Chunking a scene: Beating1 up Shakespeare
Introduction
“Chunking” is a comprehension strategy where students break down a complicated piece of reading material into smaller, more manageable sections. Beating is a form of chunking used specifically for dramatic literature. Students aim to segment a scene from a play based on the obvious and subtle changes that occur within the scene. As an extension of this strategy, after students have “beat-up” their scene, they can create objectives for characters within each beat. The purpose of creating objectives is to offer a look into the internal and external motivations of specific characters. This method can be easily scaffolded based on the proficiency/grade level of the class.
Objectives
To trace the subtle and obvious changes in the action and/or mood of a scene; to analyze the motivation of characters based on their language, actions, and/or previous intentions; to justify the choice of a new “beat” by explaining the choice verbally or in writing; to demonstrate comprehension of a scene by segmenting and appropriately titling each beat.
Lesson Sequence
This specific lesson uses examples from act 1.5 of Romeo and Juliet. However, beating may be used with any lengthy or complex scene.
1. Display/handout the following to students:
In addition to the reasons listed above, a new beat may also begin when:
- a new character enters
- a character’s emotional state changes (i.e. calm to very angry)
- a shift in power occurs between two characters
- a character finally gets what he/she wants
- a character IS NOT getting what he/she wants and attempts a new approach
2. Display/handout the following to students:
Within a “beat” each character should have an objective. Simply stated, an objective is the character’s purpose within that beat. Objectives should be stated using strong verbs in their infinitive form. Objectives should also have a receiver and often, a desired response. In some beats, a verb and a receiver are sufficient.
| Character | Objective/Verb | Receiver | Desired response |
|---|---|---|---|
| Ophelia | wants to win | Hamlet’s | undying devotion |
| I | want to inspire | my children | to win |
| Macbeth | wants to deceive | King Duncan |
3. The first few times this activity is done, it is helpful if you segment (and possibly title) the first few beats of a scene for your students. This can be demonstrated using transparencies on an overhead, or you can photocopy and distribute the scene with your beats and titles. In the sample below, I have divided the first and second beats when Capulet enters and the topic of conversation changes. I have titled the first beat “Preparing for the Guests” because this is what the servants are discussing, and the second beat “Let’s Party!” because Capulet is encouraging all of his guests to have a great time.
Romeo and Juliet: Act 1 - Scene 5
A hall in Capulet’s house.
Musicians waiting. Enter Servingmen with napkins
First Servant: Where’s Potpan, that he helps not to take away? He shift a trencher? he scrape a trencher!
Second Servant: When good manners shall lie all in one or two men’s hands, and they unwashed too, ’tis a foul thing.
First Servant: Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell. Antony, and Potpan!
Second Servant: Ay, boy, ready.
First Servant: You are looked for and called for, asked for and sought for, in the great chamber.
Second Servant: We cannot be here and there too. Cheerly, boys; be brisk awhile, and the longer liver take all.
Enter CAPULET, with JULIET and others of his house, meeting the Guests and Maskers
CAPULET
Welcome, gentlemen! ladies that have their toes
Unplagued with corns will have a bout with you.
Ah ha, my mistresses! which of you all
Will now deny to dance? she that makes dainty,
She, I’ll swear, hath corns; am I come near ye now?
Welcome, gentlemen! I have seen the day
That I have worn a visor, and could tell
A whispering tale in a fair lady’s ear,
Such as would please: ’tis gone, ’tis gone, ’tis gone:
You are welcome, gentlemen! Come, musicians, play.
A hall, a hall! give room! and foot it, girls.
Music plays, and they dance
More light, you knaves; and turn the tables up,
And quench the fire, the room is grown too hot.
Ah, sirrah, this unlook’d-for sport comes well.
Nay, sit, nay, sit, good cousin Capulet;
For you and I are past our dancing days:
How long is’t now since last yourself and I
Were in a mask?
Second Capulet
By’r lady, thirty years.
CAPULET
What, man! ’tis not so much, ’tis not so much:
’Tis since the nuptials of Lucentio,
Come Pentecost as quickly as it will,
Some five and twenty years; and then we mask’d.
Second Capulet
’Tis more, ’tis more, his son is elder, sir;
His son is thirty.
CAPULET
Will you tell me that?
His son was but a ward two years ago.
ROMEO
[To a Servingman] What lady is that, which doth
enrich the hand
Of yonder knight?
Servant
I know not, sir.
ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiop’s ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o’er her fellows shows.
The measure done, I’ll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne’er saw true beauty till this night.
TYBALT
This, by his voice, should be a Montague.
Fetch me my rapier, boy. What dares the slave
Come hither, cover’d with an antic face…
4. If students cannot write in their books, distribute copies of the scene (or overheads if you would like them to present).
5. Divide students into pairs or small groups. They will read act 1.5 (Capulet’s masked ball) and segment the rest of the scene into beats with titles that summarize an important aspect of the beat. Students should be able to explain, in writing or orally, why they chose to end one beat and begin another.
6. After students have finished “beating-up” their scene, the next step is to have them determine objectives for a character within each beat.
7. In their groups, have students fill out an objectives sheet (see the Identifying Character Objectives Handout) for each one of their beats. You could also have individual students choose to state the objectives of only ONE character throughout the scene.
Lesson Handouts
The Identifying Character Objectives Handout contains two character objectives sheets.
End Notes
1. This lesson was inspired by the work of Dr. Landis Magnuson, Saint Anselm College, Manchester, New Hampshire.