Внеклассное мероприятие по английскому языку "По страницам произведений У.Шекспира"

Задачи урока:

• познакомить с произведениями У. Шекспира

• познакомить учащихся с социокультурными особенностями культуры и быта Англии.

• развитие умения устного общения.

• стимулирование интереса учащихся к изучению английского языка.

• развитие умения учащихся участвовать в драматизации спектаклей.

Оборудование: презентация (фоновые рисунки) или декорации. Приложение 1.

(Curtain opens. The Lazy Student is reading in various books; some of them are next to him.) (слайд 2)

Student:

Oh, teachers, isn’t it annoying
To read books?
They are so boring!!!
Songs, novels – everything’s in English;
It’s difficult just to distinguish.
I pass exams… tomorrow… in the morning...
I can’t remember – it’s so boring!
Who is that Hamlet?
He’s a friend of Desdemona…
His neighbor’s Dr. Watson…
He’s a German…
Well, that’s enough,
Some minutes for a sleep
Or I’ll begin to sob or weep.
Come in, my sweetest dreams!!!

(Student falls asleep on the bench. Curtain.) Звучит сонет

On Shakespeare
What needs my Shakespeare for his honour’d Bones,
The labour of an age in piled Stones,
Or that his hallow’d reliquesshould be hid
Under a stary pointing Pyramid?
Dear son of memory, great heir of Fame, 
What needs’t thou such weak witnes of thy name?
Thou in our wonder and astonishment
Hast built thyself a live-long Monument.
For whilst, to th’ shame of slow-endeavouring art,
Thy easy numbers flow, and that each heart
Hath from the leaves of thy unvalued book
Those Delphic lines with deep impression took,
Then thou, our fancy of itself bereaving,
Dost make us marble with too much conceiving,
And so sepulchred in such pomp dost lie
That king for such a tomb would wish to die.

В зале темно, высвечивается портрет Шекспира (слайд 3).
Входит "Шекспир", зажигает свечи, начинает писать. Музыка стихает, включается свет в зале. (слайд 4)
Слуга: – К Вам граф Саутгемптон и критик Бен Джонсон. 
Граф: – И снова я застаю Вас за этим вот столом! Чем Вы порадуете нас на этот раз? 
Шекспир: – Ваша милость! Боюсь, не оскорблю Вас, посвящая Вам мои слабые строки, и не осудит ли меня свет за избрание столь сильной опоры для такой легковесной ноши, но если она понравится вашей милости, я сочту это высочайшей неправдой! 
Критик: – Сонеты!? А я-то думал, друг мой, что Ваши мысли заняты новой трагедией, что Вы хотите подражать Эсхилу или Софоклу! А это, оказывается, всего-навсего сонеты, недостойные пера драматурга. 
Шекспир: – Да, сонеты. Сонеты – это единственное, где я могу быть самим собой. Я писал их по наитию, вкладывая в них весь мир своей души. 
Граф: – Порадуйте же нас, прочтите что-нибудь. 
Звучит сонет №22

My glass shall not persuade me I am old,
So long as youth and thou are of one date;
But when in thee time's furrows I behold,
Then look I death my days should expiate.
For all that beauty that doth cover thee
Is but the seemly raiment of my heart,
Which in thy breast doth live, as thine in me:
How can I then be elder than thou art?
O, therefore, love, be of thyself so wary
As I, not for myself, but for thee will;
Bearing thy heart, which I will keep so chary
As tender nurse her babe from faring ill.
Presume not on thy heart when mine is slain;
Thou gavest me thine, not to give back again.

"Шекспир" читает сонет. Музыка ("Прелюдия"). 
Критик: – Так, значит, для вас дружба выше любовной страсти? 
Шекспир: – Да. Для меня всегда важней любви оставалась дружба. Только другу я могу сказать о своей тяжкой доле. И потом, обращаясь к другу, я обращаюсь ко всем людям, к человечеству. 
Критик: – Ну-ну, спуститесь-ка с небес. Поближе к делу, сударь. Сонеты-то о любви. Но кто же Ваша возлюбленная? 
Граф: – Я горю желанием услышать ее имя. Вероятно, она подобна Богине, спустившейся с небес?! 
Критик: – Постойте-ка, (читает) "ее глаза на звезды не похожи, нельзя уста кораллами назвать, не белоснежна плеч открытых кожа и черной проволокой вьется прядь". 
Граф: Признаться, я удивлен. Я ожидал услышать что-нибудь в стиле современных поэтов. 
Шекспир: – Не соревнуюсь я с творцами од, которые раскрашенным богиням в подарок преподносят небосвод со всей землей и океаном синим.
Критик: – Да, но... 
Шекспир:

– Пускай они для украшенья строф 
Твердят в стихах, между собою споря, 
О звездах неба, о венках цветов, 
О драгоценностях земли и моря.

Критик: 
На заднем плане появляется Смуглая Дама. – Так Вы воспеваете земное в женщине? 
Шекспир: – И я пишу, что милая прекрасна, как все, кто смертной матерью рожден, а не как солнце или месяц ясный. 
Подходит к Даме. – Я не хочу хвалить любовь мою, я никому ее не продаю. 
Звучит сонет 130

My mistress’s eyes are nothing like the sun;
Coral is for more red then her lips red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask, red and white,
But no such roses see I in her cheeks;
And in some perfumes that is more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, be heaven, I think my love is rare
As any she belied with false compare.

Шекспир и Смуглая Дама танцуют.

Критик: – А что такое любовь для Вас? 
Шекспир:

– О, любовь бывает разной. 
Она уходит и приходит. 
Любовь это волшебство, 
Она может быть недолговечной, 
Призрачной, ненастоящей, 
Причиной переломов в чувстве. 
Может быть все, что угодно.

Слуга: 
Звучит "Итальянское каприччо". Входят актеры. – А актеры, Ваша светлость! 
Музыка. 
Граф: – Друзья, я рад вас видеть!

1 актер: – Мы, Ваша светлость, Вас благодарим. 
2 актер: – Актеры, Ваша светлость, разыграть готовы веселую комедию пред вами. 
Граф: – И что же за комедия? 
2 актер: – "Сон в летнюю ночь", Ваша светлость. 
Звучит Музыка 
Акт III, сцена 1 Сцена из комедии "Сон в летнюю ночь. (слайд 5)

SCENE I.

The wood. TITANIA lying asleep.

Enter QUINCE, BOTTOM, FLUTE,

BOTTOM

Are we all met?

QUINCE

Pat, pat; and here's a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring-house; and we will do it in action as we will do it before the duke.

BOTTOM

Peter Quince, –

QUINCE

What sayest thou, bully Bottom?

BOTTOM

Write me a prologue; and let the prologue seem to say, we will do no harm with our swords, and that Pyramus is not killed indeed.

QUINCE

Well, we will have such a prologue; and it shall be written in eight and six.

BOTTOM

No, make it two more; let it be written in eight and  eight.

QUINCE

Well it shall be so. But there is two hard things; that is, to bring the moonlight into a chamber; for, you know, Pyramus and Thisby meet by moonlight.

BOTTOM

A calendar, a calendar! look in the almanac; find out moonshine, find out moonshine.

QUINCE

Yes, it doth shine that night.

BOTTOM

Why, then may you leave a casement of the great chamber window, where we play, open, and the moon may shine in at the casement.

QUINCE

Then, there is another thing: we must have a wall in the great chamber; for Pyramus and Thisby says the story, did talk through the chink of a wall.

BOTTOM

Some man or other must present Wall: and let him have some plaster, or some loam, or some rough-cast about him, to signify wall; and let him hold his fingers thus, and through that cranny shall Pyramus and Thisby whisper.

QUINCE

If that may be, then all is well. Come, sit down, every mother's son, and rehearse your parts. Pyramus, you begin.

Enter PUCK behind

PUCK

What hempen home-spuns have we swaggering here,
So near the cradle of the fairy queen?
What, a play toward! I'll be an auditor;
An actor too, perhaps, if I see cause.

QUINCE

Speak, Pyramus. Thisby, stand forth.

BOTTOM

Thisby, the flowers of odious savours sweet, -

QUINCE

Odours, odours.

BOTTOM

– odours savours sweet:
So hath thy breath, my dearest Thisby dear.
But hark, a voice! stay thou but here awhile,
And by and by I will to thee appear.

Exit

PUCK

A stranger Pyramus than e'er played here.

Exit

QUINCE

Ay, marry, must you; for you must understand he goes but to see a noise that he heard, and is to come again.

FLUTE

Most radiant Pyramus, most lily – white of hue,
Of colour like the red rose on triumphant brier,
Most brisky juvenal and eke most lovely Jew,
As true as truest horse that yet would never tire,
I'll meet thee, Pyramus, at Ninny's tomb.
Re-enter PUCK, and BOTTOM with an ass's head

BOTTOM

If I were fair, Thisby, I were only thine.

QUINCE

O monstrous! O strange! we are haunted. Pray, masters! fly, masters! Help!

Exeunt QUINCE, SNUG, FLUTE, SNOUT, and STARVELING

PUCK

I'll follow you, I'll lead you about a round,
Through bog, through bush, through brake, through brier:
Sometime a horse I'll be, sometime a hound,
A hog, a headless bear, sometime a fire;
And neigh, and bark, and grunt, and roar, and burn,
Like horse, hound, hog, bear, fire, at every turn.

Exit

BOTTOM

Why do they run away? this is a knavery of them to make me afeard.

Re-enter QUINCE

QUINCE

Bless thee, Bottom! bless thee! thou art translated.

Exit

BOTTOM

I see their knavery: this is to make an ass of me; to fright me, if they could. But I will walk up and down here, and I will sing.

Sings

The ousel cock so black of hue,
With orange-tawny bill,
The throstle with his note so true,
The wren with little quill, –

TITANIA

[Awaking] What angel wakes me from my flowery bed?

TITANIA

I pray thee, gentle mortal, sing again:
Mine ear is much enamour'd of thy note;
So is mine eye enthralled to thy shape.

BOTTOM

Methinks, mistress, you should have little reason for that: and yet, to say the truth, reason and love keep little company together now-a-days.

TITANIA

Thou art as wise as thou art beautiful

BOTTOM

Not so, neither.

TITANIA

Out of this wood do not desire to go:
Thou shalt remain here, whether thou wilt or no.
I am a spirit of no common rate;
The summer still doth tend upon my state;
And I do love thee: therefore, go with me;
I'll give thee fairies to attend on thee,
And they shall fetch thee jewels from the deep,
And sing while thou on pressed flowers dost sleep;
And I will purge thy mortal grossness so
That thou shalt like an airy spirit go.
Peaseblossom! Cobweb! Moth! and Mustardseed!

Enter PEASEBLOSSOM, COBWEB, MOTH, and MUSTARDSEED

PEASEBLOSSOM

Ready.

COBWEB

And I.

MOTH

And I.

MUSTARDSEED

And I.

ALL

Where shall we go?

TITANIA

Come, wait upon him; lead him to my bower.
The moon methinks looks with a watery eye;
And when she weeps, weeps every little flower,
Lamenting some enforced chastity.
Tie up my love's tongue bring him silently.

Exeunt
Музыка стихает. 
Критик: – Прекрасная пьеса. Древняя Греция, античные герои... А что Ваша последняя комедия "Двенадцатая ночь"? 
Шекспир: – Это, как и в прежних комедиях, мир благородной любви, бескорыстной дружбы, поэзии и музыки; полусказочная жизнь, далекая от житейских забот. 
Граф: – Я читал эту пьесу. Ярче всего, по-моему, те сцены, где выступают слуги и домочадцы графини Оливии во главе с ее приживальщиком и дядей сэром Тоби. Особенно та сцена, когда они наказывают врага своей веселой, беспутной кампании, дворецкого Мельволио, старого блюстителя благопристойности. 
Шекспир: – Чувство самовлюбленного Мельволио тщеславно и эгоистично, его любовь смешна. Я и прошу смиренно удалиться, чтобы участвовать в спектакле.
Звучит , акт II, сцена 5. Музыка. 
Сцена из комедии "Двенадцатая ночь".

SCENE V. OLIVIA's garden. (слайд 6,7)

Enter SIR TOBY BELCH, SIR ANDREW, and FABIAN

SIR TOBY BELCH

Come thy ways, Signior Fabian.

FABIAN

Nay, I'll come: if I lose a scruple of this sport, let me be boiled to death with melancholy.

SIR TOBY BELCH

Wouldst thou not be glad to have the niggardly rascally sheep-biter come by some notable shame?

FABIAN

I would exult, man

SIR TOBY BELCH

Here comes the little villain

Enter MARIA

How now, my metal of India

MARIA

Get ye all three into the box-tree: Malvolio's coming down this walk:observe him, for the love of mockery; for I know this letter will make a contemplative idiot of him. Close, in the name of jesting! Lie thou there, (Throws down a letter) for here comes the trout that must be caught with tickling.

Exit

Enter MALVOLIO

MALVOLIO

'Tis but fortune; all is fortune. Maria once told me she did affect me.Besides, she uses me with a more exalted respect than anyone else that follows her.

What should I think on't?

SIR TOBY BELCH

Here's an overweening rogue!

FABIAN

O, peace! Contemplation makes a rare turkey-cock of him: how he jets under his advanced plumes!

SIR ANDREW

'Slight, I could so beat the rogue!

SIR TOBY BELCH

Peace, I say.

MALVOLIO

To be Count Malvolio!

SIR TOBY BELCH

Ah, rogue!

SIR ANDREW

Pistol him, pistol him.

SIR TOBY BELCH

Peace, peace!

FABIAN

Look how imagination blows him.

MALVOLIO

Having been three months married to her, sitting in my state, –

SIR TOBY BELCH

O, for a stone-bow, to hit him in the eye!

MALVOLIO

Calling my officers about me, in my branched velvet gown; having come from a day-bed, where I have left Olivia sleeping, –

SIR TOBY BELCH

Fire and brimstone!

FABIAN

O, peace, peace!

MALVOLIO

And then to have the humour of state; to for my kinsman Toby, –

SIR TOBY BELCH

Bolts and shackles!

FABIAN

O peace, peace, peace! now, now

MALVOLIO

Seven of my people make out for him.

Toby approaches; courtesies there to me, –

SIR TOBY BELCH

Shall this fellow live?

MALVOLIO

I extend my hand to him thus,smiling

SIR TOBY BELCH

And does not Toby take you a blow o' the lips then?

MALVOLIO

Saying, 'Cousin Toby, give me this prerogative of speech,' –

SIR TOBY BELCH

What, what?

MALVOLIO

'You must amend your drunkenness.'

SIR TOBY BELCH

Out, scab!

FABIAN

Nay, patience, or we break the sinews of our plot.

MALVOLIO

'Besides, you waste the treasure of your time with a foolish knight,' –

SIR ANDREW

That's me, I warrant you.

MALVOLIO

'One Sir Andrew,' –

SIR ANDREW

I knew 'twas I; for many do call me fool.

MALVOLIO

What employment have we here? (Taking up the letter)

FABIAN

Now is the woodcock near the gin.

SIR TOBY BELCH

O, peace! and the spirit of humour intimate reading aloud to him!

MALVOLIO

By my life, this is my lady's hand these be her very C's, her U's and her T's and thus makes she her great P's. It isher hand.

SIR ANDREW

Her C's, her U's and her T's: why that?

MALVOLIO

[Reads] 'To the unknown beloved, this, and my good wishes:' – her very phrases! To whom should this be?

FABIAN

This wins him, liver and all.

MALVOLIO

[Reads]

Jove knows I love: But who?
Lips, do not move;
No man must know.
'No man must know.' What follows? the numbers altered! 
'No man must know:' if this should be thee, Malvolio?

SIR TOBY BELCH

Marry, hang thee, brock!

MALVOLIO

[Reads]

I may command where I adore;
But silence, like a Lucrece knife,
With bloodless stroke my heart doth gore:

M, O, A, I, doth sway my life.

SIR TOBY BELCH

Excellent wench, say I.

MALVOLIO

'M, O, A, I, doth sway my life.' Nay, but first, let me see, let me see, let me see.

FABIAN

What dish o' poison has she dressed him!

SIR TOBY BELCH

And with what wing the staniel cheques at it!

MALVOLIO

'I may command where I adore.' Why, she may command me: I serve her; she is my lady. If I could make that resemble something in me, – Softly! M, O, A,

I, –

SIR TOBY BELCH

O, ay, make up that: he is now at a cold scent.

MALVOLIO

M, – Malvolio; M, – why, that begins my name.

FABIAN

The cur is excellent at faults.

MALVOLIO

And then I comes behind.

FABIAN

Ay, an you had any eye behind you.

MALVOLIO

M, O, A, I; this simulation is not as the former. Soft! here follows prose.

(Reads) 'If this fall into thy hand, revolve. In my stars I am above thee; but be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon 'em. Thy Fates open their hands; let thy blood and spirit embrace them; and, to inure thyself to what thou art like to be, cast thy humble slough and appear fresh. Be opposite with a kinsman, surly with servants; let thy tongue tang arguments of state; put thyself into the trick of singularity: she thus advises thee that sighs for thee. Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered: I say, remember. Go to, thou art made, if thou desirest to be so; if not, let me see thee a steward still, the fellow of servants, and not worthy to touch Fortune's fingers. Farewell. She that would alter services with thee,

THE FORTUNATE-UNHAPPY.'

I thank my stars I am happy. I will be strange, stout, in yellow stockings, and cross-gartered, even with the swiftness of putting on. Jove and my stars be praised! Here is yet a postscript

(Reads) 'Thou canst not choose but know who I am. If thou entertainest my love, let it appear in thy smiling; thy smiles become thee well; therefore in my presence still smile, dear my sweet, I prithee.' Jove, I thank thee: I will smile; I will do everything that thou wilt have me.

Exit

FABIAN

I will not give my part of this sport for a pension of thousands to be paid from the Sophy.

SIR TOBY BELCH

I could marry this wench for this device.

SIR ANDREW

So could I too.

FABIAN

Here comes my noble gull-catcher.

Re-enter MARIA

SIR TOBY BELCH

Wilt thou set thy foot o' my neck?

SIR ANDREW

Or o' mine either?

SIR TOBY BELCH

Shall I play my freedom at traytrip, and become thy bond-slave?

SIR ANDREW

I' faith, or I either?

SIR TOBY BELCH

Why, thou hast put him in such a dream, that when the image of it leaves him he must run mad.

MARIA

Nay, but say true; does it work upon him?

SIR TOBY BELCH

Like aqua-vitae with a midwife

MARIA

If you will then see the fruits of the sport, mark his first approach before my lady: he will come to her in yellow stockings, and 'tis a colour she abhors, and cross-gartered, a fashion she detests; and he will smile upon her, which will now be so unsuitable to her disposition, being addicted to a melancholy as she is, that it cannot but turn him into a notable contempt. If you will see it, follow me.

SIR TOBY BELCH

To the gates of Tartar, thou most excellent devil of wit!

SIR ANDREW

I'll make one too.
Музыка стихает. 
Граф: – Ваши комедии, мой милый друг, это пленительная сказка, где царит веселая и могучая богиня – человеческая любовь. 
Звучит "Прелюдия", 
Граф читает сонет № 25 Музыка.

Let those who are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars,
Unlook'd for joy in that I honour most.
Great princes' favourites their fair leaves spread
But as the marigold at the sun's eye,
And in themselves their pride lies buried,
For at a frown they in their glory die.
The painful warrior famoused for fight,
After a thousand victories once foil'd,
Is from the book of honour razed quite,
And all the rest forgot for which he toil'd:
Then happy I, that love and am beloved
Where I may not remove nor be removed.

Свет в зале гаснет. Прожектор направлен на портрет, затем на графа. Свет включается. (слайд 8)

Критик: – Тема любви вечная, почти всегда трагическая и я понял, что любовь – всепобеждающее чувство. Ваши последние комедии, Вильям, такие светлые и жизнерадостные. 
И граф прав, какие бы нелепые жизненные коллизии в них не совершались, повсюду торжествует любовь, и в волшебных лесах, и в старинных замках, и под ясным небом юга, и среди туманов севера.

Как там у Вас: 
Любовь – над бурей поднятый маяк, 
Не меркнущий во мраке и тумане, 
Любовь – звезда, которою моряк 
Определяет место в океане.

(All the characters are in the middle of the stage. The Lazy Student is awaking up.)(слайд 9)

Звучит сонет "Мешать соединенью двух сердец..."

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 its 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.

Танцуют пары. Музыка. Свет выключается в зале, включается на сцене, прожектор, высвечивает портрет.