[Music playing in background with female speaking]

Female Voice: - status. That’s a good one. Don’t let the moment pass you by. Love is gaiety. Love is indirect. Love is shared.

Teacher: Okay, we are gonna start. We’re gonna start with listening to our Sebastian group. All right, our Sebastian group didn’t get to talk yesterday so you guys can stand up.

Student: I drew a heart. Well, we drew a heart. It wasn’t just my decision, and we used the quote, “Fare ye well at once. My bosom is full of kindness and I am yet so near the manners of my mother, that upon the least occasion more mine eyes will tell tales of me.” We put that next to the heart because it was talking about how his heart is so full of love.

Teacher: Cool, great. Brian? Anything?

Student: Well, the one I wrote was the one down here. It says, “I’m sorry madam, I have hurt your kinsmen, but had it been the brother of my blood, I must have done no less with wit and safety.” That kind of shows how loyal—the individual—he is.

Teacher: Absolutely, absolutely. Taylor? Anything?

Student: Okay, so we drew kind of like a bow up from his head—like a dream—and it says, “What relish is in this? How runs the stream? Or I am mad, or else this is a dream,” talking about Olivia suddenly falling in love with him. He’s kind of clueless as to why.

Teacher: Good, so tell us just real briefly why you drew him this way?

Student: Well, like we drew kind of the uniform he was wearing—

Teacher: Sure, absolutely.

Student: - because that was like his disguise.

Teacher: Absolutely.

Student: It kinda’ was like pajamas.

Student: Uh huh.

Teacher: [Laughing]

Student: Then we used like—similar to what, in the movie I guess, what we saw like similar features between him and—

Student: [Cross talk 01:54]

Student: Yeah.

Student: Yeah.

Student: - by a lot, so—

Teacher: Absolutely.

Student: Also he’s doing this because it’s like two things. One, that he’s searching for his sister, so that’s kinda’ like he’s looking for her, and then also since he’s so—what’s the word? He’s kind of—

Student: He’s a sailor.

Student: What?

Student: He’s a sailor.

Student: Yeah, he’s a sailor. That’s not what I was thinking.

[Laughter]

Student: Yes, he has military etiquette.

Teacher: Oh, absolutely, and proper you mean?

Student: Yeah, proper—

Teacher: Yeah, absolutely.

Student: - I suppose would be a good word.

Teacher: Absolutely, which actually is important. Yesterday when we talked about the carnival and the topsy-turvy—right, so the fact that you picked up on that is really important because then when people kind of undermine him and he gets fooled later, that’s what makes it so funny. Okay? All right, nice job group—nice job.

[Clapping]

Teacher: All right, so just a coupla things. You can see we’ve got all of our twins beside each other. Do you remember? What’s that other word—the literary word—

Student: Foil.

Teacher: - that we’re gonna use for twins?

Student: Foil.

Teacher: Foil. What’s a foil?

Student: It’s two characters—

Student: A literary twist.

Teacher: A literary twist.

[Laughter]

Student: It’s basically a pair of people—that their personalities someway are attached to another, like Belch and Aguecheek. One is really boisterous and smart, but he’s a drunk. The other is kind of just a ditz but he’s not so drunk. They’re both partiers though and they hang out all the time.

Teacher: They do, they do—absolutely. Remember, a foil is also two characters that when we juxtapose them, or when we compare them, that that comparison reveals more about each other, right? That’s really important. All right, so let’s talk a little bit about today. We’re gonna use these characters as kind of our background from Act I and move into Act II. You’ve read Act II; you’ve watched Act II and you did some close reading for me last night? Yeah?

Student: Yeah.

Teacher: Okay, so why don’t you go ahead and pull that out. Pull out your close reading. What did you notice about each of the speeches? What’s something that they had in common? What big idea? They’re all about what? What Tess?

Student: They’re all about love.

Teacher: Wonderful. Okay, so here’s the thing about Act II that I think is really interesting. I think that in Act II, love becomes a character. All right, love actually becomes a character, so what we are going to do today is we are gonna think about what would happen if we personified love. What would happen if we actually made love a character in this act? How would that influence how we read it? How would it influence the way we interpret the other characters or the scene or the action? In order to do that we’re gonna start with some imagery. I’m gonna ask you to do some connecting with some images to the thinking you did before you came to class, all right?

[05:00]

In the front of the room I am going to scatter a bunch of different images—fine art images—that might have something to do with love—all these different versions of love. I’m going to ask you to come up here and chose an image that you think connects to your analysis that you did for today. Does that make sense? You might wanna look first. You might wanna look at what you wrote for today. You might wanna think about what is it that you said about love? What are the conclusions about love that you came to, from doing these close readings? Then you’re gonna come and chose a piece of fine art that you think most closely represents your thinking. Does that sound good? Yeah?

Student: I got the group, like where—

Teacher: Each of you as an individual.

Student: Oh, okay.

Student: Ohhh.

Teacher: Right now this is individual. You’re gonna need your groups in a few minutes, but this moment is individual. Okay, sound good? All right, here we go. We’ll start scattering ’em out. Here we go. We gotta bunch more. When you get back to your desks, there’s going to be a large sticky note. There are some markers on your desks. I’m going to ask you to write a caption. All right, I’m gonna ask you to write a caption of this piece of artwork based on—

Student: Your analysis.

Teacher: - based on your analysis. I don’t have to say it. You already knew—

Student: [Cross talk 06:34] things about it.

Student: Gimme one.

Teacher: I have no tricks up my sleeve anymore with you guys.

Student: [Laughing]

[Students laughing and talking in background]

Student: Love is like a rectangle.

Student: Simple.

Teacher: Love is like a rectangle?

Student: Love is a cruel, ironic joke.

Student: It’s spurned from dimensional [cross talk 06:50].

Teacher: That’s beautiful as a poem. All right, so writing a caption—you’re writing a caption for your piece of artwork. That’s what’s going on the large sticky note—like a short caption. It’s a short caption; it’s a sentence. Matt, why don’t you read yours?

Student: I’m not done yet.

Teacher: Oh.

[Laughter]

Student: Don’t you have it already, man?

Teacher: Nice.

Student: Ah, almost.

Teacher: Is that—represent your analysis?

Student: Yes.

Teacher: Then you’re good.

Student: I’m good.

Teacher: Good. It’s right. It’s right; you’re good.

[Students talking in background]

Teacher: All right, make sure that once you get it written you write it in marker so that if you hold this up, other people can see it.

Student: Ohhh.

Student: Love is a cruel, ironic joke in which all are played.

[Students talking in background]

Student: Mrs. Westheim 07:37?

Teacher: Yes.

Student: Can I get another sticky note? I wrote it in pen—

Teacher: Oh, of course.

Student: - and that’s not right.

Student: Come on, Ben.

Student: I know.

Student: It’s Thursday.

Student: Why don’t you just write over it in a darker marker?

Student: That’s ridiculous.

Student: [Laughing]

Student: I crumpled it up.

Student: [Laughing]

Student: I’m not gonna write on a crumpled note.

Student: [Inaudible 07:50]

Teacher: All right, how much time do you need? Give me some—hold up your fingers. Do you need one minute, two minutes, three minutes? I’ve got a zero; I’ve got five. I’ve got a zero.

Student: How ’bout three? That looks like somewhere in the middle.

[Students talking in background]

Student: My picture is, “Love is a beautiful escape.”

Teacher: I could’ve—all right, you’re good. You guys are good.

Student: I could’ve chosen picture.

Student: Love lives behind the guys.

Teacher: Nice.

Student: Great.

Teacher: It looks like almost everybody’s done, right? All right, hold yours up so that some other people can see—some tables around you can see. We wanna see the picture and the caption.

Student: Those people can’t see anyone’s. They’re eyes are blocked.

Teacher: All right, so I’m gonna read few things that I see. “Sacrifice for you loved ones.” “Love gives you status.” That’s a good one. “Don’t let the moment pass you by.” “Love is gaiety.” “Love is indirect.” “Love is shared but not always—

Student: Requited.

Teacher: What? Requited?

Student: Requited, yeah.

Teacher: Requited—wonderful. “Love is a cruel, ironic joke in which we are all played.” “Love is multifunctional, meaning only what we allow it to mean to ourself.” “Love is vibrant and intense, but never sure.” You guys are poets today, aren’t you? You don’t know how good this is. All right, “The Yellow Brick
Road always leads to adventure, the unknown and the love.” You’re pushing it down farther. I can’t read it [laughing]—“the unknown and the love for something new.” “Love is young and complex.” Ooh, I like that young. That’s really good personification. That’s good. That’ll be really good.

“Love is a lady-in-waiting.” “The distant sun—cold light on dead air.” We got some poets in here today don’t we? All right, “Love learns as it grows.” I like that. Oooh, this is another good personification. Do you know what’s making these good examples of personification when I say that? I said this one is a good example of personification.

Student: [Cross talk 09:59] love is fair 10:00.

[10:00]

Teacher: Love learns, love is young—

Student: Adjectives.

Teacher: We’ve got good adjectives. What else have we got?

Student: Verbs.

Teacher: We’ve got verbs. All right, so I want you to keep this in your mind, all right, because in just a few minutes I’m gonna ask you to do some more writing, where you’re personifying love and so, we’re gonna remember adjectives, verbs. We’ got, “Love flourishes,” right here. “Love is a beautiful escape.” “Love lives behind a guise.” A perception of love—the overpowering desire for love. People are brought together by something more powerful than them. They can’t control who they love. You guys are awesome. This is really good, okay? You are so ready to do this. Hang on to these. I’m gonna put ’em up later, all right? Hang on to these. Tell the person next to you what you know—what you learned about what you have to do in order to personify love when you write.

Student: Well, what you need to do—you need to describe it like it’s an actual person. You know like love learns, love lives—live, laugh, love—stuff like that.

Student: Sort of you hafta’ just change the way you’re wording it cuz something about love is like a concept and it’s sort of laughed at. As it grows, I mean, it matures and ya know—so I mean I’m just gonna change my wording around because like I’ve got the ideas that I wanna present. I just need to adjust my scheme accordingly.

Student: My only thing was like when I was reading it and writing it I just saw how the different characters interpreted the same action so many different ways. I just put like—if love was the actual person—in context, it would be what we would call a backstabber [laughing].

Student: Well, not necessarily.

Student: Well, not like a back—

Student: Basically you’re trying to describe a person. Instead of just making it a concept, you say it’s wonderful, magical—blue. You make it a person instead of a thing.

Teacher: All right, let me hear just a couple of things.

Student: It would be, I think, like a roller coaster. It’d be very tumultuous.

Teacher: All right, just a couple of things—let me hear just a couple of things. What are you gonna do in order to personify love? Who’s got something? What are you gonna do in order to personify love? Ryan?

Student: I say to exaggerate.

Teacher: You’re gonna exaggerate? Do you mean that you have to exaggerate in that you put yourself in somebody’s shoes in order to do this, or tell me what you mean by exaggerate?

Student: I mean that sometimes, like especially in literary terms, you hafta’—love is kind of seen as more grand—I don’t know how to say that word. Grandiose?

Teacher: Yeah, grandiose.

Student: In real life it’s not always like that, so in order to—

Teacher: Absolutely.

Student: - make love seem like it’s a character, you have to exaggerate—

Teacher: Great.

Student: - it’s presence.

Teacher: Wonderful, so exaggerate. What else? What else are we gonna do?

Student: Give it the qualities of a human.

Teacher: Okay. Exaggerate—qualities of a human. What else? What are those good words we’re gonna use? We’re gonna really think carefully about using? Isaac?

Student: Verbs.

Teacher: Verbs? What else are we gonna use? I think, Matt, you came up with the word a little while ago.

Student: Adjectives.

Teacher: Okay. I think the other thing that’s going to help you is if you see this love as a person, all right, which is part of the reason that I asked you to start with the artwork. Okay, because I want you to kind of—as I’m gonna ask you to do this writing, I wanted you to start with kind of some visual images. You would have in mind some visual things that you were thinking about as you’re thinking about love, so when you’re writing, you’re not just kind of writing to the paper. You’re writing to something—to an audience. You’re writing to what’s in your mind and hopefully these images can help with that.

If you’ll take a look at this focus guide that I’ve given you, this is kind of a two-day lesson. We’re gonna work on this today, as well as tomorrow. What I’m going to ask you to do as a group is to compose a soliloquy—to write a soliloquy. If you don’t remember what a soliloquy is, I gave you a little note at the bottom of this handout. Just as a reminder, a soliloquy is a speech that’s given by a single character on stage and generally the purpose of the soliloquy is to reveal, kind of, their inner thoughts. Because you know in drama, there isn’t—you know if you’re reading a novel or a short story, the author can give you clues to what the characters are thinking. It doesn’t work like that in drama. It’s a little bit different because they’re always talking to each other.

The only times that we really get this chance to know what they’re thinking is when they stand on stage by themselves and they tell us what they’re thinking. The scenario is—so if you go here where I’m talking about audience—the scenario for your writing is that there is a group of writers and directors who are going to do a
[15:00] revisionist production of Twelfth Night, which means that they’re
gonna add some things into—it’s kind of like The Jitterbug in the Wizard of Oz. Right, that we just—yeah, we just saw that last weekend. That’s kind of a revisionist version of it—not the one that was in the original.

This is going to be scene, so you all are gonna write the soliloquy and then kind of present it to a group of writers and directors, who are gonna decide which soliloquy makes the most sense to have in the act. Are we good so far? Give me the thumbs up if we’re good so far. Okay, so here are a few things to help you focus on. First of all, your team has to kind of determine what your character would say to love, if he or she were somewhere in this act. You are writing this from the perspective of your character, to give you some focus—to give you a place to start. You’re writing this, so your soliloquy is one of your particular character that you’ve already done the body biography for.

I want you to think a little bit about your character of love. You get to create this character that you’re speaking to. Is love a man? Is love a woman? Is love both? We have some of that cross-dressing thing goin’ on in this play. Is love kind and benevolent or is love caustic and menacing? Who is this version of love that your character is going to deliver the soliloquy to? Do you remember what it’s called—that poetic term when you have someone real or imagined in mind when you write a poem?

Student: An apostrophe.

Student: An apostrophe.

Teacher: An apostrophe. That’s what you’re writing, okay?

Student: A soliloquy apostrophe.

Teacher: It’s a soliloquy apostrophe to—

Student: Love.

Teacher: - to love, all right? A few things down here in the details—it must be ten lines long. You must use at least one line or phrase from the actual text. [Coughing] excuse me. You need to include a few appropriate stage directions. You can choose to start with a line from another character to kind of launch into this if you need to, and then tomorrow we’re gonna perform them.

Student: You said ten lines long. Okay.

Teacher: At least ten poetic lines long.

Student: One person from each group is gonna—ohhh.

Teacher: Okay, so Taylor asked a really great question. I don’t know if you heard it. He said—one more time Taylor.

Student: One person from each group is gonna come up and—

Teacher: Well, let’s talk about this. Does it have to be just one person delivering the soliloquy?

Student: Yes.

Student: Yeah.

Teacher: You might think so, right? That’s one way to do it. Can you imagine a scenario in which you would have more than one person reading it? Why would you maybe have more than one person?

Student: They both feel the same.

Student: They’re foils.

Teacher: They’re foils [laughing]. You could do that.

Student: Romeo and Juliet.

Student: [Inaudible 17:48]

Student: Well, have you ever seen that episode of SpongeBob where—

[Laughter]

Student: SpongeBob?

Student: Where is SpongeBob?

Student: - SpongeBob is [cross talk 17:54] to Plankton and he starts singing this sorrowful song about how he’s stuck in the Chum Bucket and unknown to SpongeBob, Mr. Krab is singing the same thing across the street at the Krusty Krab.

Teacher: Absolutely.

Student: Like if they’re singing about the same thing—just, ya know—

Teacher: Absolutely. All right—

Student: It’s beautiful.

Teacher: Right.

Student: It’s so beautiful.

Teacher: Now is it possible in your soliloquy that your character might go from one version of talk—like one way of talking to love, to a different way of talking to love? Like they might start out really angry at love and then end up not so angry love? How could you use more than one voice in order to represent that? How could you use more than one person speaking?

Student: Like, have the first person say it like the first attitude and then in the transitioning part, like both of ’em can say it—

Teacher: Absolutely.

Student: - different.

Teacher: Absolutely. Okay, here is the caveat that you must adhere to. When you present the—not really present them. When you deliver these tomorrow, everyone in your team must have some responsibility. They must have some part in it, so maybe they are a tree in the background, swaying. I don’t know what they’re gonna be doing [laughing] or maybe they’re responsible for sound. Maybe they are responsible for some sound effects.

[Students loudly whispering amongst themselves]

Student: Shhh.

Student: Shhh.

Teacher: Shhh. Maybe they are responsible for some lighting. I don’t know what it’s going to be but everybody is responsible for something. Taylor and Morgan 19:15?

Student: Do we have to—

Teacher: Taylor.

Student: - like memorize it?

Teacher: No, you do not need to memorize it. You may use your notes, but you need to know it well enough that you’re not talking to the paper, okay? Fair enough?

Student: Uh huh.

Teacher: Okay?

Student: That was my question.

Teacher: Yeah, you absolutely can use notes for tomorrow. If you’re really auditioning—you’ve seen people audition with notes.

Student: It’s so wimp.

Teacher: Right? Okay, are we good? Do you think you can do this?

Student: Yeah.

Teacher: All right, I’m going to ask you—for the technology part on here—I’m gonna ask you—you have the computers here. I’m going to ask you to compose this on Google Docs and share it with me right away. First of all—and you wanna share it with me and the people
[20:00] on your team so that if you don’t finish in class, what are you doin’ tonight?

Student: Today.

Student: Doing that assignment.

Teacher: Right? I will give you a few minutes at the beginning of class tomorrow to talk about it—to talk about the staging. You can practice a little bit.

Student: Ahhh.

Teacher: You also must have a prop. This is all on your focus guide. It doesn’t need to be a big thing; it can be some yellow socks, right?

Student: [Inaudible 20:22]

[Laughter]

Teacher: Okay?

Student: I was thinking [cross talk 20:24].

Student: [Cross talk 20:25]

Teacher: All right, go ahead and get to work. Open up the Google Docs. All right, and you can get started.

[Students talking in background]

Student: [Inaudible 20:35]

Teacher: What?

Student: [Inaudible 20:36]

Teacher: I want it to be there like closer to their language—closer to their language.

Student: Do you want me to credit?

Student: Sure.

Student: What if we all rough-drafted some stuff and then went around and shared it. I saw Nick was doin’ it. I’ve got a rough draft goin’ on.

Student: Okay, that would work.

Student: For the thing like, consider he love—is we would have to do both cuz Orsino obviously has a few moments where he’s on both sides.

Student: Well, seeing as how—

Student: Yeah—

Student: [Laughing]

Student: Well, when you say it—

Student: Right.

Student: - Orsino’s conversation is between him and Viola.

Student: Right, but it’s also like it takes the man’s side and woman’s side. Like he’s referring to love—

Student: Hold on. I’m [cross talk 21:10]—

Student: - like a he and a she.

Student: We’d have to present—or like love to Orsino is a man, then love to Olivia as—or love to Orsino is a woman and then love to Olivia as a man, just because that actually maintain—the cost of that love is two-faced.

Student: Yeah.

Student: Viola or Olivia?

Student: Well—

Student: Both [laughing], yeah.

Student: Either of ’em.

Student: Really, either of ’em at this point.

Teacher: Two quick things—can you give me 30 seconds—two quick things. I’m gonna put my Dragon Mail up here. All right, so you can share to that account. The second thing—on your computers you have those little computer sticky notes that we’ve used before. If you need help and I’m not seeing it, you put the red dot up. If things are good, then you’ve got the green on up. Remember when we’ve done this before?

Student: Right.

Student: Okay.

Teacher: All right?

Student: Yes.

Teacher: Okay.

Student: Yeah.

[Students talking and laughing in background]

Student: Okay, so we need that.

Student: Well, that isn’t obvious—most—maybe it is. I dunno.

Student: Soliloquy?

Student: I’m tryin’ to find the close.

Student: Seriously, try and spell it right now.

Student: Well, we only need [cross talk 22:11]—

Student: S O L I L O Q U Y.

Student: Brock 22:14 did.

Student: [Inaudible 22:15]?

Student: Dude, the [inaudible 22:16]—

Student: We’re starting with [inaudible 22:21]?

Student: You can.

Student: Love, your youthful angst is not lost on me. Indeed as seasons doth pass, my feeling 22:26 for you grows ever greater. Your passion and zest provides me with an altercation of all others. That you do not blind me, your beautiful countenance give me glimpses into her heart and mind. Your moonshine hair lets me see the stars and in my hands I float among them.

Student: [Laughing]

Student: I was just trying to imagine love like—I was trying to come up with my concept of what I think of love and like cross-reference it with what Shakespeare probably was trying to present in the play, and I was just trying to like create sort of this amalgamation of it because you have to maintain that love is two-faced, for the different concepts of love that are presented in the play. Like Viola’s in love with such and such, and then other characters are in love with everybody else. Then you also have to maintain that love is this beautiful thing that’s also physical. There’s a lot of different facets that you have to keep up in this.

Student: S N T I S S E S—

Teacher: Are you gonna sing tomorrow?

Student: No.

Student: We’re gonna put in there either—

Teacher: I think you should sing.

Student: You have to do it.

Student: All right. How does this sound so far? What dost thou know? What dost anyone know about love? Love—what a cruel mistress thou art, playing thine games with the innocence.

Student: You need more doth.

Student: [Laughing] must have more doth.

Student: Where’s the thee’s, thine’s?

Student: Prayeth thine gives the—

Student: Fine, we’re gonna—

[Students talking and laughing in background]

Teacher: You’re gonna start with that one?

Student: Well, he’s in the middle cuz we’re gonna go from the tre—sorry—from the termination of like that sisterly—like loving his sister to like this newfound relationship.

Teacher: Wonderful. It’s all good.

Student: Where she got all this depression, rage—we got things you could even 24:03 then multiple. This could be a soliloquy between Orsino and Viola.

Student: My biggest [cross talk 24:08]—

Student: That’s what we were thinking, and that way we could keep—we can maintain the pretense of the love is two-faced, which I think is really important in this play.

Student: Yeah, it is, especially with all the imagery of two faces.

Student: Yes, absolutely.

Student: Did you guys have any ideas for new endings on that? I mean probably better than what I came up in five minutes?

Student: Ah, what a cruel mistress thou hast played thine games to innocence.

[Students talking in background]

Student: I could say, “Good Mistress Accost, I desire a better acquaintance.”

Student: Yes. I agree.

Student: If you turn the page to page eight, they start talking more about sweetheart and love and what not. I think if we changed this up, it might help us better, versus if we just try changing their introductions, so they’re immediately falling in love. That seems a little awkward.

[25:00]

Student: Do it so they’re not immediately falling in love?

Student: Just make it so they’ve had their introduction. Then they go into a discussion about love, rather than, how many times a day do you just walk up and start talking to someone about physics? You say hi first. Yeah.

Student: Yeah, every day, right?

Student: Well, basically what we’re doing is we’re trying to construct an addition to the play that expresses some certain emotions—

Student: Oh, so you wanna insert it here.

Student: Yep.

Student: - so right after this little introduction.

Student: We do the introduction.

Student: Yep, and then we keep on going and—

Student: Why start with, “Good Mistress Accost, I desire a better acquaintance?”

Student: Orsino’s view is very much two-faced—

Teacher: Yes.

Student: - and so is Viola’s so we’re thinking about adding a little bit like a split between Orsino and Viola.

Teacher: Yeah.

Student: I love that you would use the cross-reference like the two-faced and—

Teacher: Yeah.

Student: - and like the ideal that maybe Orsino—love not being shared—not being authentically—

Teacher: Right.

Student: That’s what I was trying to get at, like The Tempest and also the language.

Student: You can read on both sides and try to [cross talk 26:09].

Teacher: Uh huh, uh huh. I love it.

Student: O knight, thou lackest a cup of canary. When did I see thee so put down? I think this is a good point to start because it kinda’ goes to abstract concepts and while we’re trying to do a apostrophe to love, it’s still an easy place to put it.

Student: Good job, so we put that. Now what?

Student: It’s definitely a [cross talk 26:38]—

Student: Then he’s gonna become hopeful. He’s gonna sort of fade into denial about the whole situation.

Student: You didn’t say [cross talk 26:46]. You said we’ll throw in denial.

Teacher: You guys have this really interesting opportunity because there’s probably what Viola thinks of love, and then you also have what Cesario thinks of love. In a way, you have—what’s kind of naturally said—

Student: You have him intruding in the right way and then he says, “Oh, well [inaudible 27:08].”

Teacher: Yeah.

Student: Because he wanted to put Olivia’s love to Cesario’s. Cesario is [inaudible 27:14] and now he’s giving love to [inaudible 27:17].

Teacher: Exactly, exactly. I think it could be really interesting. I mean you could choose to kind of like blend, you know, maybe Viola and Cesario and almost have them talk to each other even though it’s the same person. Because she’s managing two personae in the play, right? One thing you could do here is if you wanted to, you could just make Viola one-color part. You could make Cesario another color. That would help you as you’re writing it maybe.

Student: Yeah, but [inaudible 27:53].

Teacher: Oh, what to say about it?

Student: Yeah.

Teacher: She’s delivering a soliloquy to love. If love were a character, what would Viola say if love were a he? You know if it’s a character, what would she be saying to love—Cesario say to love?

Student: For Cesario, love would be a woman. He’ll be toned down.

Student: Absolutely.

Student: Dang.

Student: I dunno’.

Teacher: Well, really for Cesario—you’re right. Love is—what is love to Cesario?

Student: Yeah, so you wanna—can we do, kinda’ talk—

Teacher: Because?

Student: [Inaudible 28:32]

Teacher: Right, right, and so when you are delivering this soliloquy to love as Cesario, it would maybe be, like you said, bothersome, irritated, frustrated. Okay, what about love to Viola?

Student: Well, I guess we could make her be frustrating.

Teacher: Frustrating in the same way or in a different way?

Student: Yeah, well [inaudible 28:59].

Student: Different way.

Teacher: Okay, so it sounds to me like you’ve found that there is something similar, that love is to both Viola and Cesario.

Student: [Cross talk 29:08]

Student: [Cross talk 29:09]

Teacher: Which is this?

Student: [Inaudible 29:10]

Teacher: - frustration? You said frustration for both. All right, so that could be a great way to organize it, but they’re frustrated for different reasons. Okay? Is that helpful?

Student: Yeah.

Teacher: Okay, all right.

Student: We’ve got a vague idea. I’m not sure, but apparently we’ve come to the conclusion that he is actually going to be in the cage, later in the play after Toby—

Student: Are we only doing this over Act II or are we doing it entirely?

Teacher: Largely over where the act [inaudible 29:39] or where they’re up to this point because it wouldn’t make sense to—I mean you could bring something in from later. I mean you can do that, and it wouldn’t make sense to put a soliloquy in Act II that makes no sense if you haven’t seen Acts—

Student: Right.

Student: Three, four, five.

Teacher: Does that make sense?

Student: Yeah.

[30:00]

Teacher: You can write kind of foreshadow. A lot of times that’s how foreshadowing works, that the writers know that something is coming up later and so they insert a little something. You could do that, but you wouldn’t want to do something that would be confusing to the audience if they haven’t seen the rest of it.

[Digital bell ringing]

Student: Are we writing this like Shakespearian—

Teacher: Yes.

Student: We’re writing this in Shakespearian—

Student: Oh, God.

Student: Iambic pentameter.

Student: Why?

Teacher: No, you don’t have to write [cross talk 30:21].

Student: No, no, no, no, no.

Student: Nooo.

Teacher: You don’t have to write [cross talk 30:23].

Student: [Laughing]

[Intercom in background, along with students laughing and talking loudly]

Teacher: That’s just a couple of things that you’re [inaudible 30:28]. Make sure you shut your computers down and leave them on the desks.

[End of Audio]