Методическая разработка к уроку, посвященному творчеству В. Шекспира.

Одним из способов повышения интереса к предмету «иностранный язык» являются так называемые нетрадиционные уроки. К таким урокам можно отнести урок, посвященный творчеству гениального английского поэта и драматурга В. Шекспира1. Учащиеся заранее знакомятся с трудным для восприятия языковым материалом (я пишу незнакомые слова и выражения на доске, говорю их сама, прошу учащихся повторить их хором вслед за мною, даю их перевод на русский язык). Предварительная работа проводится и с теми, кто будет выступать на уроке.

Урок начинается со следующего диалога между двумя учениками:

Р1- Hello. You look so excited.

P2-How are you doing? Yes, I’ve been busy with my studies today. I’ve heard about some unusual English lesson today. I am so interested in this lesson.

P1- If so, I advise you to visit this lesson. As far as I know they will speak about a famous English person. Every country has its heroes, and so does Great Britain.

P2-Yes, indeed. Let’s go to the lesson together.

Далее учащиеся по очереди рассказывают биографию В. Шекспира, говорят о театре «Глобус», читают сонеты Шекспира, разыгрывают сцену из трагедии «Ромео и Джульетта».

William Shakespeare was born on or about April 23, 1564, in Stratford-on-Avon. His father, John Shakespeare, was a glover and a dealer in wool and other farm products. He was a respected figure in Stratford. In his childhood William went to the Grammar School where, besides reading and writing, he was taught Latin. They say that when he had free time he liked to go to the forest and to the river. When actors visited Stratford William liked to watch them. He was interested in that profession and decided to become an actor himself.

But it was not so quick. In 1582 at just over eighteen Shakespeare married Anne Hathaway, a farmer’s daughter. In 1583 Susanna, their first child, was born and twins Hamlet and Judith followed in 1585. Later that year Shakespeare left for London. We know absolutely nothing about his life for the next 7 years. Maybe he wrote his sonnets and poems, but we know for certain that in 1592 a playwright, Robert Greene, wrote an angry pamphlet on Shakespeare from which we may conclude that by that year Shakespeare had become a dramatist.

Shakespeare wrote most of his plays for the Globe Theatre. Now I’ll tell you what the theatre of the 16th century was like.

The stage projected far out into the pit where the spectators stood. Round the pit there were tiers of galleries, one over the other. The galleries were roofed, while the pit was open to the sky. Those spectators who could not pay much for their tickets stood in the pit. Rich men sat in the galleries, and noblemen were allowed to sit on the stage.

Since the pit of the theatre was open to the sky, the performance depended entirely upon the weather. Flags were raised when a play was to be given, but if the weather suddenly changed for the worse, the flags were pulled down and the performance did not take place.

Performances always began in broad day-light and the entertainment lasted for three hours. There was no scenery in the modern sense. There were merely a few tables, chairs and so on to give some indication of the setting. Sometimes an actor would come on the stage and say: “You shall have Asia on one side and Africa on the other”, or “We must believe the stage to be a garden.” Actresses were unknown on the stage and all women’s parts were played by boys or young men.

At the same time, Shakespeare was an actor, a poet and a writer of drama. He wrote 154 sonnets, 2 long poems and 37 plays, where he showed his creative genius.

The first period (1590—1600) of his creative work consists of comedies and histories. In this period Shakespeare wrote such histories as “King Henry V”, “King Richard II”, “King Richard III” and others. Here the author showed historical events and dramatic characters.

“Romeo and Juliet” is one of Shakespeare's best plays. It is a tragedy, but it was written in the first period of his creative work. This play is full of love, youth and humanism.

All of Shakespeare’s famous tragedies appeared between 1600 and 1608. This was the second period of his literary work. In the plays of this period the dramatist reaches his full maturity. He presents great human problems. This period began with the tragedy “Hamlet”, which was a great success. The following plays belonging to the second period: “King Lear”, “Othello”, “Macbeth”.

Shakespeare’s plays of the third period (1609—1611) are called romantic dramas:

“The Tempest”, “The Winter’s Tale”, “Henry VIII”.

In 1612, Shakespeare left London. Nobody knows what he did during the last years

Of his life. Shakespeare died on April 23, 1616, and he was buried in Stratford.

Sonnet 21

So is it not with me as with that Muse,

Stirr’d by a painted beauty to his verse,

Who heaven itself for ornament doth use,

And every fair with his fair doth rehearse,

Making a couplement of proud compare

With sun and moon, with earth and sea’s rich gems,

With April’s first-born flowers, and all things rare

That heaven’s air in this huge rondure hems.

O, let me, true in love, but truly write,

And then believe me, my love is as fair

As any mother’s child, though not so bright

As those gold candles fixt in heaven’s air:

Let them say more that like of hearsay well;

I will not praise that purpose not to sell.

Сонет 21

Не соревнуюсь я с творцами од,

Которые раскрашенным богиням

В подарок преподносят небосвод

Со всей землей и океаном синим.

Пускай они для украшенья строф

Твердят в стихах, между собою споря,

О звездах неба, о венках цветов,

О драгоценностях земли и моря.

В любви и в слове – правда мой закон,

И я пишу, что милая прекрасна,

Как все, кто смертной матерью рожден,

А не как солнце или месяц ясный.

Я не хочу хвалить любовь мою,

Я никому ее не продаю!

Sonnet 65

Since brass, nor stone, nor earth, nor boundless sea,

But sad mortality o’ersways their power,

How with this rage shall beauty hold a plea,

Whose action is no stronger than a flower?

O, how shall summer’s honey breath hold out

Against the wrackful siege of battering days,

When rocks impregnable are not so stout,

Nor gates of steel so strong, but Time decays?

O fearful meditation! Where alack,

Shall Time’s best jewel from Time’s chest lie hid?

Or what strong hand can hold his swift foot back?

Or who his spoil of beauty can forbid?

O none, unless this miracle have might,

That in black ink my love may still shine bright.

Сонет 65

Уж если медь, гранит, земля и море

Не устоят, когда придет им срок,

Как может уцелеть, со смертью споря,

Краса твоя – беспомощный цветок?

Как сохранить дыханье розы алой,

Когда осада тяжкая времен

Незыблемые сокрушает скалы

И рушит бронзу статуй и колонн?

О, горькое раздумье!.. Где, какое

Для красоты убежище найти?

Как, маятник остановив рукою,

Цвет времени от времени спасти?..

Надежды нет. Но светлый облик милый

Спасут, быть может, черные чернила!

Sonnet 116

Let me not to the marriage of true minds

Admit impediments. Love is not love

Which alters when it alteration finds,

Or bends with the remover to remove.

O no, it is an ever-fixed mark,

That looks on tempests, and is never shaken;

It is the star to every wandering bark,

Whose worth’s unknown, although his height be taken.

Love’s not Time’s fool, though rosy lips and cheeks

Within his bending sickle’s compass come;

Love alters not with his brief hours and weeks,

But bears it out even to the edge of doom.

If this be error, and upon me proved,

I never writ, nor no man ever loved.

Сонет 116

Мешать соединенью двух сердец

Я не намерен. Может ли измена

Любви безмерной положить конец?

Любовь не знает убыли и тлена.

Любовь – над бурей поднятый маяк,

Не меркнущий во мраке и тумане,

Любовь – звезда , которую моряк

Определяет место в океане.

Любовь — не кукла жалкая в руках

У времени, стирающего розы

На пламенных устах и на щеках,

И не страшны ей времени угрозы.

А если я не прав и лжет мой стих,

То нет любви и нет стихов моих!

“Romeo and Juliet”

(Act II, Scene 2: Capulet’s orchard)

(Enter Romeo.)

Romeo: He jests at scars that never felt a wound.

(Juliet appears above at a window.)

But soft! What light through yonder window breaks?

It is the East, and Juliet is the sun!

Arise, fair sun, and kill the envious moon,

Who is already sick and pale with grief,

That thou her maid art far more fair than she,

Be not her maid, since she is envious,

Her vestal livery is but sick and green,

And none but fools do wear it. Cast it off.

It is my lady; O, it is my love:

О that she knew she were.

She speaks, yet she says nothing. What of that?

Her eye discourses; I will answer it.

See how she leans her cheek upon her hand,

That l might touch that cheek.

Juliet: O, Romeo, Romeo! Wherefore art thou Romeo?

Deny thy father and refuse thy name;

Or, if thou will not, be but sworn my love

And I’ll no longer be a Capulet.

Romeo: Shall I hear more, or shall I speak at this?

Juliet: ‘Tis but thy name that is my enemy.

Thou art thyself, though not a Montague!

What’s Montague? It is nor hand, nor foot,

Nor arm, nor face, nor any other part

Belonging to a man! O, be some other name!

What’s in a name? That which we call a rose

By any other name would smell as sweet.

So Romeo would, were he not Romeo call’d,

Retain that dear perfection which he owes

Without that title. Romeo, doff thy name;

And for thy name, which is no part of thee,

Take all myself.

Romeo: I take thee at thy word.

Call me but love, and I’ll be new baptiz’d,

Henceforth I never will be Romeo.

Аникст А. Шекспир. — М., 1964. Английская поэзия в русских переводах / Сост. М. П. Алексеев, В. В. Захаров, Б. Б. Томашевский. — М.. 1981; Shakespeare W. Romeo and Juliet. — M., 1972.