Killing Dead White Men - the History of Female Theatre and Theatre Makers: Killing Dead White Men: Female Playwrights, Directors, Practitioners and Theatre Makers

Female Playwrights, Directors, Practitioners and Theatre Makers
A Day in the Lives

Although, I have elsewhere in blogs, tried to emphasize the continuing contributions, influences and commitments of females to theatre, I think that sometimes a through line or overall sense of these contributions can be lost. The history of female playwrights, directors, practitioners, theatre designers, theatre managers and drama makers is long and significant. Unfortunately, because of cultural mores, constraints and the overemphasis given in written records to the exploits of males, it is sometimes more difficult to easily measure and appreciate the exact commitments of female practitioners and makers to theatre and drama. The story of females in theatre is a much more complex one not simply confined to professional theatres and professional theatre productions. It is hidden in private readings and performances, and concealed in the landscape of collective, little, youth, children's and student theatre, One very useful resource and contact point is The International Centre for Women Playwrights. Their website has many resources, contacts, workshops, conferences and information. Here is the weblink https://womenplaywrights.org/

One observation of mine from looking into this is that female dramaturgy is often collective or grows through the sharing of stories, ideas and supporting groups or communities. Learning by exploring my ignorance and the serious gaps in my knowledge is always an experience. So here is my attempt to provide a short overview.

In case you don’t have time to read this entire blog, I suggest the following to start. I really don’t believe in the canonization of the written text and the performance of the popular play as being at the center of drama. The written text does give some sense of permanence to a drama or text but I will try to not make it my only priority. I also don’t really believe in Top 10, Top 40 or Top 100 lists so I suggest a day in life or evolutionary journey approach. The first part of this post is a short day in the life history of female dramaturgy.

Since drama involves stories, characters and form and since females in most cultures were the cultural caretakers in most societies, I suggest starting your day at sunrise with reading some creation stories. Imagine women as the cultural caretakers of stories, songs and dances – a performance historical and cultural record. African female creation stories particularly those of the Ananse tales from the Akan peoples would be a good place to start. However, this clip of a modern female African storyteller gives the sense of the power and the danger that faced and still face females as the caretakers of story knowledge.

https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story/transcript?language=en

Indigenous Australian Drama

Stories from Indigenous Australian traditions are also truly enlightening. Perhaps even watch the Awakening Ceremony from the 2000 Sydney Olympics Opening Ceremony.

https://vimeo.com/122295339

Activity - The New Dreamtime
This is an activity I developed working with Indigenous women in a workshop. I have used it in different countries as a way to start storytelling and performance making activities. Stand or sit in a circle. Look at all the people in the circle slowly. Think that they have stories and backgrounds which are rich and you don't know about. Now turn your attention inward. Think of a woman who was important to making who your are. It might be your mother, your grandmother or an auntie. Think of what they did or what they were or are. Give a special label to mythologize them. For instance, if your mother was an electrician you may call her My Mother, the controller of energy. If your grandmother was a theatre designer, you may call her My Nana, the magician of fabric. If your auntie liked to cook, you may call her My Auntie Lorraine, the Spirit Queen of the Senses. It is not necessary or even desirable to tell the group exactly what this woman was or what she actually did. Mythologize this woman. Now think of a way you could tell the story of this woman to the group making eye contact with everyone in the group. You will start with the mythology title and end with it. Now one by one, tell your special woman's story briefly. Here is an example of one:
"Mother, the Spirit Weaver. She was a magician. She gathered a group of young people and gathered their energy and spirits and had them dance and move and tell their stories and then she threw their dreams into a space and the images, stories and dreams would come to life. My Mother, the Spirit Weaver."

10-Minute Drama Lesson: The New Dreamtime

Objective:
To engage students in a creative storytelling and performance activity that allows them to mythologize important women in their lives, blending personal history with imaginative storytelling. This activity also encourages reflection on how stories shape identity, community, and legacy.

Lesson Plan:

1. Warm-Up (2 minutes)

Begin by gathering the students into a circle.
Ask them to stand or sit comfortably, with their attention focused inward.
Guide them through a few deep breaths, helping them relax and become mindful of the present moment.
Invite students to gently look around the circle, acknowledging that each person has a unique story and background—stories that may be rich and complex, yet unknown to them.
After a few moments of this reflective time, direct their focus inward.

2. Introduction to the Activity (3 minutes)

Tell the students, “Now, I want you to think of a woman who has been important in shaping who you are. This could be your mother, grandmother, aunt, or any woman who has had a meaningful impact on your life. This woman may have done something extraordinary or ordinary—what matters is the feeling and legacy they left behind.”
Explain the mythologizing aspect: “Now, instead of thinking of this woman just as a person, I want you to give her a special mythological title. This title should capture the essence of what she was to you, and it should have a sense of wonder and creativity. For example, if your mother was a baker, you might call her ‘The Keeper of the Oven Fires,’ or if your grandmother was a storyteller, you might call her *‘The Weaver of Tales.’”
Encourage them to think of the qualities of this woman that stand out—her strength, wisdom, nurturing spirit, or magical presence.

Example:

“My mother was a teacher, but more than that, she was the keeper of wisdom. I call her ‘The Keeper of Knowledge’ because she passed on the importance of learning to me and many others. She was like a tree, her branches stretching out, supporting us all with her understanding. The Keeper of Knowledge.”

3. Storytelling and Performance Creation (3 minutes)

Once the students have thought of their woman and her mythological title, invite them to share their stories with the group.
They will begin by stating their mythological title and then briefly telling the story of this woman—how she shaped them, her qualities, and her legacy. It’s important not to focus on the factual details but rather to tell the story in a way that makes her sound almost legendary.
Structure for Sharing:
- Start with the mythological title.
- Tell the story briefly, keeping it poetic and imaginative, and focusing on the essence of the woman’s influence.
- End by repeating the title.
Encourage the students to make eye contact with the group while telling their stories, grounding themselves in the present while also honoring the past.

Example (for teacher):

“My Nana, the Spirit Weaver, could take a simple piece of cloth and transform it into something magical. She had an eye for beauty and a heart full of stories. She taught me that what we create in the world comes from our hearts, and she showed me the power of fabric to hold meaning. My Nana, the Spirit Weaver.”

4. Group Reflection and Discussion (2 minutes)

After everyone has shared their stories, invite the group to reflect on the experience. Ask the following discussion questions:
1. How did it feel to mythologize someone close to you?
2. In what ways do you think mythologizing people in our lives helps us understand their impact on us?
3. Why is it important to honor people through stories and performance? How can this shape our cultural identity?
4. What does the act of creating a mythical title and story do for our understanding of the past, present, and future?
Allow students to share their thoughts on how the exercise helped them connect to the themes of storytelling, legacy, and cultural memory.

5. Closing (1 minute)

End with a brief reflection on the power of storytelling in Indigenous Australian culture, particularly in the Dreamtime. Emphasize how personal stories, when mythologized, contribute to a shared sense of history and connection.
Encourage students to think about how they can continue to honor their own ancestors, mentors, or influential figures in their lives through storytelling and performance.

Discussion and Reflection Questions:

How did it feel to create a mythological title for someone important in your life?
What power do you think there is in storytelling when we turn ordinary experiences into extraordinary ones?
How does the process of sharing these stories help us understand our cultural identity?
What can we learn from the way Indigenous Australians use myth and storytelling to connect to their ancestors and the land?
In what ways can we use storytelling and performance to honor those who have shaped us, even if we are not Indigenous?

This lesson encourages students to think creatively about their heritage, connect with their personal histories, and reflect on the role of myth and storytelling in shaping individual and collective identities. It is a powerful introduction to the theme of mythology in Indigenous culture, particularly the Dreamtime stories that help preserve and transmit cultural values.

Native American Drama

Native American stories work well especially the myths of Iroquois is a great Native American creation feminine story. http://www.crystalinks.com/namcreationwomen.html

10-Minute Drama Lesson Plan: "Creation Stories from Indigenous North American Cultures"

Objective: To engage students in physical and vocal storytelling techniques based on creation myths from various Indigenous cultures (Iroquois, Huron, Inuit, Cherokee).

1. Introduction to Creation Myths (2 minutes)

Teacher Prompt: “Many Indigenous cultures have beautiful and unique creation stories that explain how the world began and the roles of animals, nature, and humans. Today, we’ll explore a few of these myths and use drama to retell them in our own creative ways.”
Briefly introduce the different creation myths featured in the lesson, providing a short overview of each (Iroquois, Huron, Inuit, and Cherokee).

2. Warm-Up Activity: "Elements of Nature" (3 minutes)

Goal: Get students physically warmed up and ready to engage in imaginative storytelling.
Activity:
- Have the group stand in a circle.
- Call out different elements related to nature (e.g., wind, water, tree, animal, sky, earth).
- Students must quickly act out what that element might look like (e.g., wind might involve flapping arms like wings, water might involve flowing movements).
- Go through several elements in quick succession to get students thinking creatively.

3. Storytelling Circle: Myth Sharing (4 minutes)

Activity:
- Step 1: Choose one of the myths (e.g., Iroquois: The Woman Who Fell From the Sky) and tell it to the group in a dramatic, engaging way.
- Step 2: Ask students to break into pairs or small groups. Assign each group a different myth from the list provided (Iroquois, Huron, Inuit, or Cherokee).
- Step 3: Each group must decide on key moments from the myth to physically embody and tell through movement and voice. They should select key characters (e.g., the fish hawk, the turtle, the raven) and think about how they would express these characters physically and vocally.
- Step 4: After 2 minutes of preparation, each group presents their story to the class, using movement, sound, and gestures.

4. Group Reflection (1 minute)

Teacher Prompt: “Each group told their story in a way that brought the myth to life. What did you notice about how each group used their bodies and voices to communicate their story? What did you enjoy about telling a myth this way?”

5. Discussion Questions (Optional Extension)

What role do animals play in these creation stories, and why do you think they are important?
How do the myths reflect the values or beliefs of the cultures they come from?
How did using movement and vocal storytelling help bring the myths to life? What would have been different if we just read the story?
In what ways can we apply the themes from these creation myths to our own lives?

Conclusion (1 minute)

Teacher Prompt: “Today, we explored how creation myths from different cultures tell us not only about the origins of the world, but also about human relationships with nature and the world around us. By telling these stories through movement and voice, we connect with the ancient tradition of storytelling that transcends words.”

Reflection and Discussion Questions for Class:

What did you learn about the role of animals in these creation myths?
How do you think movement and gestures help communicate a story differently than just speaking the words?
What were some of the challenges in telling the stories physically? How did you overcome them?
What connections can you make between the myths we explored today and stories from your own culture or traditions?

This lesson plan provides a balance between physical activity, creative thinking, and cultural exploration, allowing students to connect with Indigenous creation stories in an active and meaningful way.

Early Sumerian Drama - Enheduanna

Over a light Middle Eastern breakfast look at the work of Enheduanna. Enheduanna is probably the earliest poet, playwright and musical lyricist whose name we have recorded. She was born in 2285 BC in the Sumerian city state of Ur (an ancient city of Mesopotamia situated in modern day Iraq halfway between Baghdad and the head of the Persian Gulf and today known as Tall al Muqayyar) in the 23^rd century BC. She died in about 2250 BC,

As a royal daughter holding the title of EN, she was appointed to the role of high priestess and it was while in this role that she wrote, performed and had others perform, the ritual devotional hymns, devotions, scenes and poems many of which were written to the Goddess Inanna. In her lifetime, she composed some 42 temple hymns which were sung and acted out in ritual dances and performances. Of her own work, she is quoted as saying: “My king, something has been created that no-one created before.”

No record remains of how her hymns and poems were performed or presented. The performative aspects of her work are evident in the words, images and rhythms of her language. Some of her remaining hymns and verses which are available in translation are:

Nin-me-šara, "The Exaltation of Inanna" (153 lines written in the first person about her exile from Ur and Uruk), In-nin ša-gur-ra (incomplete but 274 lines remain), In-nin me-huš-a, "Inanna and Ebih", The Temple Hymns and Hymn to Nanna.

Here is a section from Enheduanna’s ‘The Adoration of Inanna of Ur:
"Queen of all the ME, Radiant Light,Life-giving Woman, beloved of An (and) Urash,Hierodule of An, much bejeweled,Who loves the life-giving tiara, fit for High Priestesshood,Who grasps in (her) hand, the seven ME,

My Queen, you who are the Guardian of All the Great ME,You have lifted the ME, have tied the ME to Your hands,Have gathered the ME, pressed the ME to Your breast.You have filled the land with venom, like a dragon.Vegetation ceases, when You thunder like Ishkur,You who bring down the Flood from the mountain,Supreme One, who are the Inanna of Heaven (and) Earth,Who rain flaming fire over the land,Who have been given the me by An,Queen Who Rides the Beasts,Who at the holy command of An, utters the (divine) words,Who can fathom Your great rites!Destroyer of the Foreign Lands,You have given wings to the storm,

Beloved of Enlil - You made it (the storm) blow over the land,You carried out the instructions of An.My Queen,the foreign lands cower at Your cry,In dread (and) fear of the South Wind, mankind brought You their anguished clamor,Took before You their anguished outcry, Opened before You wailing and weeping,Brought before You the "great" lamentations in the city streets.In the van of battle, everything was struck down before You,My Queen,You are all devouring in Your power,You kept on attacking like an attacking storm,Kept on blowing (louder) than the howling storm,Kept on thundering (louder) than Ishkur,Kept on moaning (louder) than the evil winds, Your feet grew not weary,You caused wailing to be uttered on the "lyre of lament."My Queen,[all] the Anunna, the great gods,Fled before You like fluttering bats,Could not stand before Your awesome face,Could not approach Your awesome forehead. Who can soothe Your angry heart!”

Drama Lesson Plan: "The Power of Performance in Ancient Poetry: Enheduanna's 'The Adoration of Inanna of Ur'"

Duration: 10 minutes
Objective: To explore the performative aspects of Enheduanna’s poetry and engage in active drama exercises based on her work.

Materials Needed:

Copies of a short passage from The Adoration of Inanna of Ur
Space for movement and performance
Light Middle Eastern breakfast items (optional, for thematic atmosphere)
Music/sounds of the Middle East (optional for atmosphere)

Lesson Outline:

1. Introduction (2 minutes)

Context Setting: Briefly introduce Enheduanna, emphasizing her role as a high priestess, poet, and one of the earliest known playwrights. Explain that she composed hymns dedicated to the goddess Inanna that were likely performed with ritual dances and dramatic readings in ancient Sumeria.
Thematic Overview: Explain that today, we’ll be focusing on a section of one of Enheduanna's works, The Adoration of Inanna of Ur, to explore how poetry and performance intertwine.

2. Warm-Up: Voice and Movement (2 minutes)

Objective: To get students comfortable with using their voices and bodies for dramatic expression.
Activity:
- Start by leading a simple breathing exercise, helping students relax and focus their energy.
- Lead them through some vocal warm-ups (e.g., humming, chanting, or repeating rhythmic phrases).
- Move into body awareness exercises, encouraging students to stand tall, hold postures of power, and walk with intention.

3. Group Reading and Initial Interpretation (3 minutes)

Objective: To read and begin interpreting the passage from The Adoration of Inanna of Ur.
Activity:
- Read aloud a selected passage from Enheduanna's hymn (see below), encouraging the group to listen closely to the language, rhythm, and imagery.
- Ask the group to reflect briefly on the power and emotion conveyed in the passage.
- Have students read the passage in unison, focusing on voice projection, rhythm, and physicality.

Passage for Reading: "Queen of all the ME, Radiant Light, Life-giving Woman, beloved of An and Urash, Hierodule of An, much bejeweled, Who loves the life-giving tiara, fit for High Priestesshood..." (continued excerpt)

4. Active Dramatic Exploration (3 minutes)

Objective: To explore the power of language, body, and movement in Enheduanna's work.
Activity:
- Physicalizing the Language: Ask students to focus on certain words or phrases in the text (e.g., "Radiant Light," "much bejeweled," "thunder like Ishkur") and physically embody these qualities. How can the body represent these powerful images?
- Role-Playing: Have students take turns performing the part of Inanna as if they are speaking directly to their followers, projecting authority, power, and divine energy. They should focus on how to deliver these lines as if they are a commanding, powerful deity.
- Encourage them to use dramatic gestures, vocal variation, and physical movement to reflect the emotion of the text.

5. Reflection and Discussion (2 minutes)

Objective: To reflect on the power of Enheduanna’s work and its connection to modern performance.
Questions:
- How did the text make you feel when you read it aloud? What emotions or images did it evoke?
- How did you use your body and voice to communicate the power and divinity of Inanna? How did that change the way you felt about the text?
- Enheduanna’s hymns were likely performed with music and ritual. How do you think music and performance may have enhanced the impact of these words in ancient times?
- Do you think modern performances of poetry or dramatic texts can still capture the same energy and power as ancient performances? Why or why not?

Wrap-Up:

Conclude by discussing the relevance of Enheduanna’s work today and how it continues to inspire poets, playwrights, and performers around the world.
Optional: Have students share any thoughts or experiences from the lesson.

Reflection Questions:

What did you learn about the connection between poetry and performance through this exercise?
How do you think ancient rituals and performances were an important part of Enheduanna’s poetry?
In what ways did the dramatic interpretation help you understand the deeper meaning of the text?
What might Enheduanna’s work teach us about the importance of storytelling and performance in preserving history and culture?

Early Egyptian Drama

As you continue your Middle Eastern or Mediterranean breakfast. Read or look at Ancient Egyptian drama or two. Imagine you are in Ancient Egypt at the Festival of Osiris. Imagine the role of females in enacting out The Lamentations of Isis and Nephthys. Here is a translation of the text:

http://www.sacred-texts.com/egy/boi/boi04.htm

Drama Lesson Plan: The Laments of Isis and Nephthys

Duration: 10 minutes
Objective: To explore the emotional depth and dramatic expressions in The Laments of Isis and Nephthys, fostering understanding of grief, devotion, and the role of voice and movement in ancient Egyptian ritual.

Lesson Outline:

1. Introduction (2 minutes)

Context Setting: Explain the significance of the Laments of Isis and Nephthys as part of an ancient Egyptian funeral ritual for Osiris. The goddesses express grief, longing, and a deep devotion to their brother/husband, Osiris, whose death symbolizes the themes of life, death, and rebirth. These lamentations were likely performed as part of a ritual, involving music, dance, and vocal performance.
Focus: Today, we will explore how these emotions were expressed in a ritual context and how to perform this lamentation through voice and body.

2. Warm-Up: Vocal and Physical Preparation (2 minutes)

Objective: To prepare the body and voice for emotional expression.
Activity:
- Begin with a breathing exercise to help participants relax and focus their energy.
- Perform some vocal warm-ups: deep, resonant sounds, chanting, or humming to access emotional depth.
- Engage in physical stretches and simple movements to encourage openness and freedom of expression.

3. Group Reading and Interpretation (3 minutes)

Objective: To read aloud and interpret the emotional weight of the text.
Activity:
- Have participants read aloud selected lines from the lamentations (preferably in groups to emphasize the communal aspect of the performance). Focus on sections where Isis and Nephthys express deep sorrow, longing, and hope.
- Encourage participants to feel the emotional energy of the text. How does each goddess express her grief and desire for connection? How can the voice reflect these emotions—soft, pleading, or strong, powerful?
Excerpt for reading:
- "Lo, I invoke thee with wailing that reacheth high as heaven, yet thou hearest not my voice."
- "Come to thy temple, come to thy temple, oh An!"

4. Active Dramatic Exploration (3 minutes)

Objective: To physically embody the emotions and actions described in the text.
Activity:
- Isis’ Lament: Ask one or two participants to step forward and deliver Isis’ lines while embodying her sorrow. They should focus on vocal intensity, using slow, deliberate gestures to convey her deep grief.
- Nephthys’ Lament: Invite another participant to step forward to perform Nephthys' lamentation. Nephthys' expression of devotion and protection can be more grounded, offering solace and calm alongside the grief.
- Experiment with movement: How can participants use their bodies to express "calling out" or "reaching for" the lost loved one? Perhaps they move through space, gesturing toward an invisible figure, or fall to their knees in sorrow.

5. Reflection and Discussion (2 minutes)

Objective: To reflect on the emotional depth of the text and how the performance work connects to the ancient ritual.
Questions:
- How did it feel to speak the words of Isis and Nephthys aloud? What emotions did it bring up for you?
- How did the physicality of the performance change your understanding of the text? What did movement bring to the emotional depth of the lament?
- These lamentations were performed during a ritual. How might the presence of music, rhythm, or movement have heightened the emotional power of these words?
- How can you connect these ancient rituals of grief and devotion to modern performances or expressions of loss?

Wrap-Up:

Conclude by discussing how these performances, through voice and physical expression, were part of an emotional, spiritual ritual. Emphasize the enduring power of voice and movement in conveying emotion and connecting the performer to their audience, even in ancient times.

Reflection Questions:

How did you feel when embodying the grief and longing of Isis and Nephthys?
In what ways did the text and its delivery help you understand the depth of the emotional connection between the goddesses and Osiris?
What do you think ancient Egyptian rituals like these say about the culture’s understanding of life, death, and rebirth?
Can you think of modern rituals or performances that carry similar emotional weight? How are they performed differently, and what might they share in common with these ancient rituals?

Sappho

As you finish your leisurely breakfast imagine you are in Ancient Greece. Perhaps imagine yourself inside or outside the women’s quarters (gynaikônitis) in a private house and read the works of the Ancient Greek female poet Sappho (630 BC – 570 BC), who lived on the island of Lesbos. Her poems were probably performed in circles of all females around 600 BC.

https://www.poemhunter.com/sappho/

Drama Lesson Plan: Exploring the Poetry of Sappho

Duration: 10 minutes
Objective: To explore the emotions and themes in Sappho's poetry through dramatic interpretation and active engagement with the text. Participants will embody the emotions of the poems and express the nuances of longing, love, and admiration.

Materials Needed:

Printed excerpts of Sappho's poems, including Awed by Her Splendor, He Is More Than a Hero, and You May Forget But
Space for movement and vocal exercises

Lesson Outline:

1. Introduction (2 minutes)

Context Setting:
Sappho was a Greek poet from the island of Lesbos, known for her lyric poetry that often explored themes of love, beauty, and longing. Her poems, often directed toward other women, are some of the most emotional and passionate expressions in the Western literary tradition.
Today, we will explore a few of her poems, focusing on how her words evoke emotion and connection. Through acting, we will embody the feelings of admiration, yearning, and unrequited love expressed in her work.

2. Warm-Up: Vocal and Physical Preparation (2 minutes)

Objective: To prepare both voice and body for emotional expression.
Activity:
- Start with a short breathing exercise to ground and center the participants. Encourage slow, deep breaths to create a sense of calm before engaging with the text.
- Vocal warm-up: Have participants chant or hum softly to engage their voices. Then, move to a vocal exercise using phrases such as “Ahhh,” “Ohhh,” or “Mmmm” to create different vocal tones and emotions.
- Physical movement: Lead a simple stretch to loosen up the body. Encourage soft, fluid movements that embody the tenderness and longing in Sappho’s poetry.

3. Exploring the Poems (4 minutes)

Objective: To read and interpret Sappho’s poetry through dramatic engagement, focusing on the emotional layers of the text.
Activity:
- Poem 1: "Awed By Her Splendor"
  "Awed by her splendor, stars near the lovely moon cover their own bright faces..."
  - Ask one or two participants to read this poem aloud, focusing on the awe and reverence conveyed by the speaker. Encourage them to express how the presence of the moon seems to overshadow even the stars.
  - Discuss the physicality of this awe. How does the body feel when overwhelmed by beauty or grandeur? What subtle movements or gestures can convey admiration?
- Poem 2: "He Is More Than A Hero"
  "He is more than a hero, he is a god in my eyes..."
  - In pairs, have participants take turns reading this poem aloud. One should embody the speaker’s intense admiration, while the other could be the object of her affection, listening intently.
  - Experiment with vocal pitch and body language to express the extremes of devotion and adoration in this poem. How can the speaker’s longing and idealization be shown through posture and tone?
- Poem 3: "You May Forget But"
  "You may forget but let me tell you this: someone in some future time..."
  - This is a poignant poem about memory and love. Have participants take turns reading aloud, first in a soft, introspective tone, then with greater intensity.
  - Encourage them to physically embody the sense of yearning—perhaps reaching toward an invisible loved one or holding themselves with an expression of deep sadness. What movements can express the ache of lost love or the passage of time?

4. Active Dramatic Exploration (2 minutes)

Objective: To physically embody the emotional core of the poems and explore non-verbal expressions.
Activity:
- Group Interpretation: In a circle, ask participants to take turns reading short lines or phrases from each of the poems. After each line, the group should immediately embody the emotion conveyed—using movement, gesture, and expression.
- Example: After reading "Awed by her splendor, stars near the lovely moon cover their own bright faces," participants should move as though they are standing in awe of something magnificent, possibly looking up and stretching their arms toward an invisible moon.

5. Reflection and Discussion (2 minutes)

Objective: To reflect on the emotional depth of the poetry and how physical expression enhances understanding of the text.
Questions:
- How did it feel to embody the emotions in Sappho’s poems? Which poem felt the most personal or resonant for you?
- Sappho’s poems often express intense feelings of longing, admiration, and love. How did your body react when you expressed these emotions through movement?
- What did you discover about the relationship between language and physicality in conveying emotion? Can you imagine how Sappho’s poetry may have been performed in her time?
- How does the rhythm of the poems (the structure and flow of the lines) affect how you physically express them?

Wrap-Up:

Summary: Sappho’s poetry is full of emotional depth and longing. By engaging with her words through dramatic interpretation and physical expression, we’ve explored how poetry transcends language and becomes a living, embodied experience.
Closing Thought: Think about how these ancient feelings of love, longing, and admiration are still relevant today. How can we use drama to connect with the emotions expressed in literature from different times and places?

Reflection Questions:

Which poem or line from Sappho resonated with you most, and why?
How did you use physical movement to enhance the emotional weight of the poems?
What role does rhythm play in how we deliver and interpret poetry in performance? How did rhythm influence your expression of the text?
How does acting out a poem change the way you connect with the words compared to simply reading it silently?

Nāṭya Śāstra

Then take a quick look at the Nāṭya Śāstra and read about the form, or look at the pictures or try out some of the gestures and movement of this form developed in India around 500BC to 200BC and which as form still informs Indian drama, theatre, dance and films. Here is a link to a website with some information, videos and pictures of the Nāṭya Śāstra

https://www.revolvy.com/main/index.php?s=Natya%20Shastra

Practical Drama Lesson Plan: Exploring the Concept of Natya

Duration: 10 minutes
Objective: To introduce students to the principles of Natya (drama) as described in the Natyashastra, and explore the concept of abhinaya (expression through body, speech, and mind) using physical and vocal exercises. The lesson will engage participants in understanding how drama communicates emotions, creates connection, and transports audiences to different states of consciousness.

Materials Needed:

Open space for movement
Music or soundscape (optional for adding atmosphere)
A quiet, focused environment

Lesson Outline:

1. Introduction to Natya and Abhinaya (2 minutes)

Context Setting:
The Natyashastra is an ancient text that defines drama as a medium that creates joy and transports the audience into a heightened, transcendent state of being. According to this text, drama is a combination of physical, vocal, and mental expressions, bringing characters and emotions to life. The concept of abhinaya (expressive performance) is key, where the actor uses body, speech, and mind to convey emotion to the audience.
Key Points to Share:
- Drama is not just for entertainment; it brings deep emotional experiences (Rasa) to the audience.
- The actor connects with their audience through physical expression (gestures, posture, movement), vocal expression (tone, rhythm), and mental state (the inner world of the character).
- Emotions in drama are not just conveyed by words but also by movement and gestures, which help the audience resonate with the characters' feelings.

2. Warm-Up and Focus (2 minutes)

Objective: Prepare the body and mind for expressive movement and vocal work.
Activity:
- Breathing Exercise: Start with deep breathing to focus and calm the mind. Ask participants to inhale for a count of 4, hold for 4, and exhale for 4. Repeat 3-4 times to center and relax the body.
- Body Activation: Gently roll the shoulders forward and backward, stretch the neck from side to side, and slowly move the arms in circular motions. This helps to release tension and prepare for physical expression.
- Vocal Warm-Up: Encourage the participants to hum a note, then shift their pitch up and down, gradually exploring their vocal range. This will activate the voice and prepare for emotional vocal work.

3. Physical Expression Exercise (3 minutes)

Objective: To explore the concept of abhinaya by physically embodying different emotions through movement.
Activity:
- Emotion Exploration: Introduce 4 different emotions (e.g., joy, sorrow, anger, fear) and invite participants to embody them physically. For each emotion, ask them to:
  - Joy: Express this with an open, expansive body. Encourage them to spread their arms, smile, and move energetically.
  - Sorrow: Suggest closed, contracted body language. Have them lower their head, curl inward, and walk slowly with a heavy step.
  - Anger: Ask them to stand tall, with clenched fists and intense, sharp movements.
  - Fear: Have them shrink into themselves, perhaps flinch, with quick, hesitant movements.
As participants embody each emotion, encourage them to make strong, deliberate movements to communicate these feelings without speaking. Emphasize the idea that the body can communicate emotions as powerfully as words.

4. Vocal Expression Exercise (2 minutes)

Objective: To explore vocal expression, using tone, pitch, and rhythm to express emotion.
Activity:
- Emotion through Voice: Repeat the previous emotion exploration, but now use vocal work. Have the participants express each emotion with their voice:
  - Joy: A high-pitched, bright, and musical tone.
  - Sorrow: A slow, soft voice, with a slightly lower pitch.
  - Anger: A strong, forceful tone with emphasis on harsh consonants.
  - Fear: A trembling voice with quick, irregular pacing.
Invite the participants to focus on how their voices change when embodying different emotions, just as their physicality did. This exercise connects the mind, body, and voice in expressing the emotional states required in abhinaya.

5. Combining Movement and Voice (2 minutes)

Objective: To combine body, speech, and emotion in a more integrated way, exploring abhinaya fully.
Activity:
- Have the participants choose one of the emotions explored earlier and combine both body and voice to express it. Encourage them to move freely, integrating the physical gestures with the vocal tones they practiced.
- For example, if someone is expressing joy, they can smile widely, open their arms, and use a light, happy tone to say simple words like "I am so happy!" or a similar phrase, allowing the body and voice to work together to convey the emotion.

6. Reflection and Discussion (1 minute)

Objective: To reflect on the exercises and discuss how physical and vocal expression communicate deeper emotional states.
Questions:
- How did it feel to express emotions solely through your body and voice? Did you notice any changes in your mood or energy while performing these exercises?
- In what ways does physical movement help convey an emotion more clearly to an audience? How do you think this can deepen the connection between performer and spectator?
- How did your voice complement your movement? How can we use tone and pitch in acting to deepen the emotional connection with the audience?
- What was the most challenging part of integrating both body and voice to express a single emotion? Why?

Wrap-Up:

Summary: Today, we explored the principles of abhinaya and how drama is an art form that combines body, speech, and mind. The work we did in embodying emotions through movement and voice helps us understand how actors can use every aspect of their being to connect with an audience. The Natyashastra teaches us that drama has the power to transport and transform the audience, moving them into different emotional and spiritual states.
Closing Thought: As we continue to explore drama, think about how you can use your body, voice, and mind to convey emotions more deeply, bringing both yourself and your audience closer to the "supersensual" state of understanding and joy that is the goal of all drama.

Reflection Questions:

How did embodying the different emotions through movement and voice affect your perception of those emotions?
What differences did you notice when combining physical movement with vocal expression? How did one enhance the other?
Which emotion felt the easiest to express through both your body and voice, and why?
How do you think integrating these aspects of expression can help you connect more deeply with an audience in a performance?
How do you think the concept of Natya can be applied in modern theatre, and what might we learn from this ancient tradition in today’s performance art?

Hrotsvitha of Gandersheim

Then move to another location and imagine you are in 10^th Century Germany in Gandersheim Abbey in Lower Saxony in a community of unmarried daughters of high nobility. Read at least one of the plays of Hrotsvitha of Gandersheim. She wrote in Latin but here is an English translation of her plays.

https://archive.org/details/playsofroswitha00hrotuoft

Active Drama Lesson Plan: Exploring Hrotsvit von Gandersheim’s Plays

Duration: 10 minutes
Objective: To explore the themes of Hrotsvit von Gandersheim's plays through physical and vocal exercises, focusing on key emotions and character dynamics, particularly the strength and agency of the women in her stories.

Materials Needed:

Open space for movement
Props (optional): small objects to represent symbolic items (swords, crowns, scrolls, etc.)
Music (optional, to create atmosphere)

Lesson Outline:

1. Introduction to Hrotsvit and Her Plays (2 minutes)

Context Setting:
Hrotsvit von Gandersheim was a 10th-century Christian playwright and the first known female playwright. Her works often center around strong women who resist oppression, make personal choices, and endure trials. Her stories include themes of sacrifice, martyrdom, and faith, with women taking central roles.
Today, we’ll explore key emotions and the agency of Hrotsvit's female characters through movement and voice.

2. Warm-Up and Focus (2 minutes)

Objective: Engage the body and mind to prepare for expressive acting.
Activity:
- Breathing Exercise: Begin with deep breaths to relax. Inhale deeply for 4 seconds, hold for 4 seconds, exhale for 4 seconds. Repeat this three times.
- Body Stretching: Gently stretch your arms and legs, releasing any tension. Focus on loosening the shoulders and neck.
- Emotional Awareness: Take a moment to think of a strong woman from your life or history who embodies courage and resilience. How does she stand? How does she speak? This will help set the tone for your character work.

3. Character Exploration through Movement (3 minutes)

Objective: Understand and embody key female characters from Hrotsvit’s plays by exploring their emotions through physicality.
Activity:
We will explore the following characters and their emotional states through movement:
- Constance (from Gallicanus): A woman who outwits and challenges the expectations of others.
  Movement: Stand tall with a firm posture. Walk confidently around the space, making deliberate and purposeful movements, symbolizing a strong intellect and determination.
  Emotion: Resolve, leadership.
- The Martyrs (from Dulcitius): Three sisters enduring trials for their faith.
  Movement: Sit or kneel with a lowered head, embodying patience and endurance. Then slowly rise, showcasing quiet strength despite hardship.
  Emotion: Endurance, quiet rebellion.
- Drusiana (from Callimachus): A woman who dies to resist unwanted advances, yet remains the object of obsessive admiration.
  Movement: Lie down as if in a tomb, then slowly rise with an elegant, regal gesture, symbolizing the afterlife’s spiritual awakening.
  Emotion: Shame, transcendence, defiance.
- Sapientia (from Sapientia): A mother whose faith and love for her children lead her to martyrdom.
  Movement: Begin with a protective, embracing posture, then extend arms outward to represent sacrifice and divine connection.
  Emotion: Love, sacrifice, peace.

4. Voice and Dialogue Exploration (2 minutes)

Objective: To explore how voice can convey the internal strength of Hrotsvit's characters.
Activity:
After embodying these characters physically, we'll work with vocal delivery:
- Constance: With authority, speak a line like, “I will not be bound by your promises. I will choose my own path.” Use a strong, steady tone to convey control and autonomy.
- The Martyrs: In a soft but resolute tone, say, “We endure because our faith is our truth. No one can take that from us.” Use your voice to embody calm strength despite adversity.
- Drusiana: In a sorrowful, yet proud tone, say, “You cannot have me, not in this life or the next.” Convey a mixture of sadness and defiance.
- Sapientia: Softly and tenderly, say, “Faith, Hope, Charity—my daughters—are my soul's greatest treasures.” Use your voice to express deep maternal love and devotion.

5. Interactive Scene Work (3 minutes)

Objective: To actively explore character relationships and emotional arcs through short improvised scenes.
Activity:
Pair up with a classmate or work in small groups. Choose one of the following scene prompts based on the characters explored above. Improvise a short scene where you embody the character’s physical and vocal traits:
- Scene 1: Constance and Gallicanus
  Constance refuses Gallicanus's proposal, setting terms for his conversion.
  Explore power dynamics, resistance, and negotiation.
- Scene 2: The Martyrs in Prison
  The sisters face torture but find strength in their faith.
  Explore endurance, solidarity, and inner peace.
- Scene 3: Drusiana and Callimachus
  Callimachus seeks forgiveness for his obsessive love, and Drusiana rebuffs him.
  Explore rejection, self-preservation, and spiritual growth.
- Scene 4: Sapientia and Her Children
  Sapientia calmly and lovingly speaks to her children before their martyrdom.
  Explore maternal love, calm before death, and unshakable faith.

Reflection and Discussion (2 minutes)

Objective: Reflect on the themes of Hrotsvit’s plays and discuss the portrayal of women in her stories.

Questions:
1. How did it feel to embody the strength of the women in Hrotsvit's plays? What physical choices did you make to express their inner strength?
2. What emotions did you find most challenging to express? Why?
3. In what ways do the characters we explored today challenge the traditional roles of women in drama?
4. Hrotsvit wrote in a time when women’s voices were often marginalized. How do her plays empower women? How can we bring that empowerment into modern theatre?
5. How did voice work enhance your understanding of the character’s emotional depth? How did it change the way you interpreted their motivations?

Closing:

Summary: Today, we explored the emotional depth of Hrotsvit von Gandersheim's characters through movement and voice, focusing on the strength and agency of the women in her plays. These characters defy oppression, express their faith, and challenge the limitations imposed on them. Reflecting on these themes gives us an opportunity to reconsider how women’s voices and experiences are represented in drama today.
Final Thought: As we continue to explore and produce more inclusive theatre, let’s remember the bold and powerful narratives of women like those in Hrotsvit's plays—stories that speak of resistance, sacrifice, and the unbreakable human spirit.

Hildegard of Bingen

In the same location, try to get a taste of the great German Benedictine abbess Saint Hildegard of Bingen. Listen to or look at or read some of her Ordo Virtutum written in about 1151. Here is a video-clip of a modern performance of the piece.

https://www.youtube.com/watch?v=WBGgRSPyUFQ

Full translated text of Ordo Virtutum available at:

https://www.healthyhildegard.com/ordo-virtutum-text-translation/

Lesson Plan: Active Drama Lesson on Ordo Virtutum by Hildegard of Bingen

Objective:

To introduce students to Ordo Virtutum by Hildegard of Bingen through active drama exercises that engage them in character development, storytelling, and exploring the themes of virtues, temptation, and redemption.

Materials:

Printed excerpts from Ordo Virtutum (or digitally available)
Space for movement and performance

Duration: 10 minutes

1. Warm-up Exercise: Physical and Vocal Alignment (2 minutes)

Goal: Energize the group, connect with the body and voice to embody the characters.
Have students stand in a circle. Lead them through a series of gentle stretches, from head to toe, encouraging them to breathe deeply and release any tension.
Call out different virtues or characters from Ordo Virtutum (e.g., Humility, Soul, Devil, Victory). Students will mirror the physicality of these characters by adjusting their posture, gestures, and expressions to match the energy or mood of the virtue or character.

Example:

Humility: Students crouch low, holding their hands in front of their bodies, looking humble and contemplative.
Devil: Students stand tall, arms wide, chest forward, creating an imposing, evil presence.

2. Character Exploration and Dialogue (4 minutes)

Goal: To engage students with specific characters through dialogue and inner conflict, exploring the relationship between virtues, the Devil, and the Soul.
Split the class into small groups. Each group will act out a scene from Ordo Virtutum, focusing on their assigned character’s internal and external conflicts.
- Group 1: Soul and the Virtues - The Soul is unsure, lamenting her fall from grace and longing to be redeemed.
- Group 2: Devil and the Virtues - The Devil tempts the Virtues, challenging their ability to resist worldly pleasures.
- Group 3: Humility and the Virtues - Humility encourages the Virtues to unite and conquer the forces of temptation.

Instructions:

Have students read through their lines together and begin exploring the emotional layers behind each character.
Encourage them to physically express their character’s emotional state through posture and gesture while delivering lines.
After a few minutes of rehearsal, each group will perform a short scene in front of the class.

3. Group Reflection on Performance and Themes (2 minutes)

Goal: To reflect on the lesson and connect the drama to larger thematic elements of Ordo Virtutum.
After each group performs their scene, invite the class to reflect on the experience.
Ask guiding questions to connect the performance to the overarching themes of the play.

Reflection Questions:

To the group acting as the Soul: How did you convey the Soul’s inner turmoil and longing for redemption?
To the group acting as the Devil and Virtues: What physical choices did you make to express the Devil’s temptation versus the Virtues’ strength?
To the group acting as Humility: How did you embody the role of Humility as a powerful, uniting force for the Virtues?

4. Debrief and Discussion (2 minutes)

Goal: To further explore the lessons and themes of Ordo Virtutum, focusing on the concepts of good vs. evil, redemption, and the importance of virtues.
Lead a brief discussion on the following questions:
- What does the play tell us about the role of virtues in overcoming temptation and sin?
- How did the characters’ actions reflect the conflict between worldly desires and spiritual salvation?
- Why do you think Hildegard chose to represent virtues as powerful forces that could "fight" the Devil?
- How does this piece compare to other medieval religious works you’ve studied?

5. Closing Thought (1 minute)

Goal: To end on a reflective and contemplative note about the power of virtues in daily life.
Pose a final question for students to think about:
- If you were to embody one of the virtues from Ordo Virtutum, which would it be and why?

Extension/Adaptation for Further Exploration:

For future lessons, students can delve deeper into the historical context of Ordo Virtutum, exploring its connection to medieval religious themes and Hildegard’s unique role as both a composer and a visionary.
The students could perform a full reading or adaptation of Ordo Virtutum as a class project, using movement and vocalization to explore the characters in depth.

Reflection and Discussion Questions for the End of the Lesson:

Which virtue do you think would be hardest to embody in your own life? Why?
How did the physicality and emotional expression of each character shape your understanding of their role in the play?
What role does inner conflict play in the transformation of the Soul from despair to redemption in Ordo Virtutum?
What impact do you think Hildegard intended for this piece to have on her audience in the medieval period, and how might it resonate with audiences today?
How can the lessons from this play about temptation and redemption be applied to modern life?

Isabella Andreini and the Commedia dell arte

Now as the morning progresses imagine you are in Italy around 1550 in Venice or Milan around the 1550’s and you see and hear in the marketplace the improvised form of mask theatre called the Commedia dell arte and you see women on stage and you see the comic scenes they have developed. Isabella Andreini was a member of the Compagnia dei Comici Gelosi commedia troupe. The commedia character Isabella is named after her. In 1576 at the age of fourteen she was acting permanently with the company. By 1580 she was a leading actor and director within the company.

The following clip may give some sense of how female actresses performed scenes in the original commedia dell arte plays:

https://www.youtube.com/watch?v=DnuhkteG7r4

Drama Lesson Plan: Exploring Isabella in Commedia dell'Arte

Objective:
To understand the character of Isabella in Commedia dell'Arte and explore themes of gender, disguise, and language through performance and discussion. Students will explore physicality, voice, and emotion in creating the character of Isabella and the dynamics of interaction with other characters.

Materials Needed:

Script excerpts (provided)
Space for movement and performance
Props for costuming (optional)

Warm-Up (5 minutes):

Group Circle Warm-up:
Begin with a quick physical warm-up to get the body and voice energized. Start with some stretching and gentle movement to release tension. Follow up with a vocal warm-up, like humming or sirens (sliding up and down in pitch), to prepare the voice.
Commedia dell’Arte Context Briefing (3-5 minutes):
Briefly explain the historical context of Commedia dell’Arte, focusing on the role of women in theater at the time. Emphasize how Isabella Andreini's performance as Isabella was groundbreaking—particularly how she embodied both intelligence and sensuality, while also being daring on stage. Highlight that women were not allowed to perform in theater during this period, so the presence of actresses like Andreini was both a novelty and a powerful statement.

Activity (15 minutes):

Character Exploration (5 minutes):
Have the students break into small groups. Each group should read the brief character descriptions and lines from the script provided, specifically focusing on Isabella’s interactions with the other characters: Orazio, Burattino, and Graziano.
Ask the groups to discuss:
- What do we learn about Isabella’s personality from her interactions with each of these characters?
- How does she balance her intelligence and charm with the social roles placed upon her?
- How might her use of language (French and Tuscan) indicate her status and identity?
Physicality & Voice Work (10 minutes):
In the same small groups, have the students physically embody Isabella. Consider the following elements:
- Posture & Movement: How does Isabella move? Is she elegant, confident, or playful? Have students experiment with different postures—standing tall, graceful gestures, or sneaky glances.
- Voice & Speech: How might Isabella’s speech change when interacting with Orazio, Burattino, and Graziano? How does she use French to show off her sophistication and Tuscan to relate to them? Encourage students to experiment with speaking in both languages (even if they don’t know them) to explore the tone and rhythm of her speech.
After experimenting, have the students come back together and perform their interpretations of Isabella’s interactions with each character.

Scene Work (10 minutes):

Group Performances:
Have each small group choose one of the interactions between Isabella and the other characters to perform for the rest of the class. For example:
- Isabella and Orazio: Focus on the moment when Isabella curtsies and greets Orazio in French, followed by his surprise when she speaks Tuscan. How can her intelligence and charm be conveyed through body language and tone of voice?
- Isabella and Burattino: Focus on the moment when Burattino announces Isabella as his mistress and reveals her linguistic abilities. Isabella might try to stop him. How can students portray Isabella’s reaction to Burattino’s boastful claim? How does she handle this situation?
- Isabella and Graziano: Focus on the moment when Graziano fusses over Isabella’s abilities. How can students portray Isabella’s graceful but perhaps subtly mocking response to his attention?
After each performance, encourage the class to give feedback on how well the students embodied Isabella's character and the dynamics between her and the other characters.

Reflection and Discussion (5-7 minutes):

Reflection Questions:
- What did you discover about Isabella’s character through this activity? How do you think her status as a noblewoman and her skill in multiple languages influence her interactions with the men in the scene?
- How does the concept of disguise play into this scene? Isabella is initially disguised as a servant. What does this reveal about her ability to move between different roles and identities?
- How does Isabella use language and physicality to manipulate how others perceive her? What does this say about the power dynamics in the play?
- Why might Commedia dell'Arte have been so impactful at the time? How did it challenge social norms, particularly regarding gender?
Class Discussion:
Discuss the following:
- Gender and Performance: How does Isabella’s character challenge traditional gender roles? How might her onstage daringness (ripping off her clothes) reflect her sense of agency in a world that restricted women’s freedoms?
- Commedia dell’Arte Today: How do we see elements of Commedia dell'Arte in modern theater or film? Are there any modern characters who might reflect Isabella’s boldness and complexity?

Conclusion (2 minutes):
Wrap up the lesson by highlighting the significance of Isabella as an early feminist icon in theater. Emphasize the importance of exploring both the historical and contemporary impact of such characters.

End with a reminder that Commedia dell'arte's blend of improvisation, physical comedy, and deep character work can still inspire performers today.

Elizabeth Cary

As the sun is rising higher, you may want to read part of (or all of) some of the writing of Elizabeth Cary, the first female playwright to write original plays in English. Her 1613 play The Tragedy of Mariam, the Fair Queen of Jewry is a classic.

https://www.wwnorton.com/college/english/nael/noa/pdf/27636_17th_U03_Cary-1-51.pdf

Lesson Plan: Exploring Emotional Complexity and Gender in The Tragedy of Mariam by Elizabeth Cary

Objective:
Students will explore the emotional complexity of Mariam’s soliloquy in Act 1, Scene 11 of The Tragedy of Mariam, focusing on themes of love, grief, and gender. They will also analyze how Mariam’s internal conflict reflects broader societal expectations of women during her time, and how this connects to modern concepts of gender and emotional expression.

Materials Needed:

Copies of The Tragedy of Mariam, Act 1, Scene 11
Whiteboard/Markers (or digital equivalent)
Pens/pencils and paper for student notes

Lesson Breakdown (10 minutes)

1. Introduction (1 minute)

Begin by giving a brief background of Elizabeth Cary’s The Tragedy of Mariam and its historical context. Explain that Mariam’s soliloquy reflects the intense emotional and psychological turmoil she faces after the death of her husband, Herod, and how her internal conflict challenges societal expectations of women during her time.

Historical context: Mariam is the wife of Herod the Great, who is both loved and hated by her. In this soliloquy, she wrestles with the conflicting emotions of grief, relief, and guilt over his death, which reflects a complex portrayal of a woman torn between love, loss, and justice.

2. Reading the Text (2 minutes)

Ask students to read the soliloquy aloud. Depending on the class size, you may have students read it in pairs or take turns reading sections.

Text to read:
(MARIAM alone.)
How oft have I with public voice run on
To censure Rome’s last hero for deceit:
When Herod lived, that now is done to death,
Oft have I wished that I from him were free:
Oft have I wished that he might lose his breath,
Oft have I wished his carcass dead to see.
Then rage and scorn had put my love to flight,
That love which once on him was firmly set:
Hate hid his true affection from my sight,
And kept my heart from paying him his debt.
... [continue reading the rest of the passage]

3. Guided Discussion of Key Themes (5 minutes)

Focus Questions for Discussion:

Emotional Conflict: How does Mariam’s soliloquy show the complexity of her feelings toward Herod? She seems torn between grief and relief—how can a person feel both at the same time?
Love and Hatred: Mariam expresses both intense love and intense hatred toward Herod. What do these conflicting emotions suggest about the nature of her relationship with him? How does this reflect the complexity of real human emotions?
Grief and Relief: Why does Mariam express both grief over Herod’s death and relief from his tyranny? How do these emotions contradict each other?
The Role of Gender: Mariam acknowledges that her “lesson’s former part” was to love her husband, yet she feels conflicted because her loyalty was tested by his cruelty. What does this tell us about how women were expected to behave in her society?
Mariam’s Self-Reflection: Mariam recognizes her own agency in her emotional responses, as she challenges traditional roles of women who are supposed to be passive. What does this reveal about her character and her inner conflict?

4. Reflection Activity (2 minutes)

Ask students to reflect individually on a time they experienced conflicting emotions. Have them write about a situation where they felt torn between two opposite feelings (e.g., happiness and sadness, relief and guilt). Prompt them with the following questions:

When have you experienced both relief and grief simultaneously?
How do you typically navigate conflicting emotions in difficult situations?
Do you think Mariam's internal conflict is relatable in modern times? Why or why not?

Invite a few students to share their reflections if they feel comfortable.