1 10 4 https://atmospherictheatre.exeter.ac.uk/files/original/6615c520f2b116255add5d51707e2422.jpg f510e81f2e6e3e984a204d7050f8d0f7 https://atmospherictheatre.exeter.ac.uk/files/original/e9d9e8f98b752c983df1f46632238a8a.pdf 2a29dc3b5be63f15ecdd360a87ccaf21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interviews Description An account of the resource This section contains a selection of video interviews in which open-air theatre practitioners and researchers discuss their experience of performing or attending productions at open-air theatres. These interviews can be used alongside the project's educational resources, as many of our contributors discuss their involvement in directing, designing for, investigating, or performing Shakespeare's plays (with links to the most relevant clips available through our <a href="https://atmospherictheatre.exeter.ac.uk/search?query=Educational+Resources&query_type=exact_match&record_types%5B%5D=Collection&sort_field=title">education packs</a>), or to learn more in general about open-air theatre practice. All video interviews are captioned and written transcripts are provided. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Stephen Purcell and Zoë Hudson Description An account of the resource <a href="http://atmospherictheatre.exeter.ac.uk/items/show/88">The Pantaloons</a> reimagine Shakespeare in vibrant and anarchic retellings, drawing from a wide variety of popular theatre traditions, from commedia dell’arte and pantomime to stand-up comedy and silent movies. Their imaginative productions invite the audience to become co-creators of the play-world, resulting in humorous and uplifting performances. Dr Stephen Purcell is the Artistic Director of The Pantaloons and an Associate Professor of Shakespeare and Performance Studies at Warwick University. Dr Zoë Hudson is the Designer for The Pantaloons, and is a social historian and theatre practitioner. In this video, Zoë and Stephen talk about their company's experience of touring and performing at open-air sites. Creator An entity primarily responsible for making the resource Dr Zoë Hudson and Dr Stephen Purcell in conversation with Sarah Sharp Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/vbS6Hk7D2vY?rel=0" frameborder="0"></iframe> Relation A related resource <a href="http://atmospherictheatre.exeter.ac.uk/items/show/1">Education Pack - Storms in The Tempest and Pericles</a> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/4">Education Pack - Plague and Perfume in Romeo and Juliet</a> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/139">Education Pack - Fairies and Flight in A Midsummer Night's Dream</a> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/2">Education Pack - Air Pollution in Macbeth</a> Language A language of the resource English A Midsummer Night's Dream Macbeth Outdoor productions Romeo and Juliet Shakespeare The Tempest https://atmospherictheatre.exeter.ac.uk/files/original/7d9890e99d36a489e3d8a10a527e8494.jpg 85cb5a36131762d5b6c5f550b80d5521 https://atmospherictheatre.exeter.ac.uk/files/original/844fa4a8e4b60234a6553f2205f63d92.pdf 60b49e68eecbc329def7aa4cd7e66d36 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interviews Description An account of the resource This section contains a selection of video interviews in which open-air theatre practitioners and researchers discuss their experience of performing or attending productions at open-air theatres. These interviews can be used alongside the project's educational resources, as many of our contributors discuss their involvement in directing, designing for, investigating, or performing Shakespeare's plays (with links to the most relevant clips available through our <a href="https://atmospherictheatre.exeter.ac.uk/search?query=Educational+Resources&query_type=exact_match&record_types%5B%5D=Collection&sort_field=title">education packs</a>), or to learn more in general about open-air theatre practice. All video interviews are captioned and written transcripts are provided. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Emma Gersch Description An account of the resource Emma Gersch is the Artistic Director of <a href="http://atmospherictheatre.exeter.ac.uk/items/show/90">Moving Stories</a>. Moving Stories creates inclusive and accessible theatre that engages and inspires its audiences. They have made large scale Shakespearean productions for the <a href="http://atmospherictheatre.exeter.ac.uk/items/show/10">Minack Theatre</a>, staged new writing across Europe and the UK, and created site specific events in bedrooms, offices, and castles. Moving Stories is also the home of <a href="https://www.movingstories.org.uk/bandofmothers" target="_blank" rel="noreferrer noopener">Band of Mothers</a>, a group of artists who harness the creative power of motherhood and allow it to inform their creative work. In this video, Emma discusses her extensive experience of directing plays for performance in open-air contexts. Creator An entity primarily responsible for making the resource Sarah Sharp in conversation with Emma Gersch Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/-zplOIFBc_E?rel=0" frameborder="0"></iframe> Relation A related resource <a href="http://atmospherictheatre.exeter.ac.uk/items/show/1">Education Pack - Storms in The Tempest and Pericles</a> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/4">Education Pack - Plague and Perfume in Romeo and Juliet</a> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/139">Education Pack - Fairies and Flight in A Midsummer Night's Dream</a> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/2">Education Pack - Air Pollution in Macbeth</a> Language A language of the resource English A Midsummer Night's Dream Fairies Romeo and Juliet Shakespeare Storms The Tempest https://atmospherictheatre.exeter.ac.uk/files/original/281308513ecb596e9f7104dd10f09ab7.jpg 4739760a997cf0335654af5243e8b69f https://atmospherictheatre.exeter.ac.uk/files/original/9f8e1c12e2516c8e4de93c3ccdc6d780.pdf cc3349e9edeef8c5037e3d23087d0be2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interviews Description An account of the resource This section contains a selection of video interviews in which open-air theatre practitioners and researchers discuss their experience of performing or attending productions at open-air theatres. These interviews can be used alongside the project's educational resources, as many of our contributors discuss their involvement in directing, designing for, investigating, or performing Shakespeare's plays (with links to the most relevant clips available through our <a href="https://atmospherictheatre.exeter.ac.uk/search?query=Educational+Resources&query_type=exact_match&record_types%5B%5D=Collection&sort_field=title">education packs</a>), or to learn more in general about open-air theatre practice. All video interviews are captioned and written transcripts are provided. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Natasha Magigi Description An account of the resource Natasha Magigi is a performer whose credits include multiple open-air performances with <a href="https://www.teatrovivo.co.uk/" target="_blank" rel="noreferrer noopener">Teatro Vivo</a> and <a href="http://atmospherictheatre.exeter.ac.uk/items/show/81">Shakespeare’s Globe</a>. In this video, she discusses her extensive experience of performing in outdoor and open-air contexts, reflecting on the associated challenges and opportunities. Creator An entity primarily responsible for making the resource Sarah Sharp in conversation with Natasha Magigi Source A related resource from which the described resource is derived <iframe width="560" height="315" src="https://www.youtube.com/embed/9OdaI_WRQkY?rel=0" frameborder="0"></iframe> Relation A related resource <a href="http://atmospherictheatre.exeter.ac.uk/items/show/1">Education Pack - Storms in The Tempest and Pericles </a> Language A language of the resource English Pericles Shakespeare The Tempest https://atmospherictheatre.exeter.ac.uk/files/original/0c5c733ca2bea047787da37142fe87ac.png 59bc3fd3f80c0f1f48aaaa869356c8f8 https://atmospherictheatre.exeter.ac.uk/files/original/7813f44fc8b0dd555eec0000cce35464.pdf 89044259cd44657d4425eb69ccf02a46 https://atmospherictheatre.exeter.ac.uk/files/original/aac8f4854a9a70dbbb08d6bd43928ffe.ppt f04693cda1583c2204c4d7f943ec5f48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Educational Resources (14-16 years) Description An account of the resource These educational resources are designed to introduce secondary-school pupils studying the plays of William Shakespeare to the significance that questions of air quality and aerial resources acquire within his drama. In this section, you will be able to access and download lesson plans and associated resources for teaching pupils about the significance of air pollution in Macbeth, ghosts and polluted air in Hamlet, or storms in The Tempest and/or Pericles. We have designed these education packs for use with pupils aged approximately 14-16 years old, in accordance with the UK National Curriculum learning objectives for KS4 English. In addition, each session comes with individual learning objectives that indicate how the session will promote learning about performed drama and/or environmental history. Each lesson plan is presented as an hour-long session, but we have included suggestions for potential extension activities. These resources could also be adapted for use with older children or within alternative curricula. If you have any feedback on or suggestions for improving these resources, please email the project team at: atmospherictheatre@exeter.ac.uk. Creator An entity primarily responsible for making the resource Sarah Sharp Type The nature or genre of the resource Educational Resources Contributor An entity responsible for making contributions to the resource Evelyn O'Malley, Chloe Preedy, and Courtney Priday. The suggested activities are informed by work undertaken with Queen Elizabeth’s School, Crediton, and the Minack Theatre Academy. Lesson Plan A resource that gives a detailed description of a course of instruction. Lesson Plan Text Storms in The Tempest and Pericles - Education Pack In Shakespeare’s time, people were reliant on wind-powered sailing ships for engaging in overseas trade, military activity, and travel. However, these wooden ships were at the mercy of the elements and being caught in a storm was relatively common, with shipwrecks a major threat to anyone who took to the seas to complete a journey. To this day, the bottom of the ocean is littered with the remains of ships of all sizes that fell victim to storms, often becoming the tombs of those who had been on board. Today, many of us can only imagine the fear and desperation that those on board would experience in those moments during a storm when shipwreck seemed imminent and drowning was a real possibility. Yet various fictional characters in Shakespeare’s plays find themselves in this terrible position, as we see in The Tempest and Pericles. The Tempest begins on a ship during a huge storm created by Prospero’s magical spirit Ariel, which results in all on board being washed up on Prospero’s island. In this case, the apparent shipwreck is an illusion, which Prospero has arranged as a form of revenge against those who had exiled him to the island. There are two main storms at sea in Pericles. The first results in Pericles being shipwrecked and washed ashore to be rescued by fisherman; the second happens while his wife is giving birth to their daughter, Marina, below deck. In both of these plays, the storms are instrumental to the unfolding action. The characters interact with, and are directly impacted by, the atmospheric conditions. Comparing the two plays can be useful for students studying either The Tempest or Pericles, as it helps to establish an understanding of how important storms are in Shakespeare’s drama. This education pack gives a lesson plan to explore the storms in The Tempest and Pericles that is designed for pupils aged approximately 14-16 years, although it could be adapted for use with older pupils. This education pack has been developed as part of the AHRC-funded project, Atmospheric Theatre: Open-Air Performance and the Environment. The suggested activities have been informed by work with Queen Elizabeth’s School, Crediton, and the Minack Theatre Academy. Quotations in this education pack are from: • William Shakespeare, The Tempest, ed. Alden T. Vaughan and Virginia Mason, Arden Shakespeare Third Series (London: Bloomsbury, 2011) • William Shakespeare, Pericles, Prince of Tyre, ed. Suzanne Gossett, Arden Shakespeare Third Series (London: Bloomsbury, 2004) If you are looking for a free online edition of The Tempest and/or Pericles, our recommended options are: William Shakespeare, The Tempest, ed. Martin Butler (London: Penguin, 2005). Accessed through Shakespeare’s Words (2018): https://www.shakespeareswords.com/* William Shakespeare, Pericles, ed. Eugene Giddens (London: Penguin, 2008). Accessed through Shakespeare’s Words (2018): https://www.shakespeareswords.com/* William Shakespeare, The Tempest. In The Complete Works of William Shakespeare, ed. Jeremy Hylton (MIT, 1993): http://shakespeare.mit.edu/tempest/full.html William Shakespeare, Pericles. In The Complete Works of William Shakespeare, ed. Jeremy Hylton (MIT, 1993): http://shakespeare.mit.edu/pericles/full.html * This website allows 20 free page-views after which you need to pay for access. For an alternative free online edition of Macbeth, see MIT’s Complete Works of Shakespeare (1993): http://shakespeare.mit.edu/index.html. Lesson Plan For this lesson you will need: • The accompanying power point slides to this education pack • Printouts of Starter Activity lines cut into slips (alternatively you can simply display the lines for class via the power point) (Resource 1 and Slides 2-3) • The Tempest, Act 1 Scenes 1 and 2; Pericles, Act 3 Scene 1 (Resource 2/3) • A board to write on (optional) • Writing materials for students This lesson plan is designed to address the following UK National Curriculum learning objectives for KS4 English Literature. Pupils will learn to: • read and appreciate the depth and power of the English literary heritage through reading at least one play by Shakespeare; • draw on knowledge of the social, historical and cultural context to inform evaluation; • make critical comparisons, referring to the contexts, themes, characterisation, style and literary quality of texts; • improvise play scripts in order to generate language and discuss language use and meaning, using role, intonation, tone, volume, mood, silence, stillness and action to add impact. Lesson-Specific Learning Objectives Pupils will learn to: • creatively engage with The Tempest and Pericles to deepen understanding by gaining a feel for how performance can bring the script to life; • develop an understanding of the role of storms in both texts and ability to analyse language and its use in shaping meaning; • articulate a creative response to storms in Shakespeare with a focus on description and point of view. Starter Activity (15 minutes) AIM: Creatively engage with the text to deepen understanding by gaining a feel for how performance can bring the script to life. 1. Ask the students to sit in a circle* and explore how to create the sound of a storm (e.g. wind blowing, rain falling, thunder, wood creaking, ropes lashing) using voice and body (e.g. whistling, blowing, clapping, clicking, stamping). This activity works best if either the teacher or a nominated student works as a “conductor” to bring in each sound and dictate with the level of their hands how loud/soft the “storm” should be. The directions can be used to start the storm softly with perhaps just a light rain before building to a crescendo to create tension. *If making a circle is not possible, this activity can be done while students sit as desks. Instead of running across the circle, students stand up and deliver their line over the sound of the storm, with the teacher indicating who is to go next to keep the momentum of the lines going with little/no break in between lines. 2. Give each student a line from one of the storm scenes from the plays (see Resource 1, Slides 2 and 3). Students should deliver these lines over the continuing sound of the “storm”, while running across the circle as though it were the deck of a ship. When they get to the other side they can ‘tag’ the next person to run across and take their seat. They must ensure they are heard over the sound of the storm the others are making. This challenge should create an atmosphere of controlled mayhem, like a ship in a storm! 3. Discuss how the experience of performing the actions affected how the students responded to the scene, in comparison to just reading the lines. 4. In light of this experience, discuss how a theatre company might stage these storms to create a dramatic atmosphere. Consider the possibilities of set, lighting, sound, and special effects, as well as acting. In Shakespeare’s time, theatre makers would have created the sound of thunder and lightning as a way of evoking fictional storms. For instance, The Tempest begins with the stage direction: ‘A tempestuous noise of thunder and lightning heard’ (1.1.0 SD). Scholars suggest that these sound and light effects might have been achieved by using fireworks for lightning and/or by rolling cannon balls down a wooden trough called a ‘thunder run’: the latter caused the wood to vibrate and make a loud thundering sound. ‘Thunder and lightning in an Elizabethan theatre had the potential to be a very impressive and noisy display, with rockets, fireworks, drums and squibs contributing to the spectacle’ (Gwilym Jones, Shakespeare’s Storms, p. 34). Main Activity (20 minutes) AIM: Develop understanding of the text and ability to analyse language and its use in shaping meaning and articulate a creative response to the text with a focus on description and point of view. The storms in The Tempest and Pericles have a key difference in that one is created by magic and the other by nature/fate/the gods. In The Tempest, Prospero and the spirit Ariel make the storm as part of Prospero’s plan for revenge on his brother who exiled him to the island when Miranda was just a baby. 1. Read through the passages about each storm as a class (Resources 2 and 3). a. The Tempest – Act 1 Scene 1, Act 2 Scene 1: 1-13 and 224-237, Slides 4 and 5 b. Pericles – Act 3: 44-60, Act 3 Scene 1: 1-14 and 38-54, Slides 6, 7 and 8 2. Discuss any similarities or differences between the storms in the different plays, particularly in the light of the fact that one has been created by magic and the other by nature/fate/the gods. How might this difference between the cause of the storm impact the way it is portrayed on stage in either Pericles or The Tempest? 3. Look closely at the language used by the characters to describe the storms, paying attention to descriptive words, similes and metaphors. Pick out these words and phrases and write them on the board and/or ask the students to make note of them. See Slides 9-15 for suggestions. 4. Ask students to add to the list their own ideas of words that describe what they imagine it might be like to be on a ship during a storm. Encourage them to think about visual aspects, sounds, smells, and emotions. 5. Using the words on the board as inspiration, ask students to do a piece of creative writing about the experience of being on board one of these ships during the storm. This could be in the form of a journal entry or as a stream of consciousness from someone on the deck of the ship. The characters who are present onstage for the storm scenes, from whose perspective the students might write, are: (for The Tempest) Master, Boatswain, ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO; and (for Pericles) PERICLES, First Sailor, and Second Sailor. Plenary Activity (10 - 15 minutes) This can either be set as a writing task or held as a group discussion at the end of the lesson. 1. How do the storms draw attention to the control the winds have over human affairs: both spiritually (in signalling possible divine intervention); and practically, at a time when commercial, military, diplomatic, and personal travel overseas all depended on wind-powered sailing vessels? Resource 1 These can be printed and cut up and given to students to read out during exercise or displayed on the board as part of the attached power point presentation. The Tempest - Act 1 Scene 1 Take in the topsail. Blow till thou burst thy wind, I pray now, keep below! Out of our way, I say! Down with the topmast! A plague upon this howling. Lay her a-hold, a-hold! Shall we give o'er and drown? Mercy on us! We split, we split! Farewell my wife and children! Farewell brother! Let's all sink wi’th’ King All lost! To prayers, to prayers! Pericles - Act 3 Scene 1 Rebuke these surges O, still Thy deafening dreadful thunders; Quench Thy nimble sulphurous flashes! Wilt thou spit all thyself? Patience, good sir, do not assist the storm. O you gods! What courage, sir? God save you! Slack the bowlines there! Blow and split thyself. I would it would be quiet. Resource 2 The Tempest – Act 1 Scene 1 A tempestuous noise of thunder and lightning heard; enter a Shipmaster and a Boatswain. Master Boatswain! Boatswain Here master. What cheer? Master Good, speak to th’ mariners. Fall to't, yarely or we run ourselves aground. Bestir, bestir! Exit. Enter Mariners. Boatswain Heigh, my hearts; cheerly, cheerly, my hearts! Yare! Yare! Take in the topsail. Tend to the master's whistle! ([to the storm]) Blow till thou burst thy wind, if room enough. Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo and others. Alonso Good boatswain, have care. Where's the master? Play the men! Boatswain I pray now, keep below! Antonio Where is the master, boatswain? Boatswain Do you not hear him? You mar our labour. Keep your cabins! You do assist the storm. Gonzalo Nay, good, be patient. Boatswain When the sea is! Hence. What cares these roarers for the name of king? To cabin! Silence! Trouble us not. Gonzalo Good, yet remember whom thou hast aboard. Boatswain None that I more love than myself. You are a councillor; if you can command these elements to silence and work the peace of the present, we will not hand a rope more. Use your authority! If you cannot, give thanks you have lived so long and make yourself ready in your cabin for the mischance of the hour, if it so hap. — Cheerly, good hearts. — Out of our way, I say! Exit. Gonzalo I have great comfort from this fellow. Methinks he hath no drowning mark upon him — his complexion is perfect gallows. Stand fast, good fate, to his hanging; make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable. Exeunt Enter Boatswain. Boatswain Down with the topmast! Yare! Lower, lower! Bring her to try with main course. ((A cry within.)) A plague upon this howling. They are louder than the weather or our office. Enter Sebastian, Antonio and Gonzalo. Yet again? What do you here? Shall we give o'er and drown? Have you a mind to sink? Sebastian A pox o' your throat, you bawling, blasphemous, incharitable dog. Boatswain Work you, then. Antonio Hang, cur! Hang, you whoreson, insolent noise-maker! We are less afraid to be drowned than thou art. Gonzalo I'll warrant him for drowning, though the ship Were no stronger than a nutshell and as leaky as an unstanched wench. Boatswain Lay her a-hold, a-hold! Set her two courses off to sea again! Lay her off! Enter Mariners, wet. Mariners All lost! To prayers, to prayers! All lost! Boatswain What, must our mouths be cold? Gonzalo The King and prince at prayers, let's assist them, for our case is as theirs. Sebastian I'm out of patience. Antonio We are merely cheated of our lives by drunkards. This wide-chopped rascal — would thou mightst lie drowning the washing of ten tides! Gonzalo He'll be hang'd yet, though every drop of water swear against it and gape at widest to glut him. ((A confused noise within)) Mercy on us! — 'We split, we split! — Farewell, my wife and children! — Farewell, brother! — We split, we split, we split! Antonio Let's all sink wi’th’ King. Sebastian Let's take leave of him. Exit [with Antonio]. Gonzalo Now would I give a thousand furlongs of sea for an acre of barren ground — long heath, brown furze, anything. The wills above be done, but I would fain die a dry death. Exit. Act 1 Scene 2: 1-13 Miranda If by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch But that the sea, mounting to th’ welkin's cheek, Dashes the fire out. O, I have suffered With those that I saw suffer — a brave vessel (Who had no doubt some noble creature in her) Dashed all to pieces. O, the cry did knock Against my very heart! Poor souls, they perished. Had I been any god of power, I would Have sunk the sea within the earth or ere It should the good ship so have swallowed and The fraughting souls within her. Act 1 Scene 2: 193-206 Prospero Hast thou, spirit, Performed to point the tempest that I bade thee? Ariel To every article. I boarded the King's ship: now on the beak, Now in the waist, the deck, in every cabin I flamed amazement. Sometime I'd divide And burn in many places — on the topmast, The yards and bowsprit would I flame distinctly, Then meet and join. Jove's lightning, the precursors O'th’ dreadful thunderclaps, more momentary And sight-outrunning were not; the fire and cracks Of sulphurous roaring, the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake. Resource 3 Pericles – Act 3: 44-60 Gower [...] And so to sea. Their vessel shakes On Neptune's billow. Half the flood Hath their keel cut, but Fortune's mood Varies again. The grizzled north Disgorges such a tempest forth That, as a duck for life that dives, So up and down the poor ship drives. The lady shrieks and, well-a-near, Does fall in travail with her fear. And what ensues in this fell storm Shall for itself itself perform. I nill relate, action may Conveniently the rest convey, Which might not what by me is told. In your imagination hold This stage the ship, upon whose deck The sea-tossed Pericles appears to speak. Act 3 Scene 1: 1-14 Enter Pericles on shipboard. Pericles Thou god of this great vast, rebuke these surges Which wash both heaven and hell, and thou that hast Upon the winds command, bind them in brass, Having called them from the deep. O, still Thy deafening dreadful thunders; gently quench Thy nimble sulphurous flashes! ([Calls.]) O, how, Lychorida! How does my queen? — Thou stormest venomously; Wilt thou spit all thyself? The seaman's whistle Is as a whisper in the ears of death, Unheard. ([Calls.]) Lychorida! — Lucina, O Divinest patroness and midwife gentle To those that cry by night, convey thy deity Aboard our dancing boat; make swift the pangs Of my queen's travails! — Now, Lychorida! Act 3 Scene 1: 38-54 Enter [the ship’s Master and] a Sailor. Master What courage, sir? God save you! Pericles Courage enough. I do not fear the flaw: It hath done to me the worst, Yet for the love Of this poor infant, this fresh new seafarer, I would it would be quiet. Master Slack the bowlines there! — Thou wilt not, wilt thou? Blow and split thyself. Sailor But sea-room, an the brine and cloudy billow kiss the moon, I care not. Master Sir, your queen must overboard. The sea works high, the wind is loud and will not lie till the ship be cleared of the dead. Pericles That's your superstition. Master Pardon us, sir; with us at sea it hath been still observed, and we are strong in custom. Therefore briefly yield ‘er, for she must overboard straight. Pericles As you think meet. Most wretched queen! Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Education Pack - Storms in The Tempest and Pericles Description An account of the resource This education pack includes a lesson plan and associated resources that can be used to explore the storms in William Shakespeare's The Tempest and Pericles, co-written by William Shakespeare and George Wilkins. The resources are designed for pupils aged approximately 14-16 years. but could be adapted for use with older pupils. Rights Information about rights held in and over the resource CC BY-NC 2.0 Creator An entity primarily responsible for making the resource Sarah Sharp Contributor An entity responsible for making contributions to the resource Evelyn O'Malley, Chloe Preedy, and Courtney Priday. The suggested activities are informed by work undertaken with Queen Elizabeth’s School, Crediton, and the Minack Theatre Academy. Relation A related resource <h4>Creating the Sound of a Storm (example):</h4> <iframe width="560" height="315" src="https://www.youtube.com/embed/f3wwqgoQwfE?start=25&rel=0" frameborder="0"></iframe> <a href="https://youtu.be/f3wwqgoQwfE" title="Angel City Chorale Choir, Africa (2018)" target="_blank" rel="noreferrer noopener">Angel City Chorale Choir performs Africa for America's Got Talent (2018)</a> <h4> Digital Performance and The Tempest:</h4> <iframe width="560" height="315" style="border:none;" src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FCreationTheatre%2Fvideos%2F660228077786203%2F&show_text=0&width=560" scrolling="no" frameborder="0"></iframe> Trailer for <a href="https://www.facebook.com/watch/?v=660228077786203" target="_blank" title="Trailer for Creation Theatre's digital production of The Tempest" rel="noreferrer noopener">Creation Theatre's production of The Tempest (2019/20)</a> Interview with Natasha Magigi Natasha Magigi is a performer whose credits include multiple open-air performances with <a href="https://www.teatrovivo.co.uk/" target="_blank" rel="noreferrer noopener">Teatro Vivo</a> and <a href="http://atmospherictheatre.exeter.ac.uk/items/show/81">Shakespeare’s Globe</a>. In this video, she discusses her extensive experience of performing in outdoor and open-air contexts, reflecting on the associated challenges and opportunities, with reference to her experience of playing Gower in a Globe On Tour production of Pericles and Teatro Vivo's outdoor production of The Tempest. Natasha Magigi on Pericles (edited start time): <iframe width="560" height="315" src="https://www.youtube.com/embed/9OdaI_WRQkY?start=55&rel=0" frameborder="0"></iframe> Natasha Magigi on The Tempest (edited start time): <iframe width="560" height="315" src="https://www.youtube.com/embed/9OdaI_WRQkY?start=388&rel=0" frameborder="0"></iframe> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/141">Interview with Natasha Magigi (full version and transcript)</a> Interview with Emma Gersch Emma Gersch is the Artistic Director of <a href="http://atmospherictheatre.exeter.ac.uk/items/show/90">Moving Stories</a>. Moving Stories creates inclusive and accessible theatre that engages and inspires its audiences. They have made large scale Shakespearean productions for the <a href="http://atmospherictheatre.exeter.ac.uk/items/show/10">Minack Theatre</a>, staged new writing across Europe and the UK, and created site specific events in bedrooms, offices, and castles. Moving Stories is also the home of <a href="https://www.movingstories.org.uk/bandofmothers" target="_blank" rel="noreferrer noopener">Band of Mothers</a>, a group of artists who harness the creative power of motherhood and allow it to inform their creative work. In this video, Emma discusses her extensive experience of directing plays for performance in open-air contexts, including a Minack production of The Tempest. Emma Gersch on The Tempest (edited start time): <iframe width="560" height="315" src="https://www.youtube.com/embed/-zplOIFBc_E?start=1292&rel=0" frameborder="0"></iframe> <a href="http://atmospherictheatre.exeter.ac.uk/items/show/142">Interview with Emma Gersch (full version and transcript)</a> Pericles Shakespeare Storms The Tempest Wind