DRAMA TEST STUDY SHEET: for Tuesday

Answer the "exposition" questions for Othello, and turn that sheet in to me.

Also, bring 5 copied quotes (as preparation for test), 3 on characters and 2 on "theme". Identify the quote only by page number, so that other members of your group will get practice studying for the test by looking at your quotes and identifying who the character is. Test questions are described on this sheet.

(Choose quotes that present a major "idea" focus in the play or that present a central way of seeing/thinking for that character- see #1 and 2 below. Eliminate clues that have to do with names and particular actions by using three dots and putting back- in brackets- pronouns or whatever is necessary to make the quote a sentence. I will eliminate such clues on the test because I am testing your ability to think about the plays in terms of the way they develop and explore ideas through conflict and character.)

1. Matching-- quotes based on theme: the quotes will pertain to the central conflict or issue in the play or the central question (see above). Or the quote might pertain to the protagonist's central blindness or problem.

2. Matching-- quotes identifying characters: quotes center on an important feature of the character- a key way of thinking, a key blindness, a key motivation or goal for major characters; a way the character functions as a "foil" if the character is not a major character- a contrasting characteristic or way of thinking.

Chars: Dionysus, Pentheus, Agave, Tiresias, Cadmus, the Chorus, Lysistrata, Kleonike, Commissioner, Kinesias, Lampito.

3. Multiple choice-- questions on intentions or motives of main characters, on their blindness or delusion, and on the themes. Also, a question identifying a quote that contains dramatic irony.

4. Multiple choice-- questions on facts or events in plays that are thematically important (for instance, that the women swear to do anything to end the war, but then change their minds when they find out it's sex). Also, factual questions concerning time period written, author, nationality, language, and genre.

5. Matching-- visual symbols in the play (props or stage actions that emphasize or stand for an important concept in the play. (For instance, in Lysistrata, many of the props signal something about gender roles and expectations. The fact that Pentheus is pulled apart and all that is left of him is a head is a visual representation of his nature all during the play.)

6. Short Answers-- be able to paraphrase the quote. Then explain 1) the context (who is talking to whom and why, what important thing has just happened or is about to happen), 2) the significance (how that quote conveys something about issues or ideas important in the play). Another possibility might be to explain why the dramatic irony in a quote is significant.

In-Class Work on Tuesday:

1. Compare quotes, seeing if you can identify play and character (after which group member should explain the basis on which the quote was chosen, particularly the minor ones!). Then answer questions 1, 2, and 3.

2. Find an example of dramatic irony in The Bacchae. Definition of dramatic irony: A character says something and the audience understands the meaning to be almost opposite 1) to what the speaker intends or 2) to what the listener understands.

3. As a group, write a short answer question (see #9) to someone's quote. (We'll do this if there is time.)

Othello Exposition Questions (on Act 1, Scene 1): (5 pts., the other 5 for quotes)

1. What of importance has happened shortly before the play opens (inciting incident)? (1 sentence)

2. What is the relationship between Othello and Iago? (one sentence)

3. What significant things do we find out from Iago about his character and intentions? (include evidence)