1 | Page Greenwood International School Art Section Final Exam Required Material Grade: 9 Roy Lichtenstein Painter, Illustrator (1923–1997) Roy Lichtenstein was an American pop artist best known for his boldly-colored parodies of comic strips and advertisements. QUOTES “When I have used cartoon images, I've used them ironically, to raise the question: Why would anyone want to do this with modern painting?” —Roy Lichtenstein Synopsis American artist Roy Lichtenstein was born in New York City on October 27, 1923, and grew up on Manhattan's Upper West Side. In the 1960s, Lichtenstein became a leading figure of the new Pop Art movement. Inspired by advertisements and comic strips, Lichtenstein's bright, graphic works parodied American popular culture and the art world itself. He died in New York City on September 29, 1997.
Transcript
1 | P a g e
Greenwood International School
Art Section
Final Exam Required Material
Grade: 9
Roy Lichtenstein
Painter, Illustrator (1923–1997)
Roy Lichtenstein was an American pop artist best known for his boldly-colored parodies of comic strips and advertisements.
QUOTES
“When I have used cartoon images, I've used them ironically, to raise the question: Why would anyone want to do this with modern painting?”
—Roy Lichtenstein
Synopsis
American artist Roy Lichtenstein was born in New York City on October 27, 1923, and grew up
on Manhattan's Upper West Side. In the 1960s, Lichtenstein became a leading figure of the new
Pop Art movement. Inspired by advertisements and comic strips, Lichtenstein's bright, graphic
works parodied American popular culture and the art world itself. He died in New York City on
September 29, 1997.
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Early Years
Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the son of Milton
Lichtenstein, a successful real estate developer, and Beatrice Werner Lichtenstein. As a boy
growing up on Manhattan's Upper West Side, Lichtenstein had a passion for both science and
comic books. In his teens, he became interested in art. He took watercolor classes at Parsons
School of Design in 1937, and he took classes at the Art Students League in 1940, studying with
American realist painter Reginald Marsh.
Following his graduation from the Franklin School for Boys in Manhattan in 1940, Lichtenstein
attended The Ohio State University in Columbus, Ohio. His college studies were interrupted in
1943, when he was drafted and sent to Europe for World War II.
After his wartime service, Lichtenstein returned to Ohio State in 1946 to finish his
undergraduate degree and master's degree—both in fine arts. He briefly taught at Ohio State
before moving to Cleveland and working as a window-display designer for a department store,
an industrial designer and a commercial-art instructor.
Commercial Success and Pop Art
In the late 1940s, Lichtenstein exhibited his art in galleries nationwide, including in Cleveland
and New York City. In the 1950s, he often took his artistic subjects from mythology and from
American history and folklore, and he painted those subjects in styles that paid homage to earlier
art, from the 18th century through modernism.
Lichtenstein began experimenting with different subjects and methods in the early 1960s, while
he was teaching at Rutgers University. His newer work was both a commentary on American
popular culture and a reaction to the recent success of Abstract Expressionist painting by artists
like Jackson Pollock and Willem de Kooning. Instead of painting abstract, often subject-less
canvases as Pollock and others had had done, Lichtenstein took his imagery directly from comic
books and advertising. Rather than emphasize his painting process and his own inner, emotional
life in his art, he mimicked his borrowed sources right down to an impersonal-looking stencil
process that imitated the mechanical printing used for commercial art.
Lichtenstein's best-known work from this period is "Whaam!," which he painted in 1963, using a
comic book panel from a 1962 issue of DC Comics'All-American Men of War as his inspiration.
Other works of the 1960s featured cartoon characters like Mickey Mouse and Donald Duck and
advertisements for food and household products. He created a large-scale mural of a laughing
young woman (adapted from an image in a comic book) for the New York State Pavilion of the
1964 World's Fair in New York City.
Lichtenstein became known for his deadpan humor and his slyly subversive way of building a
signature body of work from mass-reproduced images. By the mid-1960s, he was nationally
known and recognized as a leader in the Pop Art movement that also included Andy Warhol,
James Rosenquist and Claes Oldenburg. His art became increasingly popular with both
collectors and influential art dealers like Leo Castelli, who showed Lichtenstein's work at his
gallery for 30 years. Like much Pop Art, it provoked debate over ideas of originality,
consumerism and the fine line between fine art and entertainment.
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Look Mickey1961
Whaam! (1963)
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Pop Art
The Pop Art movement began in the early 1960’s as a way to appeal to the masses. Pop artists believed that art had become too individualized and hard to understand, so they used common everyday objects that people would easily recognize. In Pop Art we see subject matter taken right from American popular culture like soup cans, celebrities, hamburgers, and coke bottles.
The movement forced people to notice the beauty of the ordinary things around them that they tended to take for granted. Images were often large and with shiny bold colors that were impossible to ignore
Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States
British Pop Art
The word 'POP' was first coined in 1954, by the British art critic Lawrence Alloway, to describe a new type of art that was inspired by the imagery of popular culture. Alloway, alongside the artists Richard Hamilton and Eduardo Paolozzi, was among the founding members of the Independent Group, a collective of artists, architects, and writers who explored radical approaches to contemporary visual culture during their meetings at ICA in London between 1952 and 1955. They became the forerunners to British Pop art.
Some young British artists in the 1950’s, who grew up with the wartime austerity of ration books and utility design, viewed the imagery of American popular culture and its consumerist lifestyle with a romantic sense of irony and a little bit of envy. They saw America as being the land of the free - free from the crippling conventions of a class ridden establishment that could suffocate the culture they envisaged: a more inclusive, youthful culture that embraced the social influence of mass media and mass production. Pop Art became their mode of expression in this search for change and its language was adapted from Dada collages and assemblages. The Dadaists had created irrational combinations of random images to provoke a reaction from the establishment of their day. British Pop artists adopted a similar visual technique but focused their attention on the mass imagery of popular culture which they waved as a challenge in the face of the establishment.
Pop art in America evolved in a slightly differently way to its British counterpart. American Pop Art was both a development of and a reaction against Abstract Expressionist painting. Abstract Expressionism was the first American art movement to achieve global acclaim but, by the mid-1950's, many felt it had become too introspective and elitist. American Pop Art evolved as an attempt to reverse this trend by reintroducing the image as a structural device in painting, to pull art back from the obscurity of abstraction into the real world again. This was a model that had been tried and tested before. Picasso had done something similar forty years previously when he collaged 'real world' printed images onto his still lifes, as he feared that his painting was becoming too abstract. Around 1955, two remarkable artists emerged who would lay the foundations of a bridge between Abstract Expressionism and Pop Art. They were Jasper Johns and Robert Rauschenberg, the forerunners of American Pop
Pop Art Characteristics
• Brings back the subject
• Questions art as a commodity and as a unique art form
• Everyday subject matter
• Marked by
– Clear lines
– Bold colors
– Sharp paintwork
– Clear representations of symbols, objects, and people common in pop culture
Techniques Used
• Central focus= commercial art
– Styles of popular culture and the mass media
– News paper, comics, advertising, consumer goods
– Mass production
– Low cost
– Expendable
– "Like a joke without humor, told over and over again until it begins to sound like a threat... Advertising art which advertises itself as art that hates advertising.” Harold Rosenberg
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POP ARTIST
Andy Warhol
• Born August 8th 1928
• One of the most influential artists on the 20th century
• Famous for
– Avant-guard pop art paintings and screen printings
Campbell’s Soup Can 1964
Marilyn Monroe 1967
Coca-Cola 3 bottles- 1962
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Roy Lichtenstein
Born October 27, 1923
• Originally trained as a commercial artist, Lichtenstein’s paintings mimicked techniques and processes used in the mass production of prints
• Began first pop paintings using cartoon images and techniques derived from the appearance of commercial printing
• .who created blown up images from old comic books. • paintings are composed of bold outlines, lots of primary colors, and millions of Benday
dots. (Benday dots are named for an American printer named Benjamin Day. Benday dots are in all printed images, but are usually too small to be seen by the naked eye.)
• Two things that Lichtenstein frequently portrayed in his artwork were the mindless violence and stereotyped romance in comic book imagery.
Ohhh ALRIGHT ………..1964
The Drowning Girl 1963
WHAAM !! 1963
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Clay Oldenburg
“Food is like clay; you can sculpt with. Also it has an
odour, and you can eat it. I Don’t eat a lot of cake, but I do make cakes! And
unlike the Campbell’s Soup Can, my food is a humanizes form and scale.”
Born January 28, 1929
• Known for his public art installations
– Featured very large replicas (sculptures) of everyday objects
• Sculptures often involved interactive capabilities
– Tube of lipstick
Spoon Bridge and Cherry 1985 Big
Sweep
Apple Core
Tube of lipstick
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JASPER JOHNS
• Born May 15, 1930
• Early works composed using simple schemes of flags, maps, letters, targets and numbers
• Made use of classical iconography
• Seeking to create meaning through the use of symbols
Target with Four Faces1955
False Start 1959
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'Numbers in Color', 1958-59 (encaustic and newspaper on canvas
Summary
• Characterized by bold, simple, everyday imagery, and vibrant block colors.
• Influenced by abstract expressionism and DADAism
• Reflects pop culture and consumerism
• Easy to understand, recognize and interpret
• Major artists: Andy Warhol, Roy Lichtenstein
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ROY LICHTENSTEIN WITH MASTERPIECE (1962), THE RING (1962) AND THE ENGAGEMENT RING
(1962) AT LEO CASTELLI GALLERY, NEW YORK, 1962.
Roy Lichtenstein Showing in Milan at the Triennale Museum
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Greenwood International School
P.E Department
Physical Education
Term 3
Grade: 9
Basketball
The Rules
Basketball is a team sport. Two teams of five players each try to score by shooting a ball
through a hoop elevated 10 feet above the ground. The game is played on a rectangular floor
called the court, and there is a hoop at each end. The court is divided into two main sections
by the mid-court line. If the offensive team puts the ball into play behind the mid-court line,
it has ten seconds to get the ball over the mid-court line. If it doesn't, then the defense gets
the ball. Once the offensive team gets the ball over the mid-court line, it can no longer have
possession of the ball in the area in back of the line. If it does, the defense is awarded the
ball.
Boys Section
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The ball is moved down the court toward the basket by passing or dribbling. The team with
the ball is called the offense. The team without the ball is called the defence. They try to
steal the ball, contest shots, steal and deflect passes, and garner rebounds.
When a team makes a basket, they score two points and the ball goes to the other team. If a
basket, or field goal, is made outside of the three-point arc, then that basket is worth three
points. A free throw is worth one point. Free throws are awarded to a team according to
some formats involving the number of fouls committed in a half and/or the type of foul
committed.
Fouling a shooter always results in two or three free throws being awarded the shooter,
depending upon where he was when he shot. If he was beyond the three-point line, then he
gets three shots. Other types of fouls do not result in free throws being awarded until a
certain number have accumulated during a half. Once that number is reached, then the player
who was fouled is awarded a '1-and-1' opportunity. If he makes his first free throw, he gets
to attempt a second. If he misses the first shot, the ball is live on the rebound.
Each game is divided into sections. All levels have two halves. In college, each half is
twenty minutes long. In high school and below, the halves are divided into eight (and
sometimes, six) minute quarters. In the pros, quarters are twelve minutes long. There is a gap
of several minutes between halves. Gaps between quarters are relatively short. If the score is
tied at the end of regulation, then overtime periods of various lengths are played until a
winner emerges.
Each team is assigned a basket or goal to defend. This means that the other basket is their
scoring basket. At halftime, the teams switch goals. The game begins with one player from
either team at centre court. A referee will toss the ball up between the two. The player that
gets his hands on the ball will tip it to a teammate. This is called a tip-off. In addition to
stealing the ball from an opposing player, there are other ways for a team to get the ball.
One such way is if the other team commits a foul or violation.
FOULS
Hitting
Pushing
Slapping
Holding
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Tips to improve your dribbling & ball handling
1. Dribble the ball hard. The more time the ball spends in your hand, the more control you
have of the ball. The harder you dribble, the quicker it gets back in your hand.
2. Head up at all times. Look at the rim or a spot on the wall during all practice.
3. Use your finger tips to control the ball, not your palm.
4. Use your imagination. Picture when and how you would use each of the dribbles.
5. Teach mentality. There is too much dribbling for no reason in our game today. I like to
teach that the primary purpose for putting the ball on the floor is to get a lay-up. If you don't
have an opportunity, don't put it on the floor.
6. Basketball is a game of length. Work on lengthening the dribble. Work to get your
opportunities with 1 dribble. You don't beat defenses with your dribble. You beat people
with your feet; you SEPARATE from your defense with the dribble.
7. Basketball is also a game of angles. Try to move in straight lines.Whenever you make an
"East-West" move (something that takes you toward the sideline), re-capture a "North-
South" path (direct line to the basket) as quickly as possible.
8. Don't do things in 2 dribbles that you can do in 1.
9. Practice outside your comfort zone. Experiment; go faster than you are used to, use your
imagination. When working on new skills, don't be concerned with losing the ball. Just pick
it up and do it again. If you practice only things that are comfortable, then you will never
improve
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TYPES OF PASSES
Basic Variations:
- Chest Pass
- Bounce Pass
- Overhead Pass
- Wrap Around Pass
Advanced Variations:
- Baseball Pass
- Dribble Pass
- Behind-the-Back Pass
- Pick and Roll Pass
TEACHING POINTS
When teaching passing, points of emphasis should be:
A good pass is a pass a teammate can catch.
When passing, step toward your receiver.
When catching, step toward the pass.
Like shooting, the ball should have a backspin to it. This is
accomplished by following through on every pass.
Basic Passes
CHEST PASS
The chest pass is named so because the pass originates from the
chest. It is thrown by gripping the ball on the sides with the thumbs
directly behind the ball. When the pass is thrown, the fingers are
rotated behind the ball and the thumbs are turned down. The
resulting follow through has the back of the hands facing one
another with the thumbs straight down. The ball should have a nice
backspin.
When throwing a chest pass, the players should strive to throw it to
the receiver's chest level. Passes that go low to high or high to low
are difficult to catch.
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BOUNCE PASS
The bounce pass is thrown with the same motion however it is aimed at the floor. It should be
thrown far enough out that the ball bounces waist high to the receiver. Some say try to throw it
3/4 of the way to the receiver, and that may be a good reference point to start, but each player
has to experiment how far to throw it so it bounces to the receiver properly. Putting a proper and
consistent backspin on the pass will make the distance easier to judge.
OVERHEAD PASS
The overhead pass is often used as an outlet pass. Bring the ball directly above your forehead
with both hands on the side of the ball and follow through. Aim for the teammate's chin. Some
coaches advice not bring the ball behind your head, because it can get stolen and it takes a split-
second longer to throw the pass.
WRAP AROUND PASS
Step around the defence with your non-pivot foot. Pass the ball with one hand (outside hand). It
can be used as an air or a bounce pass. You will often see the wrap-around, air pass on the
perimeter and the wrap-around, bounce pass to make an entry into the post.
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Volleyball Court
Badminton Court
18 | P a g e
Football Court
Body mass index (BMI) is: A measure of body fat based on height and weight that applies to adult men
and women.
- Underweight 19.
- Normal weight 19 25. BMI=W/H*H
- Over weight 26 30.
- Obesity 31 greatest
Overweight is having extra body weight from muscles, bones, fats, and
water.
Obesity is having a high amount of extra body fat.
Many factors can contribute to a person’s weight; these factors include
environment, family, history, genetics and metabolism.
- Metabolism: It’s the way body changes food and oxygen into energy.
Energy Balance: It’s important to maintain a healthy weight, the amount of energy or calories
you get from food and drinks.
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Energy in: It’s the energy your body uses for things like breathing, digesting
and being physically fit.
Energy Out: The same amount of (energy in) and (energy out) overtime
energy balance.
More (energy in) than (energy out) overtime gain in weight.
More (energy out) than (energy in) loss in weight.
A healthy weight is very important because it helps you control many diseases
such as heart diseases, breathing problems, high blood pressure, diabetes and
certain cancers. So it helps you lower your risk for developing these problems,
makes you feel good about yourself and gives you more energy to enjoy life.
Football Rules:
1. Number of players= 11 players inside the court (With the goal keeper).
2. Match Duration= 90 min.
3. The game played in 2 equal rounds of 45 minutes.
4. The goal keeper is the only one who is allowed to be in the penalty area.
5. Football world cup is held every 4 years.
6. The minimum number of players in a football team is 7 players.
7. Players are not allowed to wear jewellery such as watches, rings or anything that may
harm the players.
8. The team can change players 3 times only.
9. Number of referees: They are 4 referees; one of them is the head referee, 2 assistants
(line man) & the last one is responsible for the time and changing players.
10. Federation International of Football Association (FIFA)
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Greenwood International School
P.E Department
Physical Education
Term 3
Grade: 9
Basketball
The Rules
Basketball is a team sport. Two teams of five players each try to score by shooting a ball
through a hoop elevated 10 feet above the ground. The game is played on a rectangular floor
called the court, and there is a hoop at each end. The court is divided into two main sections
by the mid-court line. If the offensive team puts the ball into play behind the mid-court line,
it has ten seconds to get the ball over the mid-court line. If it doesn't, then the defense gets
the ball. Once the offensive team gets the ball over the mid-court line, it can no longer have
possession of the ball in the area in back of the line. If it does, the defense is awarded the
ball.
Girls Section
21 | P a g e
The ball is moved down the court toward the basket by passing or dribbling. The team with
the ball is called the offense. The team without the ball is called the defence. They try to
steal the ball, contest shots, steal and deflect passes, and garner rebounds.
When a team makes a basket, they score two points and the ball goes to the other team. If a
basket, or field goal, is made outside of the three-point arc, then that basket is worth three
points. A free throw is worth one point. Free throws are awarded to a team according to
some formats involving the number of fouls committed in a half and/or the type of foul
committed.
Fouling a shooter always results in two or three free throws being awarded the shooter,
depending upon where he was when he shot. If he was beyond the three-point line, then he
gets three shots. Other types of fouls do not result in free throws being awarded until a
certain number have accumulated during a half. Once that number is reached, then the player
who was fouled is awarded a '1-and-1' opportunity. If he makes his first free throw, he gets
to attempt a second. If he misses the first shot, the ball is live on the rebound.
Each game is divided into sections. All levels have two halves. In college, each half is
twenty minutes long. In high school and below, the halves are divided into eight (and
sometimes, six) minute quarters. In the pros, quarters are twelve minutes long. There is a gap
of several minutes between halves. Gaps between quarters are relatively short. If the score is
tied at the end of regulation, then overtime periods of various lengths are played until a
winner emerges.
Each team is assigned a basket or goal to defend. This means that the other basket is their
scoring basket. At halftime, the teams switch goals. The game begins with one player from
either team at center court. A referee will toss the ball up between the two. The player that
gets his hands on the ball will tip it to a teammate. This is called a tip-off. In addition to
stealing the ball from an opposing player, there are other ways for a team to get the ball.
One such way is if the other team commits a foul or violation.
FOULS
Hitting
Pushing
Slapping
Holding
22 | P a g e
Tips to improve your dribbling & ball handling
10. Dribble the ball hard. The more time the ball spends in your hand, the more control you
have of the ball. The harder you dribble, the quicker it gets back in your hand.
11. Head up at all times. Look at the rim or a spot on the wall during all practice.
12. Use your finger tips to control the ball, not your palm.
13. Use your imagination. Picture when and how you would use each of the dribbles.
14. Teach mentality. There is too much dribbling for no reason in our game today. I like to
teach that the primary purpose for putting the ball on the floor is to get a lay-up. If you don't
have an opportunity, don't put it on the floor.
15. Basketball is a game of length. Work on lengthening the dribble. Work to get your
opportunities with 1 dribble. You don't beat defenses with your dribble. You beat people
with your feet; you SEPARATE from your defense with the dribble.
16. Basketball is also a game of angles. Try to move in straight lines.Whenever you make an
"East-West" move (something that takes you toward the sideline), re-capture a "North-
South" path (direct line to the basket) as quickly as possible.
17. Don't do things in 2 dribbles that you can do in 1.
18. Practice outside your comfort zone. Experiment; go faster than you are used to, use your
imagination. When working on new skills, don't be concerned with losing the ball. Just pick
it up and do it again. If you practice only things that are comfortable, then you will never
improve
23 | P a g e
TYPES OF PASSES
Basic Variations:
- Chest Pass
- Bounce Pass
- Overhead Pass
- Wrap Around Pass
Advanced Variations:
- Baseball Pass
- Dribble Pass
- Behind-the-Back Pass
- Pick and Roll Pass
TEACHING POINTS
When teaching passing, points of emphasis should be:
A good pass is a pass a teammate can catch.
When passing, step toward your receiver.
When catching, step toward the pass.
Like shooting, the ball should have a backspin to it. This is
accomplished by following through on every pass.
Basic Passes
CHEST PASS
The chest pass is named so because the pass originates from the
chest. It is thrown by gripping the ball on the sides with the thumbs
directly behind the ball. When the pass is thrown, the fingers are
rotated behind the ball and the thumbs are turned down. The
resulting follow through has the back of the hands facing one
another with the thumbs straight down. The ball should have a nice
backspin.
When throwing a chest pass, the players should strive to throw it to
the receiver's chest level. Passes that go low to high or high to low
are difficult to catch.
24 | P a g e
BOUNCE PASS
The bounce pass is thrown with the same motion however it is aimed at the floor. It should be
thrown far enough out that the ball bounces waist high to the receiver. Some say try to throw it
3/4 of the way to the receiver, and that may be a good reference point to start, but each player
has to experiment how far to throw it so it bounces to the receiver properly. Putting a proper and
consistent backspin on the pass will make the distance easier to judge.
OVERHEAD PASS
The overhead pass is often used as an outlet pass. Bring the ball directly above your forehead
with both hands on the side of the ball and follow through. Aim for the teammate's chin. Some
coaches advise not bring the ball behind your head, because it can get stolen and it takes a split-
second longer to throw the pass.
WRAP AROUND PASS
Step around the defense with your non-pivot foot. Pass the ball with one hand (outside hand). It
can be used as an air or a bounce pass. You will often see the wrap-around, air pass on the
perimeter and the wrap-around, bounce pass to make an entry into the post.
Football Court
25 | P a g e
Body mass index (BMI) is: A measure of body fat based on height and weight that applies to adult men
and women.
- Underweight 19.
- Normal weight 19 25. BMI=W/H*H
- Over weight 26 30.
- Obesity 31 greatest
Overweight is having extra body weight from muscles, bones, fats, and
water.
Obesity is having a high amount of extra body fat.
Many factors can contribute to a person’s weight; these factors include
environment, family, history, genetics and metabolism.
- Metabolism: It’s the way body changes food and oxygen into energy.
Energy Balance:
It’s important to maintain a healthy weight, the amount of energy or calories
you get from food and drinks.
Energy in: It’s the energy your body uses for things like breathing, digesting
and being physically fit.
Energy Out: The same amount of (energy in) and (energy out) overtime
energy balance.
More (energy in) than (energy out) overtime gain in weight.
More (energy out) than (energy in) loss in weight.
A healthy weight is very important because it helps you control many diseases
such as heart diseases, breathing problems, high blood pressure, diabetes and
certain cancers. So it helps you lower your risk for developing these problems,
makes you feel good about yourself and gives you more energy to enjoy life.
26 | P a g e
Football Rules:
1. Number of players= 11 players inside the court (With the goal keeper).
2. Match Duration= 90 min.
3. The game played in 2 equal rounds of 45 minutes.
4. The goal keeper is the only one who is allowed to be in the penalty area.
5. Football world cup is held every 4 years.
6. The minimum number of players in a football team is 7 players.
7. Players are not allowed to wear jewellery such as watches, rings or anything that may
harm the players.
8. The team can change players 3 times only.
9. Number of referees: They are 4 referees; one of them is the head referee, 2 assistants
(line man) & the last one is responsible for the time and changing players.
10. Federation International of Football Association (FIFA).
HANDBALL
International Handball Federation (FIBA)rules: Court Length 40m
Court width 20m
The goal opening 2m*3m
The goal Area Line 6m
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The ball: it’s leather ball
The Official ball for women: 54c.m 56c.m
The Official weight for Women: 325g 400g
The Official ball for Men: 58c.m 60c.m
The Official weight for Men: 425g 475g
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Greenwood International School
English Department
Final Examination 2015- 2016
Grade 9 Final Examination 2015-2016
Required Material
Paper 1: Literature:
Unit 3: Setting, Mood, and Imagery
From A Walk in the Woods
Benchmarks (Skills) covered according to the Common Core State Standard:
RI 4 Analyze the cumulative impact of specific word choices on meaning and tone.
RI 6 Determine an author’s point of view in a text and analyze how an author uses rhetoric to advance
that point of view.
L 4a-c Use context as a clue to the meaning of a word; Identify patterns of word changes; consult a
5. Comprehension section from literature notebook and textbook.
Play “Romeo and Juliet” : ACT 1, 2, and 5
Read about William Shakespeare, his writing style, his works, Globe Theatre, Shakespearean Tragic
Hero, protagonist, and antagonist
Review Act 1, 2, and 5 from the play and try to analyze the following:
1. Describe the difference between tone, mood, and setting and discuss
how Shakespeare uses each to make the play more interesting.
2. Discuss characteristics of Shakespearean Tragedy.
3. What is main theme of Romeo and Juliet?
4. In what way does this play differ from most of the tragedies?
5. Make Judgments: In the play’s final speech, Prince Escalus declares, “Some shall be pardoned, and
some punished.” If you were the ruler of Verona, whom would you pardon, and whom would you
punish? Explain.
6. Analyze Tragedy: In a tragedy, the hero or heroine usually has a character flaw that leads to his or her downfall. Is this true of Romeo and Juliet? Cite evidence from the tragedy to support your explanation.
7. Examine Theme: Many of the themes in Romeo and Juliet are universal, meaning they are still relevant today. Examine the values and experiences shown, and think about how each is presented in Romeo and Juliet
