Конспект урока
по английскому языку в 10 классе
Тема: «Трагедия Уильяма Шекспира «Ромео и
Джульетта»
Theme: The tragedy of William Shakespeare “Romeo
and Juliet”
Цели:
1. Обобщить знания учащихся по теме «Трагедии
Уильяма Шекспира».
2. Формировать навыки оперирования знаниями по
изучаемой теме.
3. Расширить лингвистический кругозор учащихся.
4. Развить языковые способности
учащихся, готовность к коммуникации.
5. Формировать и совершенствовать практические
навыки владения лексикой повышенной сложности.
Оборудование
урока:
Интерактивная доска,
инсценировка трагедии
Ход
урока
I. Организационный момент:
Good morning, dear pupils! I
am very glad to see you.
On this lesson you have an
opportunity to work with the tragedy of W. Shakespeare “Romeo and Juliet”.
Aims
II. Языковая зарядка:
I know you’ve learned
Shakespeare’s biography and some of his works in our lessons.
Let’s remember some facts
from Shakespeare’s biography.
By the way in spite of
Shakespeare’s fame we know very little about his biography, just some facts.
1) When was Shakespeare born?
- He was born on the 23 of April, 1564
2) What town was he born in?
- He was born in Stratford-upon-Avon
3) When he was 21 years old
where did he go and what for? - He went to London there he became and actor, he
joined an acting company.
4) How do we call writers who
write plays? - A playwright or a dramatist.
5) How many plays did he
wrote? - 37 plays
6) What kind of plays did
Shakespeare write? - He wrote tragedies, comedies, historical dramas.
7) When did he die? - He died
on the 23 of April, 1616 on the same day as his birthday
8) Where was he buried? - He
was buried in Stratford-upon-Avon in the Holy Trinity Church.
9) What plays did Shakespeare
write? – Hamlet
All’s well that Ends
Well,
King Lear,
Much ado about nothing,
Othello,
Twelfth Night,
Macbeth
The taming of the Shrew
– Укрощение строптивой
Romeo and Juliet
As you like it
Henry IV
The merchant of Venice
Richard III
Julins Caesar
A midsummer Night Dream
III. Основная часть:
Общий слайд (1)
The history of the tragedy
(2)
Romeo and Juliet is a tragedy
written early in the career of playwright William Shakespeare about two young
"star-cross'd lovers"[1] whose untimely deaths ultimately unite their
feuding families. It was among Shakespeare's most popular plays during his
lifetime and, along with Hamlet, is one of his most frequently performed plays.
Today, the title characters are regarded as archetypal young lovers.
Romeo and Juliet belongs to a
tradition of tragic romances stretching back to antiquity. Its plot is based on
an Italian tale, translated into verse as The Tragical History of Romeus and
Juliet by Arthur Brooke in 1562, and retold in prose in Palace of Pleasure
by William Painter in 1582. Shakespeare borrowed heavily from both, but
developed supporting characters, particularly Mercutio and Paris, in order to
expand the plot. Believed to be written between 1591 and 1595, the play was
first published in a quarto version in 1597. This text was of poor quality, and
later editions corrected it, bringing it more in line with Shakespeare's
original text.
Shakespeare's use of dramatic
structure, especially effects such as switching between comedy and tragedy to
heighten tension, his expansion of minor characters, and his use of sub-plots
to embellish the story, has been praised as an early sign of his dramatic
skill. The play ascribes different poetic forms to different characters,
sometimes changing the form as the character develops. Romeo, for example,
grows more adept at the sonnet over the course of the play.
Romeo and Juliet has been
adapted numerous times for stage, film, musical and opera. During the
Restoration, it was revived and heavily revised by William Davenant. David
Garrick's 18th-century version also modified several scenes, removing material
then considered indecent, and Georg Benda's operatic adaptation omitted much of
the action and added a happy ending. Performances in the 19th century,
including Charlotte Cushman's, restored the original text, and focused on
greater realism. John Gielgud's 1935 version kept very close to Shakespeare's
text, and used Elizabethan costumes and staging to enhance the drama. In the
20th century the play has been adapted in versions as diverse as MGM's
comparatively faithful 1936 film, the 1950s stage musical West Side Story, and
1996's MTV-inspired Romeo + Juliet.Contents [hide]
1 Major and supporting
characters
……………………………………………………………………………………..
The earliest edition of Romeo
and Juliet, so far as we know, was a quarto printed in 1597, the title-page of
which asserts that "it hath been often (with great applause) plaid
publiquely." A second quarto appeared in 1599, declared to be "newly
corrected, augmented, and amended."
Two other quartos appeared
before the folio of 1623, one in 1609 and the other undated; and it is doubtful
which was the earlier. The undated quarto is the first that bears the name of
the author ("Written by W. Shake-speare"), but this does not occur in
some copies of the edition. A fifth quarto was published in 1637.
The first quarto is much
shorter than the second, the former having only 2232 lines, including the
prologue, while the latter has 3007 lines. Some editors believe that the first
quarto gives the author's first draft of the play, and the second the form it
took after he had revised and enlarged it; but the majority of the best critics
agree substantially in the opinion that the first quarto was a pirated edition,
and represents in an abbreviated and imperfect form the play subsequently
printed in full in the second. The former was "made up partly from copies
of portions of the original play, partly from recollection and from notes taken
during the performance;" the latter was from an authentic copy, and a
careful comparison of the text with the earlier one shows that in the meantime
the play "underwent revision, received some slight augmentation, and in
some few places must have been entirely rewritten." A marked instance of
this rewriting--the only one of considerable length--is in ii. 6. 6-37, where
the first quarto reads thus (spelling being modernized):
The "omission,
mutilation, or botching" by which some editors would explain all
differences between the earlier and later texts will not suffice to account for
such divergence as this. "The two dialogues do not differ merely in expressiveness
and effect; they embody different conceptions of the characters;" and yet
we cannot doubt that both were written by Shakespeare.
But while the second quarto
is "unquestionably our best authority" for the text of the play, it
is certain that it "was not printed from the author's manuscript, but from
a transcript, the writer of which was not only careless, but thought fit to
take unwarrantable liberties with the text." The first quarto, with all
its faults and imperfections, is often useful in the detection and correction
of these errors and corruptions, and all the modern editors have made more or
less use of its readings.
The third quarto (1609) was a
reprint of the second, from which it "differs by a few corrections, and
more frequently by additional errors." It is from this edition that the
text of the first folio is taken, with some changes, accidental or intentional,
"all generally for the worse," except in the punctuation, which is
more correct, and the stage directions, which are more complete, than in the
quarto.
The date of the first draft
of the play has been much discussed, but cannot be said to have been settled.
The majority of the editors believe that it was begun as early as 1591, but I
think that most of them lay too much stress on the Nurse's reference (i. 3. 22,
35) to the "earthquake," which occurred "eleven years"
earlier, and which these critics suppose to have been the one felt in England
in 1580.
Aside from this and other
attempts to fix the date by external evidence of a doubtful character, the
internal evidence confirms the opinion that the tragedy was an early work of
the poet, and that it was subsequently "corrected, augmented, and
amended." There is a good deal of rhyme, and much of it in the form of
alternate rhyme. The alliteration, the frequent playing upon words, and the
lyrical character of many passages also lead to the same conclusion.
The latest editors agree
substantially with this view. Herford says: "The evidence points to
1594-1595 as the time at which the play was substantially composed, though it
is tolerably certain that some parts of our present text were written as late
as 1596-1598, and possibly that others are as early as 1591." Dowden sums
up the matter thus: "On the whole, we might place Romeo and Juliet on
grounds of internal evidence, near The Rape of Lucrece; portions may be earlier
in date; certain passages of the revised version are certainly later; but I
think that 1595 may serve as an approximation to a central date, and cannot be
far astray."
For myself, while agreeing
substantially with these authorities, I think that a careful comparison of what
are evidently the earliest portions of the text with similar work in Love's
Labour's Lost (a play revised like this, but retaining traces of the original
form), The Two Gentlemen of Verona, and other plays which the critics generally
assign to 1591 or 1592, proves conclusively that parts of Romeo and Juliet must
be of quite as early a date.
The earliest reference to the
play in the literature of the time is in a sonnet to Shakespeare by John
Weever, written probably in 1595 or 1596, though not published until 1599.
After referring to Venus and Adonis and Lucrece, Weever adds:
Romeo, Richard, more whose
names I know not,
Their sugred tongues and
power attractive beuty
Say they are saints...
No other allusion of earlier
date than the publication of the first quarto has been discovered.
Особенности
драматического произведения (3)
1.
Драматическое произведение
предназначено для постановки на сцене.
2.
Пьеса делится на части,
действия, акты. Внутри действия могут быть сцены, картины, явления.
3.
В основе драматического
произведения лежит конфликт.
4.
В пьесе в диалогической и
монологической формах воссоздается речь героев, воспроизводятся их поступки,
поведение в целом.
5.
Каждый период речи героев называется репликой.
6.
В пьесах есть ремарки
(авторские пояснения), помогающие представить героев и понять их поступки.
What literature genres do
you know? What genre is “Romeo & Juliet”? (4)
«Ромео и Джульетта» -
это трагедия.
Трагедия – это
драматическое произведение, в котором изображаются исключительно острые,
непримиримые жизненные конфликты, таящие в себе катастрофические последствия и
чаще всего завершающиеся гибелью одного или нескольких героев.
Трагедия рождает в
сердцах зрителей сильный душевный подъем (катарсис – очищение), чувство
сопереживания, которое возвышает и облагораживает.
Особенности языка
трагедии
Language
Shakespeare uses a variety of
poetic forms throughout the play. He begins with a 14-line prologue in the form
of a Shakespearean sonnet, spoken by a Chorus. Most of Romeo and Juliet is,
however, written in blank verse, and much of it in strict iambic pentameter,
with less rhythmic variation than in most of Shakespeare's later plays. In
choosing forms, Shakespeare matches the poetry to the character who uses it.
Friar Laurence, for example, uses sermon and sententiae forms, and the Nurse
uses a unique blank verse form that closely matches colloquial speech. Each of
these forms is also moulded and matched to the emotion of the scene the
character occupies. For example, when Romeo talks about Rosaline earlier in the
play, he attempts to use the Petrarchan sonnet form. Petrarchan sonnets were
often used by men to exaggerate the beauty of women who were impossible for
them to attain, as in Romeo's situation with Rosaline. This sonnet form is used
by Lady Capulet to describe Count Paris to Juliet as a handsome man. When Romeo
and Juliet meet, the poetic form changes from the Petrarchan (which was
becoming archaic in Shakespeare's day) to a then more contemporary sonnet form,
using "pilgrims" and "saints" as metaphors. Finally, when
the two meet on the balcony, Romeo attempts to use the sonnet form to pledge
his love, but Juliet breaks it by saying "Dost thou love me?"[63] By
doing this, she searches for true expression, rather than a poetic exaggeration
of their love.[64] Juliet uses monosyllabic words with Romeo, but uses formal
language with Paris.[65] Other forms in the play include an epithalamium by
Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris.[66]
Shakespeare saves his prose style most often for the common people in the play,
though at times he uses it for other characters, such as Mercutio.[67] Humour,
also, is important: scholar Molly Mahood identifies at least 175 puns and
wordplays in the text.[68] Many of these jokes are sexual in nature, especially
those involving Mercutio and the Nurse.
Сюжет (5)
The play starts with a street
brawl between Montagues and Capulets. The Prince of Verona intervenes and
declares that further breach of the peace will be punishable by death. Later,
Count Paris talks to Lord Capulet about marrying his daughter, but Capulet is
wary of the request because Juliet is still only thirteen. Capulet asks Paris
to wait another two years and invites him to attend a planned Capulet ball.
Lady Capulet and Juliet's nurse try to persuade Juliet to accept Paris' courtship. After the brawl, Benvolio talks with his cousin Romeo, Lord Montague's
son, about Romeo's recent depression. Benvolio discovers that it stems from
unrequited love for a girl named Rosaline, one of Lord Capulet's nieces.
Persuaded by Benvolio and Mercutio, Romeo attends the ball at the Capulet house
in hopes of meeting Rosaline. However, Romeo instead meets and falls in love
with Juliet. After the ball, in what is now called the "balcony
scene", Romeo sneaks into the Capulet courtyard and overhears Juliet on
her balcony vowing her love to him in spite of her family's hatred of the
Montagues. Romeo makes himself known to her and they agree to be married.
With the help of Friar
Laurence, who hopes to reconcile the two families through their children's
union, they are married secretly the next day. Juliet's cousin Tybalt, offended
that Romeo had sneaked into the Capulet ball, challenges him to a duel. Romeo,
now considering Tybalt his kinsman, refuses to fight him. Mercutio is incensed
by Tybalt's insolence, as well as Romeo's "vile submission",[3] and
accepts the duel on Romeo's behalf. Mercutio is fatally wounded and Romeo,
angered by his friend's death, pursues and slays Tybalt. The Prince exiles
Romeo from Verona for the killing. He also adds that if Romeo returns,
"that hour is his last". Lord Capulet, misinterpreting Juliet's
grief, agrees to marry her to Count Paris and threatens to disown her when she
refuses to become Paris's "joyful bride". When she then pleads for
the marriage to be delayed, her mother rejects her. Romeo secretly spends the
night in Juliet's chamber, where they consummate their marriage.
Juliet visits Friar Laurence
for help, and he offers her a drug that will put her into a death-like coma for
"two and forty hours".[4] The Friar promises to send a messenger to
inform Romeo of the plan, so that he can rejoin her when she awakens. On the night
before the wedding, she takes the drug and, when discovered apparently dead,
she is laid in the family crypt.
The messenger, however, does
not reach Romeo and, instead, he learns of Juliet's apparent death from his
servant Balthasar. Grief-stricken, Romeo buys poison from an apothecary and
goes to the Capulet crypt. He encounters Paris who has come to mourn Juliet
privately. Believing Romeo to be a vandal Paris confronts him and, in the
ensuing battle, Romeo kills Paris. Still believing Juliet to be dead, he drinks
the poison. Juliet then awakens and, finding Romeo dead, stabs herself with his
dagger. The feuding families and the Prince meet at the tomb to find all three
dead. Friar Laurence recounts the story of the two "star-cross'd lovers".
The families are reconciled by their children's deaths and agree to end their
violent feud. The play ends with the Prince's elegy for the lovers: "For
never was a story of more woe / Than this of Juliet and her Romeo."[5]
The main heroes of tragedy
(6)
House of Capulet
Capulet is the patriarch of
the house of Capulet.
Lady Capulet is the matriarch
of the house of Capulet.
Juliet is the daughter of the
Capulets, and is the play's female protagonist.
Tybalt is a cousin of Juliet,
and the nephew of Lady Capulet.
The Nurse is Juliet's
personal attendant and confidante.
Peter, Samson and Gregory are
servants of the Capulet household.
Ruling house of Verona
Prince Escalus is the ruling
Prince of Verona
Count Paris is a kinsman of
Escalus who wishes to marry Juliet.
Mercutio is another kinsman
of Escalus, and a friend of Romeo.
House of Montague
Montague is the patriarch of
the house of Montague.
Lady Montague is the
matriarch of the house of Montague.
Romeo is the son of the
Montagues, and is the play's male protagonist.
Benvolio is a cousin, and
friend, of Romeo.
Abram and Balthasar are
servants of the Montague household.
Others
Friar Laurence is a
Franciscan friar, and is Romeo's confidant.
A Chorus reads a prologue to
each of the first two acts.
Friar John is sent to deliver
Friar Laurence's letter to Romeo.
An Apothecary reluctantly
sells Romeo poison.
Rosaline is an unseen
character with who Romeo is in love before meeting Juliet.
Juliet (7)
Romeo (8)
Постановка «Ромео
и Джульетты»
Последний слайд
(9)
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