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Playing with Time, Creating Space
Your objective in this creative activity is to consider how the characters/actions in the play could be transformed into a different time and/or space of your choosing. You (or a pair/group) can select (or will be assigned) the act and corresponding scene within the play to re-work/ transform. Just make sure to add your names/initials alongside your created parts.
- The length of the created transformed scene should be 1.5 pages of dialogue and direction.
- The written format should resemble that of the play text i.e. NAME: Dialogue ( tone/direction ) - You may act it out and record (this would add slightly different expectations for criterion D i.e. verbal tone and perhaps multimodal style) as long as you submit the written script alongside the recording. Assessment Expectations (IO-based) A Knowledge, Understanding and Interpretation Of the original play and the new chosen context through your created scene
D Language To convey the story, dramatic style (and perhaps multimodal communication) should also enhance the scene.
Full rubric available here The characters you create will resemble the characters in your chosen scene, specifically concerning the theme/global issue/conflict. Thus, at least one character will feel strongly about one aspect of the global issue/conflict while another will perhaps feel and/or have a different idea about the theme/global issue/conflict; in essence, their ideas will oppose each other; conflict is, after all, an integral part of dramatic works. You aim to demonstrate the characters’ conflicting views on this theme/global issue:
- You do not need to take a line-by-line approach to creativity in your new scene/story; instead, focus on conveying the theme/global issue/conflict directly and indirectly through direct and indirect characterisation of characters in the assigned act or chosen scene. - The chief focus is to create and transform the conflict into another time and place. The other time and place may influence the characters and their conflict in various ways.
Your Creative Scene/Story
Your new creative piece of drama will reflect your interpretation of Shakespeare’s work and how the particular conflict is reflected in another time and/or space (+ also influenced by this new context) Introduction / Stage Directions Introduce your setting at some point. In a play, this is done through the stage directions at the beginning of the scene. In prose, this can be at any point and throughout, though typically, some indication is given at the beginning. Let your reader know where and when generally (year and country) and specifically (time of day and inside/outside, etc.). Your new piece will reflect your interpretation of the text and, specifically, how the particular conflict is reflected. 3 Stylistic Features You should also include at least 3 authorial choices in your piece that the original author included, which help your reader understand the global issue(s)/ concepts/ theme(s) you intend to communicate through your scene. For example, you may use diction, tone, mood, repetition, allusions, metaphors, similes, personification, hyperbole, imagery, and so on.
Planning
Playing with Time, Creating Space Original Setting Time: Evening, just before dinner, creating a dark and suspenseful atmosphere for the unfolding plan. Place(s): Macbeth's castle, near the dining hall, where Duncan and other guests are gathering. Macbeth and Lady Macbeth scheme in a hidden area away from the dinner preparations. Situation: Macbeth struggles with his conscience over the planned murder of Duncan to gain power. Torn between his ambition and loyalty to Duncan, who has recently honored him, Macbeth hesitates. Lady Macbeth, however, pressures him to act on his ambition, challenging his bravery to overcome his doubts. Shakespeare’s signature authorial choices/ stylistic elements
- Personification of abstract concepts: Pity and justice are personified, heightening the moral implications of Macbeth’s intended actions.
- Symbolism of light and darkness: Evening torches symbolize Macbeth’s moral descent into darkness and foreshadow his evil intentions.
plan to get Duncan intoxicated and extract confidential information. Place: Corporate HQ, near the executive dining room, with access to Duncan’s private office where the final setup for the incriminating evidence will take place. Situation: Macbeth, driven by ambition and financial hardship, has been plotting with Lady Macbeth, his secretary, to replace Duncan as CEO. Their plan is to sabotage Duncan’s reputation by manipulating his financial records, framing him for fraud, Duncan’s trust in Macbeth and the confidential access Lady Macbeth has made the setup plausible. Other: Lady Macbeth, equally invested in the plan, will spike Duncan’s drink to ensure he becomes talkative and disoriented enough to give up his password. Still, Macbeth wrestles with his conscience, but Lady Macbeth’s persistence pushes him forward. Style inclusion authorial choices (min. 3)
- Use of Internal turmoil
- Strong character dynamics
- Symbolic language
- Persuasive rhetoric Intro to transformed act/scene [Corporate HQ, just outside the executive dining room. It’s evening, and staff members are arranging a formal dinner for senior executives. Enters Macbeth, a senior executive, eyeing the coveted role of CEO, currently held by Duncan] New Scene Macbeth If it could end cleanly with this one move, Then to work fast is best. If this sabotage, Could lock its consequences within this act itself, Then this one false entry could end with it all. even if so, here we have to act with the uttermost care the cards we play in secrecy could make the tables turn for worse. furthermore, He trusts me twice: first, as his deputy, Bound to ensure his command over the company; then, then as his loyal friend, where I should protect what is his, Not crack his password myself. besides, Duncan has led us with such an open hand, Never has he conducted malpractice of any kind nor wronged even the foulest of men compared to the ruin I would place on him. Ambition alone drives me, yet it stands So tall that it risks the imminent fall. [Enter Lady Macbeth, Macbeth’s secretary and confidante.]
Lady Macbeth He’s nearly done with drinks. Why did you leave him? Macbeth Did he call me? Lady Macbeth You know he has. Macbeth We can’t proceed! He’s brought honor to my name, Promoted me when I needed it most, I’ve gained the trust of so many thanks to him. Think twice! I'm sure It would be smarter to keep my reputation clean, Not to throw it away for a quick climb. Lady Macbeth: Was your ambition drunk When you first spoke of this to me? Has it since sobered, pretending nothing happened, calling in sick, pale, plagued with doubt? Will you do this [rising her voice] or, Will you stay here, watching as he leads, Afraid to seize what you say you want most, to forever live in doubt thinking of the greatness once in your reach will you be valiant enough to make those “I dare not” turn into “I will”? Macbeth [in anger] Enough. I dare to do all that makes me a man; To do more, I’d risk all. Lady Macbeth Then what courage did you have When you brought me into this? When you dared to plan, THEN you were bold enough to be the man. The time and place were not right, But YOU would make them right, and now here they are, And you’re hesitant. Listen to me dear, I know what it is to keep your faith and act on it. I’d sooner risk it all than break that promise of a better future, even if you seem ready to break yours. Macbeth But what if we fail? Lady Macbeth [getting closer to Macbeth] if,we fail? we won’t, Not if you keep your cool. Once Duncan has taken a few drinks the day’s stress Will make him careless I will spike his drink, fogging his reasoning
