Tag Archives: drama/theater

Review Essay: A Lesson Plan on Ghoti and Its Others

The amount of research on reading is voluminous. Even after reading what I consider and exhaustive (and occasionally exhausting) amount of this material across a period of 15 years, I still barely scratched the surface of this body of literature. At the classroom level, however, teaching practice demands keen attention to two things: decoding–i.e. recognizing the correspondence between letters and their sounds, known as phonemic awareness, and comprehension–i.e. understanding the meanings of words and applying that understanding, in synthesis, to the entire body of a text to understand it.

English is a tough language to decode. One person who recognized this and wanted to do something about it was the Irish playwright and Nobel Laureate George Bernard Shaw. Shaw was sufficiently concerned about the odd vagaries of English spelling that he actually bequeathed money in his estate for spelling reform. Indeed, there is a form of orthography known as the Shavian Alphabet (Aside: Shavian is both an adjective and a noun meaning, basically, related to George Bernard Shaw and his writings.)

In any case, one of the well-known representations of the challenges of English phonics, often erroneously (it first appeared, apparently, in a letter from Charles Ollier to Leigh Hunt) attributed to Shaw, is the word ghoti. It is possible, using English phonics, to pronounce this word as fish: take the gh from tough (i.e. f), the o from the plural women (i.e. short i), and the ti from action (i.e. sh).

Over the years, when I had a few minutes left in a class period, generally at the beginning of the school year, I would trot this out for the struggling readers and English language learners I served. After explaining–in summary of course–much of the foregoing in this essay, I would point out to students that if they struggled with English phonics and their representation in orthography, they were in very good company: George Bernard Shaw, Nobel prizewinning author whose plays are still routinely performed today.

This year, I finally wrote out this lesson plan on ghoti for use in a full class period. Here is the accompanying worksheet and the teacher’s copy of same. I added a few words, which I grabbed somewhere along the line. Now it’s yours if you can use it.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Algonquin Wits: George S. Kaufman Addresses a Critic

“Kaufman was seldom open to outside suggestions concerning his work, especially from persons he didn’t know. One self-appointed critic, on being snubbed by G.S.K. remarked, ‘Perhaps you don’t know who I am?’

‘That’s only part of it,’ said Kaufman.’”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Kyoka

“Kyoka (Izumi Kyoka, 1873-1939) Japanese fiction writer and playwright, known for his many tales of the bizarre, grotesque, and supernatural. One of the most distinctive Japanese stylists, Kyoka rejected the modernist trends of Meiji literary movements such as shizenshugi, which promoted a tedious confessionalism, and sought inspiration in traditional motifs and sources. His work thus recalls the nativism of Ueda Akinari and foreshadows the neotraditionalist writing of Tanizaki Jun’ichiro. The unorthodox quality of Kyoka’s writing has also been seen as symptomatic of a well-documented psychopathology, including  mother fixation and assorted obsessive-compulsive disorders.

One of Japan’s greatest authors, Kyoka has been little translated—in part owing to his notoriously difficult, labyrinthine prose style. Translations include the short stories Koya hijiri (1900; tr The Saint of Mount Koya, 1956) and Sannin mekura no hanashi (1912; tr A Tale of Three Who Were Blind, 1956). Kyoka was also a playwright, and many of his works were performed for the popular Shimpa stage.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Brewer’s Curious Titles: A Man for All Seasons

“A Man for All Seasons: A play (1960), later a film (1967), by Robert Bolt (1924-95) about the Tudor statesmen Sir Thomas More and his opposition to Henry VIII’s divorce from Catherine of Aragon. The title was derived by Bolt from a description of More by his contemporary Robert Whittington (c. 1480 – c. 1530), who wrote:

 ‘More is a man of angel’s wit and singular learning; I know not his fellow. For where is the man of that gentleness, lowliness and affability? And as time requireth, a man of marvelous mirth and pastimes; and sometimes of as sad a gravity: as how say: a man for all seasons.’

Vulgaria (1521)

 Whittington in turn borrowed the tag from Erasmus, a friend of More’s, who had described More in his preface to In Praise of Folly (1509) with the words omnium horarum hominem (‘a man for all hours’).”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Cultural Literacy: Shylock and The Merchant of Venice

Here is a Cultural Literacy worksheet on the Shakespearean character Shylock, from The Merchant of Venice. This is a Shakespearean character, like many, who has been the subject of a great deal of critical inquiry and discourse.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

7 Supreme Works of Shakespeare

“Henry IV * Hamlet * Measure for Measure * Othello * King Lear * Macbeth * Antony and Cleopatra

‘Just as there are seven wonders of the world and seven deadly sins, so there are (in my opinion) seven supreme peaks achieved by Shakespeare,’ wrote Giuseppi de Lampedusa, author of The Leopard. He also added that, ‘If I was told all the works of Shakespeare had to perish except one that I could select, I would first try to kill the monster who made the suggestion; if I failed, I would then try and kill myself: and if I could not manage even this, well then I would choose Measure for Measure,’”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Richard III

Here are a reading on Richard III and its accompanying vocabulary-building and comprehension worksheet that has a number of uses in both social studies and English language arts classes, I would think.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Book of Answers: Aphra Behn

“Who was the first female professional author in English? Aphra Behn (1640-89), author of the play The Rover (1677) and the novel Oroonoko (1688). She wrote under the pseudonym Astrea.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

The Algonquin Wits: Tallullah Bankhead on Maeterlinck

“Attending an unsuccessful revival of the Maeterlinck play Aglavaine and Selysette, Tallullah Bankhead commented to Aleck Woollcott, ‘There is less to this than meets the eye.’”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Book of Answers: What Is A Moor?

“What is a Moor? The Moors were the mixed Arab and Berber conquerors of Spain in the eighth century. In literature, the most famous member of this ethnic group is Othello, the Moor of Venice (c. 1604).”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.