Unit Plan Gifted Romeo and Juliet Pekatos

Romeo & Juliet: Gifted Unit Plan
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Type:
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Grade Range:
Description:
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Christine Pekatos
Unit Plan
Honors Literature and Composition
9th grade gifted students
Students explore drama conventions while reading William Shakespeares classic The
Tragedy of Romeo and Juliet. Students will also learn the historical context of Elizabethan
England and Shakespeares life. They will then examine why and how the playwright
became a foundation of the literary canon.
5 weeks of 50 minute class periods
Instructional Unit Content:

Standards
ELACC9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences
drawn from the text.
ELACC9-10RL2: Determine a theme or central idea of text and analyze in detail its development over the course of the text,
including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
ELACC9-10RL3: Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a
text, interact with other characters, and advance the plot or develop the theme
ELACC9-10RL4: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative
meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time
and place; how it sets a formal or informal tone.)
ELACC9-10RL5: Analyze how an authors choices concerning how to structure a text, order events within it (e.g., parallel plots), and
manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise
ELACC9-10RL7: Analyze the representation of a subject or a key scene in two different artistic mediums, including what is
emphasized or absent in each treatment (e.g., Audens Muse de Beaux Arts and Breughels Landscape with the Fall of Icarus).
ELACC9-10W1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant
and sufficient evidence.
ELACC9-10W3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details,
and well-structured event sequences.
ELACC9-10W10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a
single sitting or a day or two) for a range of tasks, purposes, and audiences.
ELACC9-10SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in groups, and teacher-led)
with diverse partners on grades 910 topics, texts, and issues, building on others ideas and expressing their own clearly and
persuasively
ELACC9-10SL6: Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or
appropriate. (See grades 910 Language standards 1 and 3 for specific expectations.)
ELACC9-10L5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
Essential Question(s)
How did Elizabethan England allow Shakespeare to become so influential?
How did Shakespeares depiction of love change over time?
What role does class play in Romeo and Juliet?
How does a change in context change the audiences experience?
How does Shakespeares dialogue characterize the relationship between Romeo and Juliet?
What resources can we use to help us fully understand Shakespeares work?
What effects do directorial decisions have on the story of Romeo and Juliet?
How can parallelism be used beyond syntax?
Who is responsible for the deaths of Romeo and Juliet?
What is true love, how is it related to passion, and is one more noble than the other?
Evidence of Learning
What Students Should Know
What Students Should Be Able To Do
Dramatic Conventions
Read Shakespeares play in Early Modern
English and understand
How Shakespeare became such an influential
part of the Western canon
Chart the plot of Romeo and Juliet
The resources available to help read
Identify dramatic conventions in a play
Shakespeares plays
Read and Act Romeo and Juliet with
purposeful intonation and movement
The purpose behind Shakespeares love
imagery
Debate using academic language and behavior
without the instructors help
The role that class plays in Romeo and Juliet
and Elizabethan England
Rewrite and perform a scene from Romeo and
Juliet in a new context
How context changes the audiences
experience of a plot and characters
Compare and contrast multiple adaptations of
the same narrative
Suggested Vocabulary
Tragedy
Soliloquy
Oxymoron
Round v. Flat
Comedy
Aside
Colloquial Language
Dynamic v. Static
Monologue
Dialogue
Archetype
Iambic Pentameter
Idiom
Pun
Renaissance
Foil
Stage Directions
Paradox
Sonnet
Footnotes
Texts & Resources:

Anchor Text(s)
William Shakespeare, The Tragedy of Romeo and Juliet
Students have a copy of the play in our literature textbook, but are welcome to bring
more portable copies (electronic, paperback individual, within a larger anthology) with
them. No Fear Shakespeare copies are not appropriate for our class.
Students are expected to bring this text every day during the unit, so it is not listen
individually under each lessons materials.
Print Texts
William Shakespeare, Sonnet 18
William Shakespeare, Sonnet 130
Film Texts
Baz Luhrmann, Romeo + Juliet (1996) film
Clips from:
Franco Zeffirelli, Romeo and Juliet (1968) film
MacMillan, The Royal Ballets Romeo and Juliet (2013) ballet
Jerome Robbins, West Side Story (1961) film
Johnathan Levine, Warm Bodies (2013) film
Kelly Asbury, Gnomeo & Juliet (2011) film
Kenny Ortega, High School Musical (2006) film
Meredith Averill, Star-Crossed (2014) television series
Online Texts
Shakespeare Got Swag Youtube Video
Assessments:
Diagnostic
Poetry Portfolio (summative assessment from previous unit)

Drama Diagnostic Test
Formative
Standardized:
Sonnet Comparison Organizer
Ticket Out the Door
KWL
Square-Circle-Triangle Organizer
Drama Vocabulary Quiz
Act I and II Quiz
Act V Presentations
Performance:
Sonnet Tic-Tac-Toe Assignment
Prologue: Close Reading and Poetry Analysis
Film & Language Organizer (Scenes I.v and II.ii)
IV.iii Soliloquy Analysis
Summative
Standardized:
Romeo and Juliet Multiple Choice Test
Performance:
Shakespeare Retwisted GRAPE
Essential Question:
Strategy:
Agenda:
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Essential Question:
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Day 1: Introduction & Historical Background

Cornell Notes
1. Bellringer: Youtube Video
2. Allow students to choose type of Cornell notes
3. Take Cornell Notes on Historical Background
4. Give Drama Conventions vocabulary lists out.
5. Conclusion: Invite questions
Shakespeare Got Swag Youtube Video & Internet Access
Shakespeares Got Swag Historical Background Powerpoint
Cornell Notes: lined, unlined, graph, and dotted paper
Day 2: Compare & Contrast Sonnets
Compare & Contrast [FULL LESSON PLAN IN APPENDIX]
1. Bellringer: Write HOTS questions from yesterdays Cornell Notes
2. Read either Sonnet 18 or 130
3. Get with a partner and compare the two poems
4. Create list of criteria with partner
5. Compare ideas with another pair
6. Intro the Tic-Tac-Toe Assessment
7. Ticket Out the Door: Answer the EQ on an index card.
8. Homework: Work on Tic-Tac-Toe
Index cards
Copies of Sonnet 18 and 130
Comparison Organizer
Criteria Organizer
Tic-Tac-Toe Assignment sheets & Rubrics
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Day 3: Prologue Close Reading

1. Bellringer: Write summary from Day 1s Cornell Notes, answering EQ.
2. Read the Prologue aloud and discuss sonnet format.
3. Paraphrase and TPCASTT (process for analyzing poetry) the prologue, focusing on
connotation
4. Answer final questions on organizer.
5. Homework: Work on Tic-Tac-Toe
Prologue Handouts
Student TPCASTT guides
Day 4: Exposition (I.i)

1. Bellringer: What are the characteristics of a strong reader? A strong actor?
2. Introduce Scene Summaries (annotations to be created for each scene of the play)
3. Assign characters and read I.i aloud with continual clarification and support from
instructor.
4. Model the creation of the first Scene Summary for students.
5. Conclusion: ThinkPairShare. Compare the depictions of the servants to the
depictions of the nobels Act I Scene i.
Scene Summary examples
Day 5: Rising Action (I.ii-I.iii)

1. Assign characters and read I.ii and I.iii aloud with continual clarification and
support from the instructor.
2. Students create scene summaries in group; teacher assists where necessary.
3. Conclusion: Submit scene summaries for feedback
Scene Summaries
Day 6: Rising Action (I.iv-I.v)

1. Bellringer: Present one of the activities on your Tic-Tac-Toe assignment with your
elbow partner, and have them share with you. Then turn in your work.
2. Assign characters and read I.iv and I.v aloud with continual clarification and
support from the instructor.
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3. Conclusion: Students receive graded scene summaries with feedback. Then they
independently create scene summaries for the two new scenes, avoiding any
previous errors.
Graded scene summaries
Day 7: Intro to Film Comparisons

What effects do Baz Luhrmans directorial decisions have on the story of Romeo and
Juliet? How does a change in context change the audiences experience?
Compare and Contrast: Film to Play
1. Bellringer: How is representation in film naturally different from written
representation?
2. Intro to Baz Luhrmann as artist and this modernization.
3. Hand out film comparison organizers
4. Watch Act I of Romeo + Juliet
Luhrmanns Romeo + Juliet DVD
Projector configured to laptop
Film Comparison Organizers
Day 8: Dramatic Conventions Quiz
How can we demonstrate our understanding of dramatic conventions?
1. Bellringer: Where do we see dramatic conventions outside of
2. Vocabulary Quiz
3. Reading Shakespeare Scaffolding: Read II.i independently. Ms. Pekatos is
available to help.
4. Homework: Create scene summary entirely without help.
Vocabulary Quiz
Scene Summaries
Day 9: Love Language

How does Shakespeares dialogue characterize the relationship between Romeo and
Juliet?
1. Bellringer: Are there certain words that are always romantic? Or is the romance in
the way you use the words? (Diction vs. Syntax and Purpose)
2. Read II.ii aloud in partners. As students read, they will record three columns of
evidence: Light Imagery, Dark Imagery, and Religious Imagery.
3. Class discussion of the purposes of each imagery.
4. Conclusion: Square-Circle-Triangle Organizer
5. Homework: Scene summary of the Balcony scene
Desks arranged in pairs facing each other
Day 10: Film Analysis Friday
What effects do Baz Luhrmans directorial decisions have on the story of Romeo and
Juliet? How does a change in context change the audiences experience?
1. Watch Luhrmanns film through the Balcony scene and complete organizers
2. Blocking and spatial awareness discussion: Significance and symbolism of the
Materials:
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balcony.
3. Ticket out the door: Predict what will happen next.
Luhrmanns Romeo and Juliet DVD
Day 11: Balcony Scene Comparison Continued
What effects do directorial decisions have on the story of Romeo and Juliet? How does
a change in context change the audiences experience?
Compare and Contrast: Film to Film
1. Watch short playlist of Balcony scenes from other adaptations of Romeo and Juliet
a. Franco Zeffirelli, Romeo and Juliet (1968) film
b. MacMillan, The Royal Ballets Romeo and Juliet (2013) ballet
c. Jerome Robbins, West Side Story (1961) film
d. Johnathan Levine, Warm Bodies (2013) film
e. Kelly Asbury, Gnomeo & Juliet (2011) film
f. Kenny Ortega, High School Musical (2006) film
g. Meredith Averill, Star-Crossed (2014) television series
2. Student complete Film Organizer
3. Students discuss the affect that setting and context has on the story.
4. Create a spectrum on the board from Most Romantic to Least Romantic.
Student can contribute but must justify their answers. Allow for debate.
Balcony Scene Organizers
Day 12: Plot Thickens (II.iii II.iv)
Graduated Difficulty [FULL LESSON PLAN IN APPENDIX]
1. Bellringer: Watch the first 5 minutes of Hip Hop & Shakespeare. Discuss what is
similar about Shakespeares language and what is familiar.
Materials:
1. Graduated difficulty: Students choose a version of Romeo and Juliet at a level

of difficulty they can process. Then students complete a thorough scene
summary for these two scenes.
a. Easy: Comic book Romeo and Juliet
b. Medium: No Fear Shakespeare
c. Difficult: Original text with extensive footnotes and a glossary attached.
d. Extra Difficult: Original text without additional resources.
2. Students get into groups of mixed levels and discuss plot and scene summaries.
3. Ticket out the Door: Each group creates a list of elements lost (special focus
given to literary devices and nuances of character) as Shakespeares language is
translated into more modern or digestible language.
4. Homework: Read II.v and II.vi, using resources and strategies discussed in
small groups.
Comic book Romeo and Juliet
No Fear Shakespeare copies
Romeo and Juliet in textbook (with glossary)
Copies of II.iii and II.iv with all aids removed.
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Day 13: Student Acting of III.i

What effects do directorial decisions have on the story of Romeo and Juliet?
1. Bellringer: Quick reading quiz. Formative assessment of independent reading.
2. We discuss the importance of the action in this scene, and students focus on the
physical movement and blocking of the play.
3. Students volunteer to for roles in Act III, Scene I. In addition to the characters in
this scene, students can be the following roles:
a. Student Directors
b. Producers Assistant (Teacher is the producer)
c. Costume Director
d. Prop Master
Other students act as a testing group for the new film. Each audience member
gets one Veto card (index card with big red X on it). Each audience member
has the power to throw down their veto card at any moment and announce one
problem with the play, and the directors & actors must fix it. Keep all students
engaged.
4. Students perform the scene, analyzing the results and perfecting as they go.
Costume Bag
Veto Cards
Day 14: Parallelism

How can parallelism be used beyond syntax?
Compare & Contrast
1. Bellringer: What is parallelism in sentences?
2. Each student will read either III.ii or III.iii
3. Get with a partner and compare the two scenes. Look for structural similarities.
4. Create list of criteria with partner.
5. Compare ideas with another pair; are their organizers similar?
6. Ticket Out the Door: Answer the EQ on an index card.
Criteria Organizer
Day 15: Paradox in Act III

1. Bellringer: What is a paradox? Do examples of silly paradoxes on the overhead
together.
2. Students will volunteer to read for characters.
3. Read the remainder of Act III aloud, looking for examples of paradox.
4. Complete Scene Summaries
5. Ticket Out the Door: Write your own paradox
Overhead projector with list of paradoxes
Scene Summaries
Day 16: Act IV (The Whole Shebang)
Agenda:
Materials:
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1.
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4.
Bellringers: Predict what will happen in Act IV.

Watch IV.i in Luhrmanns Romeo + Juliet. Create Scene Summaries.
Read and discuss IV.ii. Create Scene Summaries.
Give out IV.iii handout: Juliets Soliloquy. Allow students the majority of the class
to do a close reading and TPCASTT.
5. At Conclusions of class, Summarize scenes IV.iv and IV.i for students.
6. Homework: Scene Summaries
Juliets Soliloquy
Day 17: Act V Group Interpretations
Jigsaw Activity
1. Introduce Jigsaw
2. Place students in four groups. Assign each group one of the following:
a. V.i.
b. V.ii
c. V.iii.1-120
d. V.iii.120-326
3. Groups work to prepare a presentation of the scene for their peers. Groups are
differentiated homogenously; those who demonstrate the best understanding of
Shakespearean language are given the most difficult/longest scenes.
4. Groups are responsible for sharing the following information: characters in the
scene, plot of the scene, dramatic conventions, and literary devices from their
scenes. Students should fill this information out in a Scene Summary of their own.
Premade group lists
Day 18: Act V Presentations
Jigsaw Activity
1. Students sit with their groups and format empty Scene Summaries.
2. Each group gets up to present. As each group presents, the audience should take
notes on their scene summaries.
3. At the end of the presentations, students should spend no more than 10 minutes
compiling all their scene summaries into a comprehensive guide to Romeo and
Juliet.
4. Homework: Philosophical Chairs Prep Organizer- should be completed before class
on Day 20.
Scene Summaries
Philosophical Chair Prep Organizer
Day 19: Conclusion to Film Analysis & Wrap-Up
1. Finish Luhrmanns film
2. Students complete film comparison organizer
3. Class discussion: Why did Luhrmanns version deviate so strongly from
Shakespeares original ending?
Essential Question:
Strategy:
Agenda:
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Day 20: Philosophical Chairs

Philosophical Chairs [FULL LESSON PLAN IN APPENDIX]
1. Bellringer: Students enter and sit in groups depending on who they believe is
MOST responsible for deaths or R & J
2. Student-led discussion; teacher steps in only if necessary.
3. Students who change their minds move to reflect that change.
4. Conclusion: Written debate reflection. Who was most convincing? Why? Ideas for
improvement?
Romeo and Juliet texts
Philosophical Chair Rubrics
Desks bunched into groups placed around edges of the classroom
Day 21: Circle of Knowledge- What is True Love?
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Circle of Knowledge [FULL LESSON PLAN IN APPENDIX]

1. Bellringer: Journal prompt- Have you ever been in love? Do you believe its
possible for teenagers to be in love?
2. Standardized, Multiple Choice Test
3. Short Answer (paragraph) Constructed Response
Scene Summaries
Day 22: Romeo and Juliet Test
How can we demonstrate our understanding of Romeo & Juliet and drama
conventions?
4. Final Questions
5. Standardized, Multiple Choice Test
6. Short Answer (paragraph) Constructed Response
Romeo and Juliet test
Scantron
Day 23: Introduction to Shakespeare Retwisted (GRAPE)
How does a change in context affect the audiences experience?
GRAPE Performance Assessment
1. Instructor introduces Shakespeare Retwisted assignment
2. Student groups work independently on their production of Romeo and Juliet.
3. Teacher check-ins with each group
GRAPE Assignment Sheets and Rubric
student drama materials
Day 24: Working on Shakespeare Retwisted
Essential Question:
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Day 27 Shakespeare Retwisted Presentations
1. Pass out Audience participation sheets
2. Group performances
Day 28: Shakespeare Retwisted Presentations
1. Pass out Audience participation sheets
2. Group performances
Appendix:
Full Lesson Plans and Materials: Attached in Full Below
Compare & Contrast Lesson Plan: Sonnets 18 and 130
Sonnet Tic-Tac-Toe Assignment and Rubric
Sonnet Criteria Organizer
Sonnet Comparison Organizers (2 per page)
Graduated Difficulty Lesson Plan: Reading Shakespeare Independently
Philosophical Chairs Lesson Plan: Who killed Romeo and Juliet?
Philosophical Chairs Prep Organizer
Philosophical Chairs Rubric
Performance Assessment: GRAPE and Rubric
Assessments, Resources, and Handouts: Available for Download from Portfolio Website
1. Shakespeares Got Swag Historical Background Powerpoint
2. Cornell Notes
3. Sonnet 18 and Sonnet 130
1.
2.
3.
4.
5.
6.
7.
8.
9.
4. TPCASTT Guide
5. Prologue Worksheet
6. Scene Summary Examples
7. Film Comparison Organizers
8. Vocabulary Quiz
9. Balcony Scene Organizer
10. Juliets Soliloquy Sheet
11. Romeo and Juliet Tests
Time:
55 min
Compare & Contrast Lesson Plan: Sonnets 18 and 130

Teacher:
Subject:
Grade:
Christine Pekatos
Literature & Composition
9th Grade
Honors
Step 1: Teacher and students talk about what they will learn and do (Communication of
Learning Intentions)
Review the Essential Question & Standards:
Content Area Standard
ELACC9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text
says explicitly as well as inferences drawn from the text
ELACC9-10RL10: By the end of grade 9, read and comprehend literature, including stories,
dramas, and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as
needed at the high end of the range
ELACC9-10SL1: Initiate and participate effectively in a range of collaborative discussions (oneon-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues,
building on others ideas and expressing their own clearly and persuasively.
OPENING
Getting students ready to learn
Summary/Overview
The focus of this lesson is for students to study examples of sonnets as love poems, as well as the
development of Shakespeares poetic themes over time.
Essential Question
How did Shakespeares understanding of love change over the course of his career?
Step 2: How will you know when they have gotten it? (Communication of Success Criteria)
At the end of this lesson the student will understand that:
Shakespearean Sonnets have an extremely specific format, consisting of 14 lines, three

quartets and a couplet, and a very specific rhyme pattern.
Women were idealized in literature during this time, as was romantic love.
What students should know:
The traditional subject matter of sonnets is love. Sonnets often consists of a list of
comparisons between features of a beloved woman and beautiful imagery. Shakespeare
initially follows this tradition, but eventually twists it in order to criticize popular ideas of
true love.
What students should be able to do:
Identify a sonnet based on common characteristics
Use close reading skills to analyze a sonnet
Discuss the change in Shakespeares perception of love based on his poetry
Step 3: Get the students interested (Build Commitment and Engagement)
Shakespeare Video Clip: History of English: Chapter 3, Shakespeare
https://www.youtube.com/watch?v=BMkuUADWW2A
Before one minute video is played, have students record a brief response in their Journal: Why
do we study Shakespeare? What makes him such a giant figure in Western literature?
After watching video, have students answer the same prompt again.
Step 4: Give students new information (Teacher Presentation Strategies)
Students will take notes down about characteristics specific to Shakespearean Sonnets.
Students will receive either a 1 or 2 based on a reading diagnostic score. Students with
Finish
Early or
Need
Challenge
CLOSING
Helping students make sense of
their learning
WORK PERIOD
Releasing students to do the work
lower Each person will read his/her assigned piece and complete the criteria organizer.
Step 5: Have students use the new information (Guided Practice )

Pair students with like assignments to discuss criteria organizer.
Distribute Criteria Organizer. Students will pair with someone who read the opposite poem.
Each student will teach their partner what they knows. Pair will fill out their Criteria
Organizer together.
Distribute Comparison Organizer. Groups of four will work together to complete a this
organizer based on their Criteria Organizer.
In a class discussion, groups will share general statements about the inferences and
conclusions drawn according to the criteria for each group that was established. Student scribes
records on white board.
Step 6: Make sure they can do it (Summary)
Journal Response:
Using our established paragraph organization, describe overall the similarities and
differences between the two poems.
HOMEWORK: Given a new Shakespearean sonnet, analyze the poems depiction of love.
Write a theme statement for the poem.
Step 7: Have students practice (Independent Practice)
Distribute Think-Tac-Toe. Each student will select and complete three of the activities.
If a student finishes early or needs an extra challenge

Students should begin working on their Think-Tac-Toe.
Resource(s)
Technology:
1. Introduction to Sonnets video clip https://www.youtube.com/watch?v=BMkuUADWW2A
2. Sonnet Format notes on ActivBoard.
Handouts:
Handout 1:
Handout 2:
Handout 3:
Handout 4:
Handout 5:
Sonnet 18 (half sheet)

Sonnet 130 (half sheet)
Criteria Organizer
Think-Tac-Toe
Shakespearean Sonnet: Tic-Tac-Toe

Romeo & Juliet Unit Project
Choose 3 of the following options that form a Tic-Tic-Toe (vertically, horizontally, or diagonally).
Please note that several options ask you to use the internet and/or a video recording device. Technological difficulties will not
be considered a valid excuse for late work. If you are worried about file compatibility, please bring or email the video in a few
days early; dont wait until the day this assignment is due!
All assignments, regardless of genre, should be formatted according to MLA guidelines.
Musical-Rhythmic
Verbal-Linguistic
Logical-Mathematical
SING IT!
READ IT!
PROVE IT!
Write your own sonnet exploring any

topic related to love; it does not need
to be a romantic love, can be familial
or friendship. You can also put your
poem to music!
Read a new Shakespearean Sonnet.

Analyze the poem based on your
knowledge of Sonnet format. Write a onepage formal analysis of the poem
explaining overall meaning and theme.
Which Sonnet, 18 or 130, is more

romantic? Choose your position and
prove it. Explain your ideas in a onepage persuasive writing. Make sure to
use evidence from the text of the poems.
Visual-Spatial
Bodily-Kinesthetic
DRAW IT!
MOVE IT!
Choose a completely new

Shakespearean sonnet to read and
analyze. Create a poster that
advertises the poem. Be sure to
include visual content as well as
information on themes and speaker.
Wild Card
Get creative! Your idea must be approved
by Ms. Pekatos before you begin.
Choose any Shakespearean Sonnet. Read

and analyze, then create an interpretive
dance based on this sonnet. Make sure
to be intentional with your choice of
music!
Intrapersonal
Interpersonal
Naturalist
JOURNAL IT!
PARTNER UP!
TRACE THE PATTERN!
Imagine that you are a poet

contemporary of Shakespeare. Write
a journal entry about your
relationship with the other poet and
the pressure you feel to depict love in
a specific way.
Find a partner and create an imaginary

dialogue based on either Sonnet 18 or
Sonnet 130. One person should play the
speaker of the poem, and the other
partner should play the subject of the
poem. You must submit a typed dialogue
as well as perform the skit.
Read a new sonnet that uses the

Shakespearean format that is NOT
written by Shakespeare. Create a chart or
organizer to trace the patterns across
Sonnets. What is similar despite the
difference in authors?
Shakespearean Sonnet: Tic-Tac-Toe

Romeo & Juliet Unit Project
Checklist Rubric
Presentation:
3 options create a line on the tic-tac-toe board
____________/ 5
MLA Format
____________/ 5
=_____/10
Choice 1: ______________________
Student followed project directions
____________/5
Content supported with details from the texts
____________/10
Work acknowledges historical context of texts
____________/10
Grammar, Usage, Mechanics, Spelling
____________/5
=_____/30
Choice 2: ______________________
____________/5
____________/10
____________/10
____________/5
=_____/30
Choice 3: ______________________
____________/5
____________/10
____________/10
____________/5
=_____/30
Name _____________________________________
Ms. Pekatos
Period ____________
November 2014
Criteria Organizer
Comparing and Contrasting Sonnet 18 and 130
Sonnet 18
Criteria
Physical
Appearance of
Woman
Appealing
Qualities of
Woman
Role of Speaker
Choose Your Own

Adventure!
Criteria 4:
______________
Choose Your Own

Adventure!
Criteria 5:
______________
Sonnet 130
Name _____________________________________
Ms. Pekatos
Period ____________
Date _____________
Sonnet 18
Similarities
Sonnet 130
Similarities
Sonnet 130
Name _____________________________________
Ms. Pekatos
Period ____________
Date _____________
Sonnet 18
Graduated Difficulty Lesson Plan: Reading Shakespeare Independently

English Language Arts
Subject:
Grade Range: 9th Grade Honors
50 Minutes
Duration:
Christine Pekatos
Author(s):
Standard(s)/Element(s)
ELACC9-10RL3: Analyze how complex characters develop over the course of a text, interact with other
characters, and advance the plot or develop the theme.
ELACC9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly
as well as inferences drawn from the text.
Summary/Overview
The focus of this lesson is to give students an opportunity to practice reading Shakespeares complex drama at
an appropriate level of difficulty.
Learning Goals(s)
At the end of this lesson the student will be able to
a. Read and understand Act II.ii and II.iii
b. Identify examples of literary devices and dramatic conventions in Romeo and Juliet
c. Find and use the resources available to help understand Shakespearean language.
How does Shakespeares dialogue characterize the relationship between Romeo and Juliet?
What resources can we use to help us fully understand Shakespeares work??
Soliloquy
Monologue
Aside
Glossary
Footnotes
Colloquial Language
Idiom
Stage Directions
Pun
Oxymoron
Paradox
Procedure(s)
Phase 1: Hook
2. Open class with the first 5 minutes of the TedTalk Hip Hop & Shakespeare? by Akala (link at end of
lesson plan)
3. Discuss what is similar about Shakespeares language and what is familiar.
Phase 2: Acquiring Content
4. Pose questions: What is difficult about Shakespearean language? How does that contribute to Shakespeares
importance?
5. l and subtle tool to develop a complex character?
Phase 3: DECIDE and Practice
6.
Explain You will now be given an opportunity to practice what you have learned. Because everyone
has a different level of comfort with this concept, you will choose the difficulty of the version of Romeo
and Juliet that you choose to read.
7. Post Options on the board as below:
Level A Difficulty: ESOL Edition of Romeo and Juliet
Level B Difficulty: No Fear Shakespeare

Level C Difficulty: Romeo and Juliet from the textbook, with footnotes and glossary
Level D Difficulty: Romeo and Juliet text with no additional resources
8. Students will read their version of the text and use it to complete a thorough Scene Summary.
9. If students have no difficulty creating their summary, they should move up to the next level of difficulty and
see what understanding or complexity is gained. Pay special attention to literary devices and dramatic
conventions.
10. Students gather in mixed-level groups and compare their scene summaries and understanding of plot.
Summarizing Activity
Ticket Out the Door: Each group creates a list of elements lost (special focus given to literary devices
and nuances of character) as Shakespeares language is translated into more modern or digestible
language.
Resource(s):
Technology:
YouTube Video:
Hip Hop and Shakespeare? https://www.youtube.com/watch?v=DSbtkLA3GrY
Philosophical Chairs Lesson Plan: Who Killed Romeo and Juliet?

Subject:
English Language Arts
Grade Range:
9th Grade Honors
Duration:
50 Minutes
Christine Pekatos
Author(s):
Standard(s)/Element(s)
ELACC9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text says
explicitly as well as inferences drawn from the text.
ELACC9-10SL1: Initiate and participate effectively in a range of collaborative discussions(one-on-one, in
groups, and teacher-led) with diverse partners on grades 910 topics, texts, and issues, building on others
ideas and expressing their own clearly and persuasively
ELACC9-10SL6: Adapt speech to a variety of contexts and tasks, demonstrating command of formal
English when indicated or appropriate. (See grades 910 Language standards 1 and 3 for specific
expectations.)
Summary/Overview
The goal of this lesson is to give students an opportunity to discuss and debate a central question based on
evidence from Romeo and Juliet. Students will questions each other in an effort to deepen the conversation and
understand the nuances of Shakespeares plot and characters.
Learning Goals(s)
At the end of this lesson the student will be able to
d. Manage a meaningful discussion and debate independent of an instructor.
e. Question and debate with other students in an effort to deepen analysis.
f. Identify how individual actions and characters affect the plot.
g. Discuss the theme of a novel in light of its conclusion.
h. Who is responsible for the deaths of Romeo and Juliet?
Academic Vocabulary in General
Blooms Taxonomy
HOT Qs (Higher Order Thinking Questions)
Procedure(s)
Phase 1: Hook
1. Ask students to find their seats based on who they believe is MOST to blame for the deaths of Romeo and
Juliet. Character names are posted around the room. Students will take a moment to review their notes
before beginning. Students will have prepared an organizer and Higher Order Thinking Questions in advance.
Phase 2: Discuss and Debate
2. As one group, students will discuss Romeo and Juliet without the help of a teacher-led discussion. Students will
be expected to debate politely to each other and take turns asking questions when conversation lulls. The
content of discussion should be analytical in nature; students can use their understanding of Blooms
taxonomy to determine appropriate questions. Students may use any notes from the unit to assist them.
3. Any student who changes his mind should move around the room to reflect which characters he blames most for the
death of the title characters.
Summarizing Activity
4. Ticket out the door: On an index card, each student will nominate one student who performed exceptionally
during the Philosophical Chairs. Exceptional performance is not only marked by students individual
contributions, but how that student interacted and supported other students as well. What academic behavior
did the student demonstrate? (Tomorrow give recognition to student who is most nominated).
Resource(s):
Romeo and Juliet copies
Prepared Philosophical Debate Prep, based on Blooms Taxonomy
Philosophical Debate Rubrics
Philosophical Chairs Prep

Who is at fault for the death of Romeo and Juliet?
Before Debate: PICK ONE person that you believe is MOST to blame for the death of Romeo and Juliet in
Shakespeares play. Check the box next to that character. Then use your folder and the textbook to find two
specific pieces of evidence that support your opinion and the scene the evidence can be found.
Write two higher order thinking questions that can help you further discussion during the debate:
During Debate: Participate, listen to your peers, and never talk over someone else. Make sure to take notes on
the other characters as we go.
Character
Evidence (Include Citations)
Romeo and/ or Juliet
Friar
Tybalt
Montague & Capulet
Nurse
Fate
Other:
Philosophical Chairs Rubric

Name __________________________________________
Written
Individual
Group
Topic:
Date___________________
Whose fault is it that Romeo & Juliet are dead?
Superior Discuss.
(95-100)
Great Discussion
(88-94)
Good Discussion
(78-87)
Average Discuss. Poor Discussion

(70-77)
(50-69)
Entire class
participates evenly and
enthusiastically in
discussion. All
members contribute
insight today. Students
shared the floor,
encouraged each other,
and asked thoughtful
and insightful
questions which kept
the discussion at a high
level.
Offers many
contributions.
Comments are
insightful and show a
high level of
understanding and
clear evidence of
reading. Comments
move discussion to a
higher level, are
interesting, and
analytical. Asks
thoughtful questions.
Outer circle notes are
excellent. White board
comments are relevant
and insightful.
Cites clear, convincing
evidence and specific
support for
observations, quoting
the text each time.
Entire class
participates fairly
evenly in the
discussion. All
members contributed
something important
today. Students shared
the floor, encouraged
each other, and asked
questions which kept
the discussion
moving.
Entire class
participated in the
discussion, but
somewhat unevenly.
All members
contributed today, but
some only rarely and
without much insight.
Students did not
always share the floor,
encourage each other,
and ask questions.
Entire class did not

participate in the
discussion. A few
members did not
contribute at all to the
discussion, or made
irrelevant, vague
comments. Students
did not always share
the floor, encourage
each other, and ask
questions.
Offers several
contributions. Shows
evidence of reading
and a solid
understanding of the
text. Comments move
discussion forward
and are interesting.
Asks questions, seeks
clarification from
others. Outer circle
notes are good. White
board comments are
relevant and
interesting.
Offers a few
contributions.
Comments show an
acceptable level of
understanding.
Comments are a little
vague and could be
more insightful. Does
not ask questions.
Acceptable outer
circles notes. White
board comments are
relevant.
Rarely offers
contributions and
shows a weak
text and/or maybe
weak preparation.
Comments are vague
and/or need more
evidence of critical
thinking. Fails to ask
questions, seek
clarification. Outer
circle notes lacking.
White board
participation lacking.
Cites solid evidence

and specific support
for observation,
directly quoting the
text several times.
Cites evidence and

specific support for
observation, directly
quoting the text at
least once.
Offers specific
example for support of
observations, but does
not directly quote the
text.
Entire class did not

participate in the
discussion. Many
members failed to
contribute today.
Students did not share
the floor, encourage
each other, and ask
questions. Discussion
was monopolized by
one or two class
members. Many
members were silent.
Fails to offer any
contributions or shows
poor understanding of
the test and indicates a
lack of preparation.
Comments are vague
and show little
evidence of careful
reading. Fails to ask
questions, seek
clarification. No outer
circle notes. No white
board participation.
Student does not use

text during seminar;
does not support
assertions; responses
are vague. Or student
does not have text
today.
NOTE: You will be graded not on how often you participate, but the WAY in which you
participate. You must LISTEN to each other, ask questions, cite the text, keep the discussion
going, offer insight, and include everyone. You must not monopolize the floor, you must not
talk over each other or argue. You must show a high level of understanding of the text.
Your Grade: ________________
Circle of Knowledge Lesson Plan: What is Love?

Time:
Teacher:
Subject:
Grade:
50
Minutes
Christine Pekatos
Literature & Composition
9th Grade
Honors
Step 1: Teacher and students talk about what they will learn and do (Communication of Learning
Intentions)
Review the Essential Question & Standards:
ELACC9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text says
explicitly as well as inferences drawn from the text
Getting students ready to learn
OPENING
ELACC9-10RL10: By the end of grade 9, read and comprehend literature, including stories, dramas,
and poems, in the grades 9-10 text complexity band proficiently, with scaffolding as needed at the high
end of the range
ELACC9-10SL1: Initiate and participate effectively in a range of collaborative discussions (one-onone, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building
on others ideas and expressing their own clearly and persuasively.
Summary/Overview
The focus of this lesson is for students to determine the qualities of Love in order to determine
whether is it simply a biological reaction to certain hormones or a meaningful life experience. They will
look at specific passages of the play in addition to a non-fiction speech from a biologist and decide what
happened to Romeo and Juliet.
Essential Question:
Step 2: How will you know when they have gotten it? (Communication of Success Criteria)
At the end of this lesson the student will understand that:
Love, or attraction, at the very least, can be proven biologically
What students should be able to do:
Synthesize information from different sources

Argue an idea using evidence from multiple texts
Step 3: Get the students interested (Build Commitment and Engagement)

1. Bellringer Journal Write: As students enter the classroom, they will begin responding to the
prompt on the board.
Prompt:
Have you ever been in love? Is it possible for teenagers to be in love?
After responding on paper, I ask students to raise their hands in an informal survey. Students almost
always have a very strong opinion on the subject, which helps to immediately engage.
Step 4: Give students new information (Teacher Presentation Strategies)
WORK
PERIOD
Releasing
students to
do the
work
CLOSIN
G
Helping
students
make
sense of
their
learning
2. Students will take Cornell notes down about what happens biologically when we fall in love by
watching TedTalks: The Brain in Love by Helen Fischer
3. Then each student will receive a copy of the article Taking Words Seriously-Romeo and Juliet
are Troubled Kids and take Cornell notes from the text individually.
Step 5: Have students use the new information (Guided Practice )
4. With a partner, each student should compare notes from the TedTalk and the non-fiction article.
5. Students will discuss with another pair (four students total together) about whether Romeo and
Juliet are truly in love using evidence from all three texts.
Step 6: Conclusion
6. In partners, use evidence from the text and TedTalk to write a well-developed response
explaining whether Romeo and Juliet should be held responsible for their impulsive behavior.
Technology:
1. The Brain in Love TedTalk Video
Resource(s)
http://www.ted.com/talks/helen_fisher_studies_the_brain_in_love?language=en
Handouts:
2. Cornell Notes
7. Printed copies of Article Taking Words Seriously-Romeo and Juliet are Troubled Kids bu Stanton
Peele
https://www.psychologytoday.com/blog/addiction-in-society/200902/taking-words-seriously-romeoand-juliet-are-troubled-kids
Name______________________________________________ Period: ____
Date: ____________
Goal
Role
Audience
Performance
Evaluation
The audience of
your proposal is a
group of movie
producers.
-YOU determine
the target audience
of your film
adaptation.
You develop a concept

for an adaptation. You
will write a screenplay
of your adaptation of
the Balcony Scene.
You will also write a
proposal (one
paragraph) explaining
why your concept will
be financial successful.
Finally, you will
perform your scene.
The attached rubric

will be used to
evaluate your work.
Remember,
your performance
will earn you points
in the highest
column; they are not
automatically given.
Create a new film

concept for an
adaptation of
Romeo and Juliet
that will be
successful in
todays market.
Each member of
your team will
choose one of these
four roles:
1. Director
2. Head Writer
3. Actress
4. Actor
Shakespeare Retwisted
You and your team are attempting to adapt Romeo and Juliet to a new context for a new film. You and
your team will demonstrate your concept by adapting just Act 1 Scene 5, known as the Balcony Scene,
to your chosen context, and you will perform this for a group of movie producers to try and get their
financial support.
Your assignment includes the following elements:
1. Choose a new setting (time and place, context) for your adaptation.
2. Assign roles:
a. Director Tasks include advising Actor and Actress, helping write first draft of the script
and writing the proposal.
b. Head Writer Tasks include helping write first draft of the script, then editing and
formatting the script.
c. Actress Tasks include helping write first draft of the script and acting the part of Juliet.
d. Actor Tasks include helping write first draft of the script and acting the part of Romeo.
3. Write a script that adapts the balconey scene to your new setting. Pay attention to the specific
language used. The script must be formatted according to the included example.
4. Write a proposal that sells your idea to the movie producers. Who would the audience of your
adaptation be? Why will your adaptation be monetarily successful? Justify your choice of new
context.
5. Perform this scene during our class.
Shakespeare Retwisted Rubric
Adapted Screenplay of Act 1 Scene

5
Proposal of Adaptations New Concept
Does Not Meet

Standard
0-2 Points
Performance of Scene
Very limited
text and topic.
Lacking detail,
development or
support.
Creative work doesnt
show imagination or
sensitivity
Rarely employs literary
features or employs
literary and/or
nonliterary features that
do not serve the context
or intention.
The use of terminology
is missing, inconsistent
and/or incorrect.
Near Standard
3-5 Points
Demonstrates little or
no understanding of the
original plays text and
topic.
Rarely employs
organizational
structures and/or
language-specific
conventions or uses
those that do not serve
the context .
The work is generally
disorganized, unclear
and/or incoherent.
Performance is not
rehearsed; students read
all lines and cues
Blocking was never
planned; actors move
little around stage, if at
all
Performance has only
the most superficial
elements in common
with original scene in R
&J
Meets Standard
Exceeds Standard
6-8 Points
Limited understanding
of the text and topic.
Detail, development,
and/or support are
insufficient.
In creative work,
pieces show limited
imagination or
sensitivity.
Attempts to employ
literary and/or
nonliterary features
that sometimes serve
the context and
intention.
The use of
terminology is
sometimes accurate
and appropriate.
Demonstrates some
original plays text
and topic.
Attempts to employ
organizational
structures and/or
language-specific
conventions that serve
the context and
intention.
Shows some attempt
at organization, but is
disorganized, unclear
and/or incoherent.
Performance is not
well rehearsed;
students need help
with lines and cues
Blocking and moving
is minimal
Performance
maintains some
elements in common
with original scene in
R&J
9-10 Points
Demonstrates good
plays topic..
Uses helpful and
important detail,
development, and
support.
In creative work,
pieces reflect some
imagination and
sensitivity.
Usually employs
literary and/or nonliterary features that
serve the context and
intention.
Relevant terminology
is usually used
accurately and
appropriately.
Demonstrates a good
original plays text
and topic.
Frequently employs
organizational
structure and
language-specific
conventions that
intention.
The work is generally
organized, clear and
coherent
Performance is wellrehearsed: students

know most lines and
cues
Blocking is minimal
but shows some
evidence of
preparation
Performance is
mostly loyal to the
original scene from
R& J
Performance is wellrehearsed: students

know lines and cues
Blocking is varied and
contributes to
audiences
scene
Performance is loyal to
the original scene from
R&J
Final Score: ___________ /30 Possible Points
Demonstrates a very
good understanding
of the original plays
text and topic.
Consistently uses
helpful and
important detail,
development and
support.
Employs literary
and/or non-literary
features that serve
the context and
intention.
Shows a very good
command of relevant
terminology, and
uses it appropriately
Demonstrates a very
good understanding
of the original plays
text.
Consistently
employs
organizational
structure and
language-specific
conventions that
intention.
The work is well
organized, clear and
coherent .
ELACC9-10RL1: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as
well as inferences drawn from the text.
ELACC9-10W3: Write narratives to develop real or imagined experiences or events using effective technique, wellchosen details, and well-structured event sequence
ELACC9-10W10: Write routinely over extended time frames (time for research, reflection, and revision) and shorter
time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences
ELACC9-10SL6: Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when
indicated or appropriate. (See grades 910 Language standards 1 and 3 for specific expectation
SHAKESPEARE RETWISTED: SCREENPLAY

Example Screenplay: Your final script should use the same formatting.
THE TITLE OF YOUR PLAY IN CAPS
by
List the names of the writers here
Type a short description of the scene such as a stage in

a small edgy big city theater. There are two chairs CS
[center stage]. The THEATER DIRECTOR, a young,
edgy, big city guy is sitting in one of them. The
PLAYWRIGHT enters. Like all playwrights, this
character is so charismatic some of the spotlights
implode trying to compete with his intense light.
PLAYWRIGHT walks toward other chair.
THEATER DIRECTOR
Do you know how to write dialogue in format?
PLAYWRIGHT
Havent a clue.
THEATER DIRECTOR
You center the name of the character talking and put the name in caps thats short for capital letters.
PLAYWRIGHT
Is that right?
THEATER DIRECTOR
Then you write the dialogue without quotation marks. Then you space and do the same thing with the character talking
back.
PLAYWRIGHT
And being confrontational? Talking back and giving the first character a hard time? I mean if I were to start arguing with
you? If I were to get loud? (Shouts) If I were to be a very misunderstood kind of character who wont BEHAVE!
THEATER DIRECTOR
That would make for conflict and interest and good theater.
PLAYWRIGHT
So if I just have people saying nothing much about anything? If they just talk about what interests me and nothing much
happens, its not so good?
THEATER DIRECTOR
(Snoring. Wakes up)
huh? Right! Yes. Youll put everyone to sleep if your characters have no conflict.
PLAYWRIGHT
What if I want to write some action that happens without any dialogue going on?
Then you describe it over here as succinctly as possible.

You also have to put any characters you refer to in caps. In
other words, if the PLAYWRIGHT is going to walk DS or
US [downstage- toward the audience- or upstage- toward
the back] or SL or SR [stage left which is the actors left
or stage right, the actors right] you describe it over here.
It should be specific. Dont write a novel here.
PLAYWRIGHT
(Leaning toward DIRECTOR)
What if, like, my friends? They all talk like this? Can I, like, write dialogue like you know like they really talk?
(Beat) [This means you want the actors to wait a second as though they are thinking or need a little time to react. If you
want them to wait a longer time, use (Pause).]
DIRECTOR
Please do. Although with only a few lines of dialogue, you could make your friends sound intelligent. You could also
place them in the last century or a thousand years in the future and you can also set them down in any kind of place youd
like.
PLAYWRIGHT
Like a cave? Or a racetrack? Or a funeral? Or the middle of the ocean?
DIRECTOR
Assuming they can swim.
(Pause)
PLAYWRIGHT
I can do anything.
DIRECTOR
Exactly. Just put it in the right format and well believe every word.
END OF PLAY

Unit Plan Gifted Romeo and Juliet Pekatos

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Romeo & Juliet: Gifted Unit Plan

Instructional Unit Content:

Texts & Resources:

Poetry Portfolio (summative assessment from previous unit)

Day 1: Introduction & Historical Background

Day 3: Prologue Close Reading

Day 4: Exposition (I.i)

Day 5: Rising Action (I.ii-I.iii)

Day 6: Rising Action (I.iv-I.v)

Day 7: Intro to Film Comparisons

Day 9: Love Language

1. Graduated difficulty: Students choose a version of Romeo and Juliet at a level

Day 13: Student Acting of III.i

Day 14: Parallelism

Day 15: Paradox in Act III

Bellringers: Predict what will happen in Act IV.

Day 20: Philosophical Chairs

Circle of Knowledge [FULL LESSON PLAN IN APPENDIX]

How does a change in context affect the audiences experience?

Compare & Contrast Lesson Plan: Sonnets 18 and 130

Shakespearean Sonnets have an extremely specific format, consisting of 14 lines, three

Step 5: Have students use the new information (Guided Practice )

If a student finishes early or needs an extra challenge

Sonnet 18 (half sheet)

Shakespearean Sonnet: Tic-Tac-Toe

Write your own sonnet exploring any

Read a new Shakespearean Sonnet.

Which Sonnet, 18 or 130, is more

Choose a completely new

Choose any Shakespearean Sonnet. Read

TRACE THE PATTERN!

Imagine that you are a poet

Find a partner and create an imaginary

Read a new sonnet that uses the

Shakespearean Sonnet: Tic-Tac-Toe

Content supported with details from the texts

Work acknowledges historical context of texts

Grammar, Usage, Mechanics, Spelling

Content supported with details from the texts

Work acknowledges historical context of texts

Grammar, Usage, Mechanics, Spelling

Content supported with details from the texts

Work acknowledges historical context of texts

Grammar, Usage, Mechanics, Spelling

Choose Your Own

Choose Your Own

Graduated Difficulty Lesson Plan: Reading Shakespeare Independently

Level B Difficulty: No Fear Shakespeare

Philosophical Chairs Lesson Plan: Who Killed Romeo and Juliet?

English Language Arts

9th Grade Honors

Philosophical Chairs Prep

Romeo and/ or Juliet

Montague & Capulet

Philosophical Chairs Rubric

Whose fault is it that Romeo & Juliet are dead?

Average Discuss. Poor Discussion

Entire class did not

Cites solid evidence

Name__________________________________________ Period: