For each of these practice questions, you will need to read or watch two different interpretations of the same text. Make sure you are paying attention to similarities and differences between the two.

Activity 1:

HORTENSIO
   Sir, let me be so bold as ask you,
Did you yet ever see Baptista's daughter?

TRANIO
   No, sir; but hear I do that he hath two,
The one as famous for a scolding tongue
As is the other [famous] for beauteous modesty.

PETRUCHIO
   Sir, sir, the first's for me; let her go by.

GREMIO
   Yea, leave that labour to great Hercules;
And let it be more than Alcides' twelve.

PETRUCHIO
   Sir, understand you this of me in sooth:
The youngest daughter whom you hearken for
Her father keeps from all access of suitors,
And will not promise her hand [in marriage] to any man
Until the elder sister first be wed:
The younger then is free and not before.

TRANIO
   If it be so, sir, that you are the man
Must stead us all and me amongst the rest,
And if you break the ice and do this feat,
Achieve the elder, set the younger free
For our access, whose hap shall be to have her
Will not so graceless be to be ingrate.

A main difference between the original play and the modern interpretation is…

The character of Bianca Stratford in the modern version corresponds to which character description in the original play?

Activity 2: Read the excerpt from the short story and watch the Claymation interpretation. Then answer the questions below.

When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant—a combined gardener and cook—had seen in at least ten years.

It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street. But garages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps—an eyesore among eyesores.

Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town. […] Colonel Sartoris invented an involved tale to the effect that Miss Emily's father had loaned money to the town, which the town, as a matter of business, preferred this way of repaying. Only a man of Colonel Sartoris’ generation and thought could have invented it, and only a woman could have believed it.

When the next generation, with its more modern ideas, became mayors and aldermen, this arrangement created some little dissatisfaction. On the first of the year they mailed her a tax notice. February came, and there was no reply. They wrote her a formal letter, asking her to call at the sheriff's office at her convenience. A week later the mayor wrote her himself, offering to call or to send his car for her, and received in reply a note on paper of an archaic shape, in a thin, flowing calligraphy in faded ink, to the effect that she no longer went out at all. The tax notice was also enclosed, without comment.

What element of the original story is lost in the Claymation interpretation of the work?

What element of the setting has changed in the Claymation interpretation of the story?

Activity 3:

Based on the behind the scenes interviews, what artistic choice does the director make with Shakespeare’s twin characters?