The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

STUDENT ACTIVITIES
GUIDE

The
Merchant
of Venice
by William Shakespeare

Artwork by
Scott McKowen
 In
The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

This Guide
– About This Guide.............................................................................................................2

– The Life of William Shakespeare......................................................................................3

– Shakespeare’s London.....................................................................................................4

– Are You Sure This Is English?............................................................................................5

– Who Said That?................................................................................................................7

– Test Your Understanding..................................................................................................8

– Additional Topics for Discussion....................................................................................10

– About this Production....................................................................................................10

– Follow-up Activities.......................................................................................................11

– Meeting the Core Curriculum Standards........................................................................12

– Sources and Further Reading.........................................................................................13

– About the Shakespeare Theatre of New Jersey................................................................14

– Additional Opportunities for Students and Teachers.......................................................15

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

About This Guide

One of the principal goals of The Shakespeare Theatre of New Jersey’s education programs is to demystify the classics, take them “off the shelf,” and re-energize them for
students and teachers alike. Toward these goals, this Classroom Activities Guide, used in conjunction with our Audience Guide, provide educators with tools to both allay
their own concerns and to expand the theatre-going experience for their students beyond the field trip to The Shakespeare Theatre.

The information included in this guide will help you expand your students’ understanding of classic literature in performance, as well as help you meet many of the New
Jersey Common Core Standards. We encourage you to impart as much of the information included in the Classroom Activities Guide and the Audience Guide to your
students as possible. The following are some suggestions from teachers on how you can best utilize elements of these guides given limited classroom time.

•JUST THE BASICS: Many teachers have found that distributing or reading the Synopsis and Who‘s Who pages from the Audience
Guide has greatly increased students’ understanding and enjoyment of the production. It provides the students with a general
understanding of what they will be seeing and what they can expect. Some teachers simply take the last five minutes of a class “What’s My Line?”
period to do this with very positive results.
Promoting Active Listening
•MINI TEAM-RESEARCH PROJECTS: When more class time is available prior to your visit, we recommend incorporating the
background information on the era in which the play is set as well the play itself. One teacher divided her class into groups and Teacher-tested, student-approved!
assigned each group research topics based on the divisions found in this guide as well as the Audience Guide. Using a copy Try this exercise with your students:
of the corresponding Audience Guide page as a launch pad, the students had one week to research the topics. The students
then presented their information to the class in three- to five-minute oral reports. Including the questions that evolved from the Before attending the production, give each
presentations, the entire project took only one class period. student one line from the play to listen for.
Discuss the meaning of the line and encourage
•POST-SHOW DISCUSSION: Using the questions found in the “Topics for Discussion,” many teachers will opt to take a class period their input in deciphering what the intention
after their trip to The Shakespeare Theatre of New Jersey to discuss the play with their students. The questions help keep the of the line might be. How would the student
comments focused on the production, while incorporating various thematic and social issues that are found in the play. perform the line? Why is the line important to
the play? Does it advance the plot, or give the
•GET ON YOUR FEET: One school spent two days working through performance-based activities (a few of which are suggested in audience particular insight into a character or
the “Follow-Up Activities” section) with a particularly “difficult and rowdy” class. They were astounded with the results. relationship?

Again, we hope you will incorporate as many portions of this guide as you are able into your classroom experience. If Following the production, discuss the line again.
you have any suggestions for activities or topics not already found in the Audience Guide, please contact our Education Did the actor present the line in the way your
Department. We are always interested in hearing new ways to excite young people (and teachers) about Shakespeare and student expected? If not, how was it different?
live theatre.

Happy Teaching,

Brian B. Crowe,
Director of Education
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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

of
The Life playwright. He wrote approximately 38 plays, two epic poems,

William
and over 150 sonnets. His work was immensely popular, appealing
to members of all social spheres including Queen Elizabeth I and

Shakespeare King James I. While the plays were well-liked, Shakespeare’s

work was not considered by his educated contemporaries to be
exceptional. By 1608, Shakespeare’s
William Shakespeare, widely involvement with theatre began to
recognized as the greatest English dwindle, and he spent more time
dramatist, was born on April 23, at his country home in Stratford.
1564. He was the third of eight He died in 1616.
children born to John Shakespeare
and Mary Arden of Stratford- Most of Shakespeare’s plays
upon-Avon in Warwickshire, found their first major
England. Shakespeare’s father was publication in 1623, seven
a prominent local merchant, and years after Shakespeare’s
Shakespeare’s childhood, though death, when two of his fellow
National Portrait Gallery, London little is known about it for certain, actors put the plays together
appears to have been quite normal. in the First Folio. Other early
In fact, it seems that the young printings of Shakespeare’s plays
Shakespeare was allowed considerable leisure time because his were called quartos, a printer’s
writing contains extensive knowledge of hunting and hawking. term referring to the format in which
In 1582, he married Anne Hathaway, the daughter of a farmer. the publication was laid out. These The Shakespeare Family
She was eight years his senior, and the match was considered quartos and the First Folio texts are Coat of Arms
unconventional. the sources of all modern printings
of Shakespeare’s plays.
It is believed that Shakespeare left Stratford-upon-Avon and went
to London around 1588. By 1592, he was a successful actor and

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

London
Shakespeare’s for entertainment, however, did spur the development of numerous
new theatre pieces. Often a nobleman would become a patron to an
artist or company of actors, providing for their financial needs and
sheltering them to some degree from official sanctions. In return, the
London, in the late 16th and early 17th centuries, was a bustling company would adopt the name of the patron. Shakespeare’s acting
urban center filled with a wide variety of people and cultures. company was originally named “Lord Chamberlain’s Men” after
Although most life centered around making a living or going to their patron Henry Carey, the Lord Chamberlain. Later, under the
church, the main source of diversion for Londoners was the theatre. patronage of King James I, they were known as “The King’s Men,” an
It was a form of entertainment accessible to people of all classes; unprecedented honor at the time.
The rich and the poor, the aristocrats and the beggars, all met at
the theatre. Though often appeasing the church or the monarchy, Despite the flourishing of the
theatre at this time did experience a freedom that was unknown in arts at this time, London was
previous generations. Evidence of this can be found in the numerous sometimes a desolate place.
bawdy and pagan references found in Shakespeare’s plays. This Outbreaks of the Black Plague
relative artistic license and freedom of expression made theatre (the bubonic plague) frequently
extremely unpopular among certain members of society, and it erupted, killing thousands
was later banned entirely by the Puritans. Not until the reign of of citizens. Theatres, shops,
Charles II (1660-1685) was the theatre restored to the status it held in and the government all shut
Shakespeare’s day. down during these times in
hopes of preventing the spread
The Globe Theatre, the resident playhouse for Shakespeare’s of the disease. Elizabethans
company of actors, was easily accessible to Londoners and an active were unaware that the disease
social center. Actors and performers were also regularly brought was being spread by the flea
to court or to private homes to entertain. Despite their popularity, and rat populations, which
actors maintained a relatively low social status, sometimes no well outnumbered the human
better than a common beggar or rogue. Most performers were population of London at that
forced to earn a living doing trade work. The aristocracy’s desire time.

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Are You SURE This Is English?

Contrary to popular belief, Shakespeare and his contemporaries did not write in Old English, or even Middle English. PLAYWRIGHTS OF THE 16TH AND
EARLY 17TH CENTURIES WROTE IN MODERN ENGLISH. Shakespeare spoke (and wrote in) the same language which we speak today. It is possible to
be thrown a bit by grammatical “carry-overs” from earlier English [“thee” and “thou” instead of “you”] and the poetic liberties that Shakespeare took, but
there is no doubt that the words and syntax used in his plays can be understood today without any “translation.” To help clarify this point, here are some
examples of Old, Middle, and Modern English.

Selection from Beowulf

OLD ENGLISH (500 - 1150 CE) Author unknown, ca 800 CE MODERN ENGLISH TRANSLATION:
When Julius Caesar invaded Britain in BCE 55-4, the Oft Scyld Scèfing sceaðena prèstum, Often Scyld the Scefing from squadroned foes,
Celtic (pronounced KEL-tic) tribes lived in the British
monegum mægðum meodo-setla oftèah, from many a tribe, the mead-bench tore,
Isles. Their languages survive today in the forms of
egsode eorlas. Syððan ærert wearð awing the earls. Since first he lay
Gaelic (Scotland and Ireland), Welsh (Wales), and
Manx (Isle of Man). The Romans brought Latin to fèasceaft funden, hè þæs frofre gebàd, friendless, a foundling, fate repaid him:
Britain. However, early English developed primarily wèox under wolcnum, weorð-myndum for he waxed under welkin, in wealth he throve,
from the language of tribes which invaded and settled þàh,
till before him the folk, both far and near,
England from what is now Germany. This language, oð-þæt him aeghwylc ymb-sittendra
known as Old English, was also influenced by the Latin who lived by the whale-path, heard his mandate,
ofer hron-ràde hÿran scolde,
spoken by Catholic missionaries from Rome as well as gave him gift: a good king he!
gomban gyldan. þæt wæs god cyning!
the Scandinavian dialects of Viking raiders and settlers.

MIDDLE ENGLISH (1150 - 1450 CE) Selection from The Canterbury Tales
MODERN ENGLISH TRANSLATION:
The conquest of England by the Norman army in 1066 By Geoffrey Chaucer, ca 1390 CE
brought great changes to English life and the English But natheless / while I haue tyme and space But nonetheless, while I have time and space
language. The Old French spoken by the Normans Er that I ferther / in this tale pace Before I continue in this story
became for many years the language of the Royal Court Me thynketh it acordant to resoun I think it appropriate to speak of,
and of English literature. Over time, the spoken English To tell you, the condition
To telle yow / al the condiciun
still used by the lower classes borrowed about 10,000 Of each of them, as it seemed to me.
words from French, as well as certain grammatical Of eeche of hem / so as it seemed to me
And whiche they weere / and of what And who was who, and of what degree,
structures. By the time English reappeared as a written,
degree And in what fashion each was dressed.
literary language in the 14th century, it only distantly
resembled Old English. This German-French hybrid And eek in what array / that they were inne And with a knight then I will begin.
language is known as Middle English. And at a knyght thanne wol I first bigynne.
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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

MODERN ENGLISH (1450 - present day) Selection from Romeo and Juliet
With the invention of the printing press in the 15th century, By William Shakespeare, ca 1595 CE
the English language began to develop and mutate at an Well, you have made a simple choice; you know not how to choose a man:
unprecedented rate. Books, previously a precious and expensive Romeo! No, not he; though his face be better than any man’s, yet his leg excels all
commodity, were now widely available to anyone with basic men’s; and for a hand, and a foot, and a body, though they be not to be talked on,
literacy. Works in Latin, Italian, Spanish, French, and Portuguese yet they are past compare...
were translated by the hundreds, and the translators found
it necessary to borrow and invent thousands of new words.
English trade and exploration fueled even more cultural and WHAT DID SHAKESPEARE
linguistic exchange. The early Modern English of Shakespeare SOUND LIKE?
and his contemporaries has been referred to as “English in its
While we may associate Shakespeare with the
adolescence”: daring, experimental, innovative, and irreverent.
“refined” British accent of Sir Ian McKellen or Dame
Judi Dench, linguistic scholars suggest that the closest
approximation to the London accent of Shakespeare’s
A MAN OF MANY WORDS day is the accent heard nowadays in the Appalachian
region of the United States.
Shakespeare used over 20,000 different words in his plays and
poems. Of these, 8.5% (1,700 words) had never been seen in
Follow this link to hear how Shakespeare’s language
print before Shakespeare used them. To hear how might have sounded:
Old and Modern
To give you a sense of just how extraordinary this is, consider https://www.youtube.com/watch?v=gPlpphT7n9s
that the King James Bible uses only 8,000 different words.
English sound,
Homer is credited with using approximately 9,000 different follow these links:
words in his works. Milton is estimated at using 10,000
different words in his works. OLD ENGLISH
(Beowulf):
https://www.youtube.com/watch?v=0zorjJzrrvA
THE HEART OF THE POETRY
Shakespeare most often wrote in a style known as blank verse,
MIDDLE ENGLISH (The Canterbury Tales):
an unrhymed regular verse structure; specifically referring to
unrhymed iambic pentameter. This structure typically includes
https://www.youtube.com/watch?v=QE0MtENfOMU
five (penta) feet of alternating unstressed and stressed syllables
called iambs. Each ten syllable verse line has a distinctive sound
similar to the beating of a human heart:
da-DUM-da-DUM-da-DUM-da-DUM-da-DUM.
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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Who Said That? Match the spoken line to the character who speaks it.
Some characters match more than one line, some match none.

A. “In sooth I know not why I am so sad.” DUKE OF VENICE

B. “Hath not a Jew eyes?” ANTONIO

C. “It is not unknown to you, Antonio, BASSANIO

How much I have disabled mine estate...”
GRATIANO
D. “How sweet the moonlight sleeps upon this bank.” LORENZO
E. “How far that little candle throws his beams! SOLANIO
So shines a good deed in a naughty world.”
SALERIO
F. “The devil can cite Scripture for his purpose!”
SHYLOCK
G. “I am never merry when I hear sweet music.”
TUBAL
H. “Let me play the fool.” LAUNCELOT GOBBO
I. “The deeds upon my head! I crave the law, OLD GOBBO
The penalty and forfeit of my bond.”
PORTIA
J. “The quality of mercy is not strained”
NERISSA
K. “Certainly my conscience will serve me to run from this Jew my master.” JESSICA
L. “I will not choose what many men desire, DUKE OF MOROCCO
Because I will not jump with common spirits...
PRINCE OF ARRAGON
Why, then, to thee, thou silver treasure house.”

Answers available on Pg. 10

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Test Your Understanding Circle the letter that BEST answers the question.

1. Shakespeare’s plays are most often written in:

a) rhyming couplets b) Old English c) blank verse d) prose

2. In what language did Shakespeare write in?

a) Old English b) early Modern English c) Middle English d) Latin

3. In accordance to her father’s will, Portia’s suitors must successfully ___________ to win her hand in marriage.
a) fight a wild lion b) choose between two doors
c) choose between three small caskets d) win Portia’s love

4. Bassanio asks his friend, Antonio, for money so that he can ______________________.
a) properly woo Portia, a wealthy heiress b) throw a party for his friends
c) travel to London to become an actor d) study in Paris

5. Shylock describes his loan agreement with Antonio as ______________________.
a) a dead-man’s bond b) a merry bond c) a friendly joke d) a fair bargain

6. In accordance to the bond, if Antonio cannot repay his loan to Shylock, Shylock can claim _____________________.
a) all Antonio’s worldly possessions b) Antonio as a slave in Shylock’s home
c) a pound of Antonio’s flesh closest to the heart d) Antonio’s daughter as a bride

7. According to Portia’s father’s will, if a suitor chooses incorrectly, he must _____________________.

a) never seek to marry any woman b) never seek the love of Portia again
c) forfeit all his property d) both a & b e) both b & c

CONTINUED >>
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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Test Your Understanding CONTINUED

8. Shylock’s daughter, Jessica, __________________.

a) elopes with Bassanio b) elopes with Lorenzo c) runs away from home alone
d) takes her father’s jewels e) both a & d f) both b & d g) both c & d

9. Antonio’s wealth is believed to be entirely lost when _______________________.

a) his shop and home are destroyed in a fire b) his merchant ships are all lost at sea
c) he unsuccessfully attempts to win Portia d) he is robbed

10. When facing the challenge to win Portia’s hand in marriage, Bassanio correctly chooses _____________________.
a) the gold casket b) the silver casket c) the lead casket d) to elope with Portia instead

11. Portia disguises herself as a ___________________ in hopes of saving her husband’s friend.
a) police officer b) merchant of Venice c) rival money-lender d) barrister

12. In court, Portia determines that Shylock’s bond does not allow him to ______________________, and in this she defeats him
and saves Antonio’s life.
a) spill a drop of Antonio’s blood b) cut Antonio with a blade of any kind
c) claim human flesh as a prize d) none of the above; Portia does not save Antonio

13. For plotting the death of Antonio, Shylock must _______________________.

a) hand over all his wealth and property to the state b) renounce Judaism and convert to Christianity
c) leave Venice immediately d) all of the above
e) both a & b f) both a & c g) none of the above

14. While disguised, what prized possession does Portia successfully gain from Bassanio?
a) a ring given to him by Portia b) the deed to all his land
c) his love d) his first born child

Answers available on Pg. 10

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Topics for Discussion

ABOUT THE PLAY:
1. Portia’s father’s will requires that her suitors must pass a test before they may marry Portia. Outline the rules of this test. What happens
if the suitor does not pass the test? Why do you think Portia’s father set this test as a requirement to marry his daughter? Do you believe
there is any wisdom in the rules of the test? What does it require of the would-be suitor?

2. Discuss the role of Shylock in The Merchant of Venice. In what ways is he the villain of the story? In what ways, if any, is he the victim?
Consider the treatment of the other Jewish characters in the story. Are they treated differently than Shylock? In the end, do you think
Shylock’s punishment is just or unjust? Why?

3. Antonio freely allows Bassanio to borrow money on his credit. Why? Discuss in detail the relationship between these two men as laid
out in the play. Do you have friends to whom you would be equally willing to give?

4. In the Romantic Comedy, as discussed earlier in this guide, one must somewhat suspend the daily reality of cause and effect. Cite
specific events in The Merchant of Venice that, from a contemporary realistic point of view, are not fully plausible. Be specific.

ABOUT THIS PRODUCTION:

1. How have the director and designers of this particular production created the worlds of Venice and Belmont? In what period have they
set this production? Consider the costume and scenic designs. What do these designs say about the world of the play? Is it rich and
elegant? What mood does the design elicit in the audience? Is it a merry world or a dark one? Does it change? Be specific.

2. Each production must interpret the treatment of Shylock and the other Jewish characters in the play. How have the director and the
actors chosen to deal with this issue? How are the Jewish characters portrayed in this production? How do the Christian characters relate
to them? Be specific.

3. How is sound used to establish mood and location in this production?

4. How does this production of The Merchant of Venice compare to what you expected? Be specific.

WHO SAID THAT? Answer Key TEST YOUR UNDERSTANDING Answer Key
L. Prince of Arragon H. Gratiano D. Lorenzo
12. a 9. b 6. c 3. c
K. Launcelot Gobbo G. Jessica C. Bassanio
14. a 11. d 8. f 5. b 2. b
J. Portia F. Antonio B. Shylock
13. e 10. c 7. d 4. a 1. c
I. Shylock E. Portia A. Antonio
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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Follow Up Activities
CRITIC’S CORNER — Write a review of this production of The Merchant of Venice. Be sure to include specific information and your
own reactions to the acting, the design elements (lights, set, costumes and sound), and the play itself. Explain what you liked about the
production, and what you disliked, and support your opinions. Submit your review to The Shakespeare Theatre of New Jersey’s Education
Department, or see if it can be published in your school newspaper.

“ALERT THE MEDIA!” — Select a series of events from the play, and “cover” them in the style of a newspaper reporter or television
journalist or an internet blogger: news of the Shylock’s deal with Antonio, word of the merchant ships lost at sea, an article on the
peculiar challenge presented to suitors to the wealthy heiress of Belmont. Extra credit if you can squeeze in some quotes from the play.

“I LEARN BY THIS LETTER...” — Write a letter from the point of view of one of the characters, discussing an event or situation
in the play. For example, one could write a letter from Jessica to a dear friend about her plans to elope, or from Shylock explaining his
reasons for making such an unusual bond with Antonio, or from Portia telling of her trip to Venice disguised as a young barrister.

THE 15-MINUTE MERCHANT ­— Divide into five groups, and have each group take one act of the play. Your task is to create a
three-minute version of your act using only Shakespeare’s words. Choose carefully the lines from your act that carry the most important
information and advance the story. When each group is done, you will have a 15-minute version of The Merchant of Venice which you
can perform for one another. Afterwards, discuss both the process of adaptation and how your “abridgment” compared to the full-length
performance.

MODERN PARALLELS — Consider any one aspect of the play and find the parallels to
our modern world. It could focus on Shylock and Jessica as outsiders, or Jessica wanting to
break free from her father, or the challenge Portia’s father left in his will for would-be suitors. CALLING ALL TEACHERS!
How are these elements of Shakespeare’s play the same as now, how are the different?
Support your ideas with specific passages from the play and from contemporary news Do you have activities or exercises to
sources and culture. suggest for this play? We are always
looking for new ideas to inspire students
(and teachers). Send your suggestions to
“HISTORY IS WRITTEN BY THE VICTORS” — What if Shylock had succeeded
[email protected] and we will
in gaining the pound of flesh from Antonio? What would become of Venice, and of the
share them with other teachers, and maybe
characters left behind? How would Shakespeare’s play have been different? Write a
even include them in future study guides.
narrative account or synopsis of the events following this alternate ending.

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Meeting the Common Core Standards

In 1996, the New Jersey State Board of Education adopted the Core Curriculum Content Standards that set out to clearly define what every New Jersey student should
know and be able to do at the end of their schooling. The Shakespeare Theatre of New Jersey is committed to supporting teachers by ensuring that our educational
programs are relevant to the evolving standards of modern education.

Viewing a performance at The Shakespeare Theatre of New Jersey and participating in the post-performance discussion can serve as a powerful springboard for
discussion, writing, and other outlets for higher-order thinking. On this page, you will find suggestions for ways to align your study of our production to each standard.

LANGUAGE ARTS LITERACY STANDARDS VISUAL AND PERFORMING ARTS STANDARDS

As a theatre dedicated to the classics, we are continually engaged in exploring some Both the CCSS and the Every Student Succeeds Act promote the inclusion of “programs
of the world’s greatest literature and the relationship between the written text and and activities that use music and the arts as tools to support student success through the
performance. Our philosophy and practice follow the underlying assumptions of promotion of constructive student engagement, problem solving, and conflict resolution”
the Language Arts Literacy CCSS: That “language is an active process for constructing (ESSA 2015). Performances, workshops, and study guide exercises developed by The
meaning”; that “language develops in a social context”; that language ability increases Shakespeare Theatre of New Jersey strive to address the Visual and Performing Arts
as learners “engage in texts that are rich in ideas and increasingly complex in language”; Standards.
that learners achieve mastery not by practicing isolated skills but by “using and exploring
language in its many dimensions.” Below, you will find a few possibilities for aligning your study of our production to each
standard.
In the practice of theatre, we merge all areas of the language arts, as the standards suggest
“in an integrated act of rehearsal, reflection, and learning.” Below, you will find just a few Standard 1.1 The Creative Process: All students will demonstrate an understanding of the
of the possibilities for aligning your study of our productions to each of these standards. elements and principles that govern the creation of works of art in dance, music,
theatre, and visual art.
NJSLSA.R1. Read closely to determine what the text says explicitly and to make logical Write a review of the production using domain-appropriate terminology; develop
inferences and relevant connections from it; cite specific textual evidence when a class rubric for effect theatrical presentations
writing or speaking to support conclusions drawn from the text.
Read a scene from the play as a class and use context clues to interpret new Standard 1.2 History of the Arts and Culture: All students will understand the role,
words and expand vocabulary. development, and influence of the arts throughout history and across cultures.
NJSLSA.R9. Analyze and reflect on how two or more texts address similar themes or Discuss the representation of social issues (class, politics, etc.) in the play;
topics in order to build knowledge or to compare the approaches the authors take. research how the historical period affected the writer’s work; compare the play to
Compare this production to another Shakespeare play or to a piece you are work from other historical periods.
reading in class.
NJSLSA.R10. Read and comprehend complex literary and informational texts Standard 1.3 Performing: All students will synthesize skills, media, methods, and
independently and proficiently with scaffolding as needed. technologies that are appropriate to creating, performing, and/or presenting works of
Analyze a portion of the text, isolate specific imagery, meanings, references, art in dance, music, theatre, and visual art.
and then compare those instances to other passages in the play. Perform a monologue or scene from the play; participate in a classroom
W.3.6. With guidance and support from adults, use technology to produce and publish workshop that develops the physical and technical skills required to create
writing as well as to interact and collaborate with others. and present theatre.
Compare and Contrast the printed text with the staged version viewed online.
Maintain a journal or blog that classmates can comment on using specific Standard 1.4 Aesthetic Responses & Critique Methodologies: All students
prompts about the play. will demonstrate and apply an understanding of arts philosophies,
SL.3.1. Engage effectively in a range of collaborative discussions (one-on-one, in groups, judgment, and analysis to works of art in dance, music, theatre,
and teacher led) with diverse partners on grade 3 topics and texts, building on and visual art.
others’ ideas and expressing their own clearly. Participate in a post-show discussion of elements such
Participate in a post-show Discussion. as physicality and creating motivated action; discuss
L.6.3. Use knowledge of language and its conventions when writing, speaking, reading, the relationship between play text and production
or listening. design.
Write a new ending for the play in modern prose.

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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Sources and Further Reading

On Shakespeare and Merchant: Plays by William Shakespeare:
–in order written by category–
THE ANNOTATED SHAKESPEARE, Introduction by A.L. Rowe The History Plays The Tragedies
THE ARDEN SHAKESPEARE: THE MERCHANT OF VENICE edited by John Henry VI, Part I Titus Andronicus
Drakakis Henry VI, Part II Romeo and Juliet
ASIMOV’S GUIDE TO SHAKESPEARE by Isaac Asimov Henry VI, Part III Julius Caesar
CAMBRIDGE STUDENT GUIDE: THE MERCHANT OF VENICE edited by Robert Richard III Hamlet
Smith, Richard Andrews, and Vicki Wienand King John Othello
THE COMPLETE IDIOT’S GUIDE TO SHAKESPEARE, by Laurie Rozakis Richard II King Lear
THE ESSENTIAL SHAKESPEARE HANDBOOK, by Dunton-Downer and Riding Henry IV, Part I Macbeth
FOLGER SHAKESPEARE LIBRARY: THE MERCHANT OF VENICE edited by Henry IV, Part II Anthony and Cleopatra
Barbara A. Mowat and Paul Werstine Henry V Coriolanus
FREEING SHAKESPEARE’S VOICE by Kristin Linklater Henry VIII Timon of Athens
THE FRIENDLY SHAKESPEARE by Norrie Epstein
“Historicity in Shakespeare’s Richard III” by James A. Moore The Comedies The Romances
THE NEW CAMBRIDGE SHAKESPEARE: RICHARD III edited by Janis Lull The Comedy of Errors Pericles
THE OXFORD SHAKESPEARE: RICHARD III edited by John Jowett The Taming of the Shrew Cymbeline
A READER’S GUIDE TO SHAKESPEARE by Muriel B. Ingham The Two Gentlemen of Verona The Winter’s Tale
SHAKESPEARE A TO Z by Charles Boyce Love’s Labour’s Lost The Tempest
SHAKESPEARE AFTER ALL by Marjorie Garber A Midsummer Night’s Dream The Two Noble Kinsmen*
SHAKESPEARE FOR BEGINNERS by Brandon Toropov The Merchant of Venice
SHAKESPEARE FOR DUMMIES by Doyle, Lischner, and Dench The Merry Wives of Windsor The Poems
SHAKESPEARE IN PERFORMANCE, Consultant Editors Parsons and Mason Much Ado About Nothing Venus and Adonis
SHAKESPEARE: THE INVENTION OF THE HUMAN by Harold Bloom As You Like It The Rape of Lucrece
SHAKESPEARE OUR CONTEMPORARY by Jan Kott
Twelfth Night, or What You Will The Phoenix & the Turtle
Troilus and Cressida A Lover’s Complaint
THEATRE: A WAY OF SEEING, Third Edition by Milly S. Barranger
All’s Well That Ends Well The Sonnets
SHAKESPEARE SET FREE, edited by Peggy O’Brien
Measure for Measure
SHAKING HANDS WITH SHAKESPEARE, by Alison Wedell Schumacher
*The Two Noble Kinsmen is sometimes classified by some
scholars as a Romance, and by some as a Comedy.
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 The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

About The Shakespeare Theatre of New Jersey

The acclaimed Shakespeare Theatre of New Jersey is one of the leading The company’s 2017 Main Stage Season features five productions presented in
Shakespeare theatres in the nation. Serving approximately 100,000 adults and the Kirby Shakespeare Theatre from June through December. Each summer, an
young people annually, it is New Jersey’s largest professional theatre company Outdoor Stage production is also presented at an open-air amphitheatre nestled in
dedicated to Shakespeare’s canon and other classic masterworks. With its a hillside on the campus of the College of Saint Elizabeth in nearby Florham Park.
distinguished productions and education programs, the company strives to The Theatre is proud to have launched into its second half-century with a brand
illuminate the universal and lasting relevance of the classics for contemporary new support facility housing all its administrative and technical shops, as well as a
audiences. The longest-running Shakespeare theatre on the East Coast and new rehearsal hall, classroom spaces, and extensive costume, property and scenic
the seventh largest in the nation, The Shakespeare Theatre celebrates its 55th inventory in the nearby town of Florham Park.
anniversary in 2017.
In addition to being a celebrated producer of classic plays and operating
The Company’s dedication to the classics and commitment to artistic excellence Shakespeare LIVE! (one of the largest educational Shakespeare touring programs
helps set high standards for the field. Nationwide, the Theatre has emerged in the North East region), The Shakespeare Theatre is also deeply committed to
as one of America’s most exciting companies under the leadership of Artistic nurturing new talent for the American stage. By providing an outstanding training
Director Bonnie J. Monte, who has been with the company since 1990. It is ground for students of the theatre, and cultivating audiences for the future by
one of only a handful of Shakespeare Theatres on the East Coast, and in recent providing extensive outreach opportunities for students across New Jersey and
years has drawn larger and larger audiences and unprecedented critical acclaim. beyond, The Shakespeare Theatre is a leader in arts education and professional
The opening of the intimate 308-seat F.M. Kirby Shakespeare Theatre in 1998, training. For additional information, visit our web site at www.ShakespeareNJ.org.
provided the Theatre with a state-of-the-art venue with excellent sightlines, and
increased access for patrons and artists with disabilities. The Shakespeare Theatre of New Jersey is a member of ArtPride, The Shakespeare
Theatre Association, Madison Cultural & Arts Alliance, and is a founding member
of the New Jersey Theatre Alliance.

The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council
on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds
from the National Endowment for the Arts. Additional major support is received from The Geraldine R. Dodge
Foundation, F.M. Kirby Foundation, The Shubert Foundation, The Edward T. Cone Foundation, and Bank of
America, as well as contributions from other numerous corporations, foundations, government agencies
and individuals.

The F.M. Kirby Shakespeare Theatre Support for the Theatre’s education programs is provided in part by
Photo © Andrew Murad, 2008 The Investors Foundation, Johnson & Johnson, The Provident Bank
Foundation, and the Turrell Fund.
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The Shakespeare Theatre of New Jersey THE MERCHANT OF VENICE: Student Activities Guide

Additional Opportunities for Students and Teachers

THE SHAKESPEARE THEATRE ACADEMY
The Shakespeare Theatre now offers youth and adult classes in a wide range of disciplines connected with the classics and the art of
theatre. Each series of classes meets once a week in one of the Theatre’s beautiful facilities, and gives participants the opportunity
to work under the instruction of The Shakespeare Theatre’s artistic and educational staff as well as guest teaching artists. Spring and
Fall Classes Available.

SHAKESPEARE LIVE! TOURS AND WORKSHOPS

This acclaimed touring program brings dynamic and visually engaging one-hour productions of Shakespeare’s classics directly into
the schools. Each performance includes a comprehensive study guide and a post-performance discussion with the actors. Fun and
interactive workshops give students a chance to explore the actor’s approach to bringing Shakespeare’s language to life. In 2018 we
will be offering productions of The Comedy of Errors and Macbeth!

PAGES TO PLAYERS: IN-SCHOOL RESIDENCIES

Residencies provide an opportunity for classroom English teachers in grades 4–8 to partner with the Theatre’s skilled teaching artists
to explore Shakespeare’s text in-depth, in an exciting, performance-based technique that promotes collaboration, self-confidence,
and creativity, while always strengthening Language Arts skills.

SHAKESPERIENCE: NJ STUDENT SHAKESPEARE FESTIVAL

This annual spring festival, developed in partnership with the Folger Shakespeare Library and Rider University, gives middle and
high school students the opportunity to spend a day at the Theatre experiencing Shakespeare as both actors and audience members.
The Shakesperience:NJ Festival celebrates the power of performance as a teaching tool on a statewide scale.

THE JUNIOR AND SENIOR SHAKESPEARE CORPS

Young actors are given the opportunity to participate in the excitement of the Theatre’s summer season through this program,
which offers classes, a final presentation, as well as behind-the-scenes and front-of-house experience. Geared for students
ages 10 to 18, admission to this program is through an audition and/or an interview.

www.ShakespeareNJ.org/Education
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