Lesson Overview:
Stage-fighting, and especially sword-fighting, is important to the plot of many Shakespearean plays. In theatre, fights are based on precise choreography. This lesson introduces students to the art of stage-fighting. After learning basic ballet and stage-fight moves, students view several versions of a fight scene in Hamlet.
Length of Lesson:
Two 45-minute class periods
Notes:
This lesson is particularly suitable for grades 7-8.
Instructional Objectives:
Students will:
- identify and practice several ballet positions and movements.
- identify and practice several sword fighting movements and stances.
- create a 16-beat movement combining the sword fighting moves.
- present their 16-beat sword fight to the class.
- read Hamlet (Act V, scene ii).
- observe three different film versions of an excerpt from Hamlet.
- write an analysis of the three film versions indicating similarities and differences in movement.
Supplies:
- Several DVD or video versions of Hamlet (See Media Sources for suggestions.)
- VCR or DVD Player
- Wrapping paper or paper towel tube for each student (optional)
Instructional Plan:
Warm Up
Students should wear comfortable clothing and shoes. Divide students into pairs and move furniture so that each pair has a good space in which to move. Have students warm up with a mirroring activity. Each pair should choose a leader for the first round of the game.
Students will face one another but not touch or talk. The leader will begin a slow movement and the partner will mimic it precisely. Partners should look each other in the eye. Remind students not to move too quickly. When the teacher says, "Switch leaders," the person who was the mirror should become the leader. This activity should take approximately five minutes. Explain that working with and anticipating the movements of your partner are key in fight sequences.
Introductory Activity
Tell students that they will be learning about fencing. Explain that they will begin by learning basic ballet moves for balance, an important skill in fencing. They may use a chair for support.
Have students begin in a neutral position. They should stand up straight with hands at side, shoulders down and relaxed, chest up, and feet parallel. Tell students to imagine that a balloon is attached to their chest and head, and it is pulling them upright.
Next warm up the body with the following ballet positions and moves:
First Position: Feet begin parallel, then the hips rotate and the toes turn-out. Heels remain touching. Weight is evenly distributed to each leg.
- Relevé: Facing the chair and holding onto it for balance, lift heels off the floor. The body should remain straight and upright. Hold for eight counts.
- Demi-plié: Holding onto the chair for balance, bend the knees. The heels remain on the floor and the body remains straight. Repeat this for eight counts.
Second Position: Starting in First Position, move the feet to an open position, shoulder-width apart. Weight is evenly distributed.
- Relevé: Facing the chair and holding onto it for balance, lift heels off the floor. The body should remain straight and upright. Hold for eight counts.
- Demi-plié: Holding onto the chair for balance, bend the knees. Heels remain on the floor and the body remains straight. Repeat for eight counts.
Third Position: Standing in Second Position, point the right foot, and in a small curved move, get the right foot’s heel to touch the instep of the left foot. Weight is evenly distributed. Do eight relvé and demi-plié movements with the right foot in the Third Position. Then switch so that the left foot’s heel is touching the right foot. Repeat the relvé and demi-plié moves.
Fourth Position: Standing in Third Position, take the left foot and slide it about four to six inches away from the right foot’s instep. Weight is evenly distributed as eight relvé and demi-plié moves are practiced on the left and right side.
Lunges: While in Fourth position, shift to the front foot. The foot slides across the floor, with toe leading, to about 12 inches away from the original Fourth Position. The knee bends deeply, with the knee over the foot, while the foot remains flat. The back leg elongates and the heel presses up with the toes down. Do lunges on the right and left feet holding the position for about 15 seconds. Hands rest on the lunging leg.
After learning these moves, go back to First Position to stretch. Shake out the right arm, then the left arm. Shake out the right leg and left leg. Slowly roll the spine down so that the body is flopped over from the hip. The head and arms should dangle down like a rag doll. The legs should be bent a little. Slowly roll up, vertebra by vertebra. Repeat one more time.
Next, go to Second Position and inhale, lifting both arms over the head. Slowly exhale as the arms lower. Repeat two more times.
Curve and lead the left arm slowly toward the right side and stretch. Repeat eight times and then repeat on the right side. With both curved arms together, stretch left and right. Finally, curve the left arm over the head going right and the right arm going left across the middle, stretch. Then switch directions. Repeat eight times.
Now roll the shoulders slowly front and back. Breath in with arms raised and release.
Tell students that sword-fighting came into vogue in the 14th, 15th, and 16th centuries, among Europe's upper classes, after gun power and firearms made it impractical for knights to wear armor. Fencing masters taught foot soldiers how to attack and defend themselves. In Shakespeare’s time, many plays featured sword fights and battles. The players and apprentices practiced fencing extensively so that it would look real, but no one would be injured. Today, fight directors teach actors the same safe fight moves that have been practiced in the theatre for hundreds of years.
Have students line up in rows, leaving enough space to extend their arms without touching anyone beside or in front of them. Stand in front of the class, and instruct students to mirror your movements.
Ask a student volunteer to model the area of safety for the fencing activity. The target area is from the shoulders to the hips. At no time is any move to target the head or groin. Students should pretend they are holding a fencing weapon in their dominant hand. (Students should practice empty-handed in the beginning. Wrapping paper tubes are not recommended to be used as "weapons" at this early stage. Tell the students that once they practice the moves and create their own, then they can perform with the tubes.) Right-handed people should lead with their right foot, left-handed with their left foot.
Model the moves in slow motion for safety. Remind students that their knees should always be slightly bent. Introduce the following moves, continually reviewing the moves as you add new ones:
Salute: Stand straight in Third Position with the dominant arm bent close to the body and raised in front of the face. Keep the non-dominant arm straight at the side. The hand goes down and straightens out toward the opponent.
En Guard: Stand straight in Third Position with the dominant arm waist-high, bent, and facing the opponent at a right angle. Keep the other arm shoulder high and bent. That hand is flat and the palm faces the floor. Open the feet to the Fourth Position. The arms remain the same.
High: ‘Sword’ held about chest high at a diagonal.
Low: ‘Sword’ held at a diagonal, pointing toward the floor.
Thrust: The arm is extended and the ‘sword’ is directed toward the opponent’s mid-section.
Lunge: Start in Fourth Position, like the lunge in ballet, except to get into it, the feet move starting with the heel first, then the toes. (This is usually a two-step move.) The front knee is over the ankle and the back foot is flat on the floor. The arms are extended straight and in opposite directions. The dominant arm is thrusting.
Retreat: Start from Fourth Position and as the opponent advances, the move is toe to heel. The arms are straight and extended in opposite directions.
Highward: Stand in Fourth Position. Find the center of the body and raise the dominant arm to about 12 o’clock. Make a semicircle in clockwise motion. Practice this a few times, stopping about 6 o’clock. Then practice moving in a full circle from 12 to 12. Finally practice moving counter clockwise.
Loward or Baseward: Stand in Fourth Position, find the center of the body, and turn from 6 o’clock to 12 o’clock in a curved sweeping motion, moving clockwise. Practice a few times, stopping at 12 o’clock. Then practice moving in a full circle from 6 o’clock to 6 o’clock. Finally, practice moving counterclockwise.
Top Hat: Each student should return to their partner from the earlier “Mirrors” activity. Facing a partner, but at a safe distance, both do a “Highward” move in a full circle, moving clockwise. Where both ‘swords’ and crosses slightly meet is called “Top Hat.” Try meeting at a “Loward” position.
Engage: ‘Swords’ are touching.
Disengage: ‘Swords’ separate by both moving counterclockwise. Point ‘sword’ in a low position.
NOTE: The book, Shakespeare For Kids, has a very clear fight sequence in it, as well information on how to make a sword.
Independent Practice
Students work in pairs to create a fencing sequence. Instruct students that they have sixteen moves to make. They should use the moves taught in the Guided Practice section. You may wish to introduce the wrapping paper tubes, but the activity can also be done without them. Remind students that all moves should be practiced and presented in slow motion. This will ensure that students pay attention to each other and that the moves are completed correctly and safely. Inform students that choreographers always make sure the actors practice in slow motion first. Give them ten to fifteen minutes to create the sequence before they present it to the class.
WARNING: Any students who move at a regular speed or get carried away should be removed from the activity.
Closure
Begin by reviewing with the class what they have learned about staged sword fights, then read Act V, scene ii, of Shakespeare’s Hamlet.
Since students now have a little knowledge about staged sword fights, they are going to be critics of three different interpretations of the fight at the end of Hamlet. Have three different versions of this scene cued up to view on video or DVD.
Watch the scenes. Students should take notes during and after each scene. Tell students to divide a piece of paper into thirds, lengthwise. At the top of each column, they should write the actor playing the part of Hamlet in each film. Then fold the paper in half. “Likes” can go on the top half and “Dislikes” can go on the bottom half. Give a few minutes for reflection after each version has been shown.
After all three versions have been seen, analyze and discuss what was the same in all three and what was different. Students should then write a critique of the fight sequences. They should express their opinion as to why one was better than the others, with examples supporting their reasons from the films.
Assessment:
Use the Assessment Rubric to evaluate students' learning.
Sources:
Print:
- Aagesen, Colleen and Margie Blumberg.Shakespeare for Kids. Chicago Review Press, 1999.
- Blackwood, Gary. The Shakespeare Stealer. Puffin Books, 1998.
- Campos, Jules. The Art of Fencing. Vantage Press, 1988.
- Doyle, John and Ray Lischner. Shakespeare For Dummies. IDG Books Worldwide, 1999.
- Evangelista, Nick. The Art and Science of Fencing. Masters Press, 1996.
- Lawson, Joan, Anthony Dowell, and Anthony Crickmay. The Principles of Classical Dance. Alfred A. Knopf, 1980.
- Shaff, Jo. Fencing. Atheneum, 1982.
- Yancy, Diane. Life in the Elizabethan Theatre. Lucent Books, 1997.
Media:
- Branagh, Kenneth (dir.). Hamlet. Castle Rock, 1996.
- Kline, Kevin (dir.). Hamlet. Image Entertainment, 2001.
- Olivier, Lawrence (dir.). Hamlet. Home Vision Entertainment, 2000.
- Zeffirelli, Frank (dir.). Hamlet. Warner Studios, 1991.
Authors:
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Mary Beth Bauernschub, Teacher
Kingsford Elementary School
Mitchellville, MD
