double image sticks with you. 

Antipholus of Syracuse is a brooding bachelor, given to reflections on identity; 

Antipholus of Ephesus is a hedonistic married man, given to buying bling and 

consorting with prostitutes. But they share a tendency to beat up their manservants 

when they feel they are being disrespected or misinformed. Both Dromios complain 

often of being treated as whip-scarred beasts of burden. 

In this version, though, it isn‘t only the Dromios who come in for hard treatment. 

Physical abuse appears to be the lingua franca of Ephesus. Antipholus of Ephesus‘s 

jealous wife, Adriana (Robert Hands), keeps S&M toys in the bedroom; Luciana 

(David Newman) her virgin sister, has evidently studied jiujitsu, and the head of the 

town priory, the abbess Aemelia (Chris Myles) dresses like a dominatrix and 

brandishes a riding crop. 

A policeman (Dominic Tighe) has his own nightstick pushed up his rectum, while 

another (a conjurer, played by Tony Bell, and tediously embodied here as a Texasstyle 

evangelist) suffers having a lighted sparkler inserted in the same orifice. And of 

course instances of old-fashioned fisticuffs are legion. The best parts of these acts of 

violence are the ways in which they are aurally annotated by different musical 

sounds. (The kazoo and the xylophone are particularly well deployed.) 

The cast members sustain a high level of vigor, though they let their costumes do 

most of their character definition. Mr. Bruce-Lockhart, a loutish Petruchio in 

Propeller‘s ―Shrew,‖ makes an impression by showing his (relatively) sensitive side 

as the addled Antipholus of Syracuse. And he and Mr. Frame, as his Dromio, are 

very funny executing what is perhaps the ultimate ―How fat is she?‖ routine. 

Since nearly all the characters exist in a state of high exasperation, they tend to 

speak fast and frantically. This means that some of what they say will be 

incomprehensible to theatergoers unfamiliar with the text. What with problems of 

inaudibility afflicting the Broadway revival of Tom Stoppard‘s ―Arcadia,‖ imported 

British-born productions would seem to be in surprising need of elocution lessons. 

Ben Brantley 

Source: http://theater.nytimes.com/2011/03/19/theater/reviews/propellers-comedy-of-errorsat-brooklyn-academy-review.html 

What is your opinion of this review? Why? 


Reviewing a production 

A good theatre review does not merely summarize the plot of 

The Comedy of Errors. 

It provides the reader with any necessary—or interesting—background for 

understanding the play and its production: information about the playwright, 

the historical or cultural context of the play, previous important productions, 

media hype surrounding the play, and so on. It describes important details of 

the production—such as acting, direction and staging—and how these factors 

contribute to the play's total impact. 

Personal Response 

Reviewers are audience members first and critics second. Your first reactions 

will be personal responses to questions such as these: 

Is the play interesting? 

Does it capture your interest and hold 

it? 

What most interests you—-the plot? 

characters? theme? dialogue? 

production (sets, props, lighting, 

sound, costumes, and makeup)? 

Is the play convincing? 

Do you accept what you see? 

Even if the play is not realistic, are you 

willing to make what the critic Samuel 

Taylor Coleridge called a "willing 

suspension of disbelief"? 

That is, you know you are watching a 

play, not reality, but you agree to be 

convinced by what you see. 

Is the play moving? 

Do you feel something or respond to 

something? 

Do you laugh? cry? sympathize with 

the characters or their situation? feel 

the suspense or mystery? 


Is the play stimulating? 

Does it give you something to think 

about? 

Does it give you new ideas? make a 

point you hadn't considered? give a 

new insight into some part of life? 

The Play’s Effect 

Asking yourself the following questions is a way of extending your analysis of 

the play: 

What does this performance do for 

me? 

Does it tell me something about being 

a human being, about people's 

motivations, behavior, fears, desires, 

relationships? 

What does this performance do for the 

community? 

Does it enable me to recognize social 

injustice or political corruption, or to 

encourage me to think about how to 

solve such problems? 

What does this performance do for the 

theatre? 

Does the performance provide 

playwrights and directors with new 

ways to write or stage drama? 

What does this performance do simply 

as entertainment? 

Does the experience satisfy those in 

the audience basically looking for 

diversion? 


Write 

Discuss 

Perform 

Re-create a scene from The Comedy of Errors using text 

speak. Choose a piece of dialogue, or use the one 

attached to create a whole conversation... 

I WS ONLY 2 GT U FRM TH 

MRKT AND BRNG U 2 YR 

HOUS FR LNCH 

The Comedy of Errors 

(Act 1, Scene 2) 


Based on http://www.readwritethink.org/files/resources/ 

lesson_images/lesson857/interp-projects.pdf 

Explore the comedic aspects of The Comedy of Errors, 

comparing to different comedic plays. How are they 

different and what is similar?... 


Obtained from 

http://shakespeare.about.com/od/thecomedies/a/Shakespeare_Comedy.htm 

Perform the text message ‘conversations’ to the class. 

Focus on the isolating 

aspects of ‘texting’, 

while remaining on 

stage with your 

partner. The aim of 

these scenes is the 

creation of a 

presentational 

performance... 

. 


The Comedy of Errors – Act 1 Scene 2 

ANTIPHOLUS OF SYRACUSE 

Come, Dromio, come, these jests are out of season; 

Reserve them till a merrier hour than this. 

Where is the gold I gave in charge to thee? 

DROMIO OF EPHESUS 

To me, sir? why, you gave no gold to me. 


Come on, sir knave, have done your foolishness, 

And tell me how thou hast disposed thy charge. 


My charge was but to fetch you from the mart 

Home to your house, the Phoenix, sir, to dinner: 

My mistress and her sister stays for you. 


In what safe place you have bestow'd my money, 

Or I shall break that merry sconce of yours 

That stands on tricks when I am undisposed: 

Where is the thousand marks thou hadst of me? 


I have some marks of yours upon my pate, 

Some of my mistress' marks upon my shoulders, 

But not a thousand marks between you both. 

If I should pay your worship those again, 

Perchance you will not bear them patiently. 


Thy mistress' marks? what mistress, slave, hast thou? 


Your worship's wife, my mistress at the Phoenix; 

She that doth fast till you come home to dinner, 

And prays that you will hie you home to dinner. 


Instant Messages or Text Messages 

Use modern-day speech (or text speech) to create a conversation between 

two characters from the play The Comedy of Errors 

Sender: 

Sender: 

Sender: 

Sender: 

Sender: 

Sender: 

Message: 

Message: 

Message: 

Message: 

Message: 

Message: 


Common Features of a Shakespeare Comedy 

What makes a Shakespeare comedy identifiable if the genre is not 

distinct from the Shakespearean tragedies and histories? This is an 

ongoing area of debate, but many believe that the comedies share 

certain characteristics, as described below: 

Comedy through language: Shakespeare communicated his 

comedy through language and his comedy plays are peppered 

with clever word play, metaphors and insults. 

Love: The theme of love is prevalent in every Shakespeare 

comedy. Often, we are presented with sets of lovers who, through 

the course of the play, overcome the obstacles in their 

relationship and unite. 

Complex plots: The plotline of a Shakespeare comedy contains 

more twists and turns than his tragedies and histories. Although 

the plots are convoluted, they do follow similar patterns. For 

example, the climax of the play always occurs in the third act and 

the final scene has a celebratory feel when the lovers finally 

declare their love for each other. 

Mistaken identities: The plot is often driven by mistaken identity. 

Sometimes this is an intentional part of a villain’s plot, as in Much 

Ado About Nothing when Don John tricks Claudio into believing 

that his fiancé has been unfaithful through mistaken identity. 

Characters also play scenes in disguise and it is not uncommon for 

female characters to disguise themselves as male characters. 

Shakespeare’s 17 comedies are the most difficult 

to classify because they overlap in style with 

other genres. Critics often describe some plays as 

tragi-comedies because they mix equal measures 

of tragedy and comedy. For example, Much Ado 

About Nothing starts as a Shakespeare comedy, 

but takes on the characteristics of a tragedy 

when Hero is disgraced and fakes her own death. 

At this point, the play has more in common with 

Romeo and Juliet, one of Shakespeare’s key 

tragedies. 


Description of Comedic convention 

Examples from Shakespeare‘s plays 


Discuss 

Play 

Perform 

Discuss some of the statements regarding 

Shakespeare’s comedies, and their relevance for a 

modern audience... 

- Shakespeare’s comedies are not funny 

- The Comedy of Errors is a farce 

- There is very little reality to Shakespeare’s world 


See page 20 

Obtained from http://artsalive.ca/pdf/eth/activities/comedy_of_errors_guide.pdf 

Improvise the whole of The Comedy of Errors in under 

five minutes. In small groups, one student narrates the 

story while the remaining students perform the 

scenes... 

Like the game ‘Typewriter’, students may 

improvise with or without dialogue, while 

predominately being guided by the narrator. 

The group could perform one of the statements from 

‘Fold 1’ as a means to communicate a moral message 

Improvise a ‘new’ Shakespearean scene for a comedy, 

based on the established conventions of his comedies... 

. 

You could improvise a scene between... 

-Two jesters meeting in a war 

- Disguised twins fooling each other 

- Two families lost in a supermarket

Purpose of Shakespeare’s Comedies 

“Laughter is nothing else than sudden glory." - Thomas Hobbes 

“One excellent test of the civilization of a country ...I ta´e to be the 

flourishing of the Comic idea and Comedy.” - George Meredith 

Comedy is, of course, intended to amuse us. Often it makes us think, 

too. There are many genres of comedy. Some are Satire, Parody, Farce, 

Black Comedy, Comedy of Manners, Slapstick, Romantic Comedy, Sitcoms, 

Stand-up Comedy. 

Comedy is one of the original four genres of literature as defined by 

Aristotle in his Poetics. Aristotle defines Literature, in general, as a 

mimesis, or imitation of life. Comedy is the third genre of literature, the 

farthest away from a true mimesis. 

For Aristotle, all comedies begin with a person of low status unable to 

achieve what he wants. By the end of the story or play that person has 

won the prize he was seeking. Comedies often use the supernatural, and 

magic. All comedies end happily. 

Elizabethan Comedy 

"Comedy", in Elizabethan times, had a very different meaning from 

modern comedy. A Shakespearean comedy is one that has a happy 

ending, usually involving marriage between the unmarried characters, 

and a light tone and style. Patterns in the comedies include movement 

to a "green world" (an innocent world), internal and external conflicts, 

and a tension between order and serenity on the one hand, and frenzy 

or chaos on the other. 

What aspects of comedy can you locate in The Comedy of Errors? 


Play 

Perform 

Write 

In small groups, present a short ‘dictionary’ description 

of Shakespeare’s comedic conventions. One student 

narrates, while the remaining students act it out... 

- Act out a shipwreck and separated lovers 

- Define mistaken identity with examples 

- Explain the comedic nature of the twins 


See page 22 

Obtained from http://artsalive.ca/pdf/eth/activities/comedy_of_errors_guide.pdf 

In small groups, create five tableaus depicting either 

the comedy and/or the ‘love’ of each Act. It should be 

clear in each tableau which characters are being 

represented... 

Try focusing on the conventions 

from ‘Fold 1’, as this will help to 

communicate more clearly to an audience. 

Explore the structure of The Comedy of Errors by 

storyboarding your tableaus. Try to illustrate the 

position and intent of each character represented... 

See page 23

Conventions of Shakespearean Romantic Comedy 

1. The main action is about love, about separation and re-unification. 

There is a struggle of traditional rivals to overcome a difficulty, which is 

often presented by young people. The lovers must overcome obstacles 

before being united. The ending frequently has several couples getting 

married, and an actual celebration, in dance, song, or feast. 

2. Frequently, the play contains the improbable, the supernatural, or the 

miraculous, with unbelievable coincidences, scenes of mistaken identity, 

disregard for the social order, instant conversions, enchanted or foreign 

settings, and supernatural beings (witches, fairies, gods and goddesses). 

The happy ending may be brought about through supernatural or divine 

intervention, or may involve improbable plot twists. 

3. Shakespeare uses stock characters extensively in his early plays, and 

occasionally in his later work. A clever servant often helps to bring the 

ending about. 

4. The themes involve important issues, such as personal identity, the 

importance of love, the power of language, poetry and art; the conflict 

between appearance and reality. 

5. There is frequent word play, with wit, jokes and punning. 

What examples can you locate from the text? 


Storyboarding The Comedy of Errors 

Draw a significant image from each 

Act in the play. 


Play 

Discuss 

Rehearse 

Create a PowerPoint presentation (or use a similar 

presentation program) to outline the entire play in ten 

to fifteen modern images with text... 

As the presentation 

is for modern audiences, 

the images could be 

downloaded or created in class 

Based on http://www.readwritethink.org/files/resources/lesson 

_images/lesson857/interp-projects.pdf 

Discuss the importance of the text in association with 

the images used in the PowerPoint presentation... 

View the ‘Visualizing the Dramatic Structure’ @ 

http://www.flickr.com/photos/peterpaulrubens/ 

sets/72157624627941584/with/4848600769/ 


See page 25 

Can you use images alone, 

or do you also need to ‘talk’ 

directly to your audience? 

Return to the script from ‘Scene 3, Fold 1’, and begin to 

rehearse your final performance piece. Work beyond 

the expectation of the ‘traditional’ performance, while 

still focusing on the comedy within it. Try it as a 

presentational performance... how does it change?


Rehearse 

Write 

Discuss 

Rehearse and improve your presentational piece. The 

piece is based on your group’s interpretation of Act 1, 

Scene 2 from The Comedy of Errors... 

Reflect on the process of creating your performance. 

Discuss the performative elements employed, and what 

work is still required... 

Share this information with your 

partner as it provides an opportunity 

for significant improvements as part 

of the rehearsal process. 


See page 27 

Discuss the requirements of the performance and the 

technologies needed. These include costumes, props, 

music, etc...

Reflecting on the process 

Describe aspects of your performance that still require focus. 

Performance 

Elements 

acting 

blocking 

diction 

facial expression 

gestures 

movement 

projection 

vocal expression 

Describe aspects of the performance that are prepared. 

Performance 

Elements 

acting 

blocking 

diction 

facial expression 

gestures 

movement 

projection 

vocal expression 


Play 

Perform 

Write 

Create your own warm-up for the class. Design and 

perform a short warm-up that gets everyone focused 

and prepared for the performances... 

This ‘Scene’ is focused on the presentation of each 

group’s performance. The finished piece requires a 

strong sense and use of space, as well as minimal 

employment of technologies to aid the performance... 

Provide feedback on the other performances, using the 

review terminology employed at the beginning of the 

unit... 

This is not the means to be negative, 

rather a way to critically respond 

to the work and concepts of others 


See page 28

Group: 

Group: 

Group: 

Group: 

Group: 

Performance Feedback 

Write feedback on the other group‘s performances. 


Images 

Royal Shakespeare Company's The Comedy of Errors 

http://www.guardian.co.uk/stage/2009/may/20/review-comedy-of-errors 

Bag&Baggage Production of The Comedy of Errors 

http://www.oregonlive.com/performance/index.ssf/2009/01/theater_review_co 

medy_of_error.html 


http://www.curtainup.com/comedyoferrorsrsc.html 

Commonwealth Shakespeare Company‘s The Comedy of Errors 

http://thephoenix.com/boston/arts/88066-twin-peaks/ 


http://www.guardian.co.uk/stage/2010/apr/09/comedy-of-errors-review 

The Indiana Festival Theatre‘s The Comedy of Errors 

http://indianapublicmedia.org/arts/comedy-review/ 

Open Air Theatre‘s The Comedy of Errors 

http://www.musicomh.com/theatre/lon_comedy-errors_0610.htm 

St. Andrew‘s Catholic School‘s The Comedy of Errors 

http://www.sacs.nsw.edu.au/academic/drama__1/drama 

UVU Educational Resources 

https://open.uvu.edu/login/index.php 

‗Visualizing the Dramatic Structure‘ of The Comedy of Errors 

http://www.flickr.com/photos/peterpaulrubens/sets/72157624627941584/with/ 

4848600769/ 

Kingsmen Shakespeare Company‘s of The comedy of Errors 

http://www.fillmoregazette.com/arts-entertainment/shakespeare-festival-startscomedy 

Thredbo Blues Concert‘s Comedy of Errors 

http://www.ciau.com.au/snow/rrhist3.asp?rrid=122&mth=

Student's Workbook 1A - Shakespeare WA

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