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Journal articles on the topic 'Shakespeare in the classroom'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Farris, Anelise. "Visual Rhetoric as Performance." Pedagogy 19, no. 3 (October 1, 2019): 558–73. http://dx.doi.org/10.1215/15314200-7615587.

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This article examines the use of comic adaptations of Shakespeare in the college classroom. After theorizing the class offering based upon performance pedagogy and inclusive learning practices, the author describes her experience coteaching a Shakespeare class that used three Shakespeare plays in both their traditional and graphic format. The success of the course revealed that comic adaptations of Shakespeare plays offer an accessible, rewarding means of understanding Shakespeare’s plays as both texts to be read and works to be performed.

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2

Meyer, Allison Machlis. "Bringing Down the Bard’s House." Pedagogy 20, no. 3 (October 1, 2020): 549–58. http://dx.doi.org/10.1215/15314200-8544603.

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This article examines student experiences of studying Shakespeare’s first tetralogy through viewing and writing about Seattle Shakespeare Company’s 2017 Bring Down the House, a successful two-part adaptation of Henry VI parts 1, 2, and 3 directed by Rosa Joshi and the upstart crow collective, a Seattle theater company dedicated to producing classical works with diverse all-female and nonbinary casts for contemporary audiences. Through reflection on students’ responses to the adaptation’s all-female cast, as well as the analytical work they produced for an upper-level course titled Shakespeare: Context and Theory, this article articulates the pedagogical value of students’ experiences of representation in live theater performances of Shakespeare. The author argues for both the ethical imperative of introducing students to radical, inclusively cast productions and the enlivened learning that emerges in the literature classroom from students’ creative and analytical engagements with the diverse voices of modern all-female and cross-gender cast Shakespearean performance.

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3

Uchimaru, Kohei. "“Wisely, and slow. They stumble that run fast”: Learner-Friendly Shakespeare in an EFL Classroom." Early Modern Culture Online 7 (January 26, 2020): 66–86. http://dx.doi.org/10.15845/emco.v7i1.2831.

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This paper discusses a learner-friendly and student-centred approach to introducing Shakespeare for less advanced English language learners in the university-level EFL classroom. Shakespeare becomes welcome material when the input is comprehensible and enjoyable. In this light, the teaching should first start with the story rather than the language. After hooking students by recounting stories from Shakespeare, the teacher needs to familiarise them with the authentic language through activities carefully designed to initiate them into the language. In approaching the content of Shakespeare’s plays, the students are asked to relate themselves to the world of Shakespeare through active methods advanced by the RSC and the world that students already know. Raising language awareness in learners rather than being taught the language, the students become less frustrated while learning to appreciate Shakespeare.

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4

Voth, Grant L., Bertram Joseph, and Kenneth S. Rothwell. "Shakespeare In the Classroom." Shakespeare Quarterly 36, no. 2 (1985): 245. http://dx.doi.org/10.2307/2871208.

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Paran, Amos. "Shakespeare in the EFL Classroom." ELT Journal 70, no. 4 (July 22, 2016): 461–63. http://dx.doi.org/10.1093/elt/ccw052.

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Cox, Brian, Ronald E. Salomone, James E. Davis, and Helen Vendler. "Shakespeare in and out the Classroom." Hudson Review 51, no. 2 (1998): 440. http://dx.doi.org/10.2307/3853081.

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7

Casey, Jim. "Digital Shakespeare Is Neither Good Nor Bad, But Teaching Makes It So." Humanities 8, no. 2 (June 9, 2019): 112. http://dx.doi.org/10.3390/h8020112.

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Digital Shakespeare is all around us: mobile apps, YouTube videos, online “participatory cultures,” electronic playtexts, web-based educational materials, even Shakespeare-themed videogames. But how do these resources intersect with the teaching of Shakespeare in the university classroom? In particular, how might digital technologies aid or impede the effective teaching of close reading and critical interpretation in relation to Shakespeare? Rather than discussing the various creative and interactive platforms and media available to the Shakespeare instructor, this essay focuses on recent studies exploring the consequences of using e-readers and other digital devices on individual brains in order to present (1) the demonstrably negative impact of “multitasking” on student learning, (2) the potentially damaging effects of using e-readers and e-texts in the Shakespeare classroom, and (3) suggestions regarding the best practices for teaching students to engage with complex texts like the works of Shakespeare.

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Pande-Rolfsen, Marthe Sofie, and Anne-Lise Heide. "Sounding Shakespeare: An Interdisciplinary Educational Design Project in English and Music." Early Modern Culture Online 7 (January 26, 2020): 87–104. http://dx.doi.org/10.15845/emco.v7i1.2830.

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This article outlines Sounding Shakespeare, an interdisciplinary project in Music and English, carried out with student teachers in Norway. The aims of the project are to explore and develop new ways of working with Shakespeare cross-curricularly through educational design research, focusing on creative and aesthetic processes in order for student teachers to gain experience in working across subjects, and to decrease their fear factor of using Shakespeare in the classroom. The current curriculum changes in Norwegian primary and secondary education (Fagfornyelsen) focus on experimentation, exploration and creative processes, and these are guiding educational principles that also provide a foundation for the Sounding Shakespeare project. Our research into student teachers’ experiences of working with Shakespeare’s texts, constitute the starting point for this article. In the project, students worked in two different workshops with Speech and Music Composition to collaborate and devise a performance based on A Midsummer Night’s Dream as their focus text. Through voice and prosody, students explored the musicality of Shakespeare’s text, and through music composition, students experimented with soundscapes in creative processes. In the final part of the workshops, students collaborated towards performances. Based on our collected data, our main finding shows how music can become a guiding agent for a meaningful experience of literature.

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9

Preussner, Arnold W., Bruce McIver, and Ruth Stevenson. "Teaching with Shakespeare: Critics in the Classroom." Sixteenth Century Journal 26, no. 3 (1995): 710. http://dx.doi.org/10.2307/2543176.

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10

Baker, Susan, Bruce McIver, and Ruth Stevenson. "Teaching with Shakespeare: Critics in the Classroom." Shakespeare Quarterly 47, no. 2 (1996): 223. http://dx.doi.org/10.2307/2871114.

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11

Bottoms, Janet. "Representing Shakespeare: critical theory and classroom practice." Cambridge Journal of Education 25, no. 3 (November 1995): 361–73. http://dx.doi.org/10.1080/0305764950250307.

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12

Butler, Colin. "Shakespeare for the Gifted." Gifted Education International 14, no. 3 (May 2000): 247–53. http://dx.doi.org/10.1177/026142940001400306.

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This article describes a multi-part approach to Shakespeare's playwriting, including his conception of comedy, his method of characterisation, aspects of staging, and the relative status of male and female characters. It can accommodate all types of Shakespearean play. A Midsummer Night's Dream is treated as seminal. Other plays discussed include Much Ado About Nothing, The Merry Wives of Windsor, Othello and Twelfth Night. The approach is cumulative in effect and derives from teaching English 17–18 year olds working on the coursework unit of their Advanced Level English Literature certificate. Its unitised structure suits college and classroom workshops. It can be modified for younger students.

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13

Sharp, Jonathan. "Macbeth in the Higher Education English Language Classroom." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 2 (July 1, 2015): 33–47. http://dx.doi.org/10.33178/scenario.9.2.3.

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This paper presents the latest phase in an ongoing project to develop and widen the scope of drama-based classes in the practical language section of a German university English department. A brief overview of the use of literature in the (English) language classroom is given, with examples of some recent models, before turning to a consideration of practical drama-based approaches in Shakespeare education. This forms the background against which the main report on practice is presented. The Sprachpraxis section of the University of Tübingen English Department is briefly introduced before the focus shifts to the most recent example: a course on Shakespeare’s Macbeth involving drama-based methods. Course design, assessment and literature choice are discussed, before the pre- and post-course expectations and impressions are explored using data gathered from student questionnaires and teacher diary entries. Based on this analysis, initial outcomes are suggested for the continued progress of drama-based elements in the Sprachpraxis curriculum.

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14

Hawley, Jamie. "“The Rivalry is Hot:” Shakespeare, Harry Potter, and the Magic of Fanfiction." Undergraduate Research Journal for the Humanities 4, no. 1 (June 29, 2020): 4–13. http://dx.doi.org/10.17161/urjh.v4i1.13479.

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Abstract: While most crossover fanfiction focuses on characters of different works interacting, fanfiction involving Shakespeare often involves characters from one work interacting with a particular Shakespeare text. By examining this phenomenon in three Harry Potter/Romeo and Juliet crossover fanfictions, it can be seen that Shakespeare’s language and cultural capital are being used in fan communities in order to develop new interpretations of both Harry Potter and Shakespeare’s work, especially when it comes to utilizing tropes like “star-crossed lovers” to develop relationships not present in Harry Potter’s text. As such, Shakespeare has taken on a role in these fanfictions that is magic-like, and the fanfictions speak to how Shakespeare, rather than becoming lowbrow popular culture, has instead ascended to a role in literature no author has reached before. Literature Review: Scholars that have studied Shakespeare in relation to fanfiction such as MK Finn and Michelle Yost have argued that Shakespeare’s existence and prevalence on fanfiction sites is a sign of his descendance from a literary pedestal to existence on the same level as other “lowbrow” popular culture, such as Star Trek and The Avengers. A 2013 survey of high school English teachers showed that 93% of ninth-grade classrooms studied Romeo and Juliet, which fueled some scholars in their belief that Shakespeare, by becoming more accessible, has lost some of his highbrow reputation. However, I argue that rather than this accessibility resulting in the loss of Shakespeare’s cultural power, this power has instead increased, and Shakespeare has taken on a role in culture unseen by any other author, and this can be seen most clearly in his impact on fanfiction and his popularization of tropes like “star-crossed lovers,” which have moved beyond an existence in Shakespeare’s plays and have now been used as an interpretive lens in their own right.

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15

DE BARROS, ERIC L. "Teacher Trouble: Performing Race in the Majority-White Shakespeare Classroom." Journal of American Studies 54, no. 1 (December 9, 2019): 74–81. http://dx.doi.org/10.1017/s0021875819002044.

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The topic of race has long enriched Shakespeare scholarship. Race scholarship remains marginalized in the broader world of Shakespeare studies. The simultaneous “truth” of these statements reveals a deeply rooted professional ambivalence. And while recent attention has been paid to its manifestation at conferences and in journals, this essay explores its challenge to black teacher–scholars in the majority-white classroom. Rethinking The Merchant of Venice as an educational play, with Portia and Shylock performing as nontraditional teachers, I develop the concept of “teacher trouble” from Judith Butler's “gender trouble” to reflect personally on the perils and liberatory potential of antiracist performative strategies.

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16

Hapgood, Robert, and Charles H. Frey. "Experiencing Shakespeare: Essays on Text, Classroom, and Performance." Shakespeare Quarterly 40, no. 2 (1989): 228. http://dx.doi.org/10.2307/2870829.

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17

Tebbetts, Terrell L., and Charles H. Frey. "Experiencing Shakespeare: Essays on Text, Classroom, and Performance." South Central Review 5, no. 4 (1988): 74. http://dx.doi.org/10.2307/3189053.

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18

Cave, Richard Allen, and Charles H. Frey. "Experiencing Shakespeare: Essays on Text, Classroom, and Performance." Modern Language Review 85, no. 4 (October 1990): 912. http://dx.doi.org/10.2307/3732663.

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19

Falconer, Karl. "Getting It on Its Feet." Critical Survey 31, no. 4 (December 1, 2019): 42–53. http://dx.doi.org/10.3167/cs.2019.310405.

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How can we use the spaces outside of formal education to foster a relationship with Shakespeare? Can this help us to find a relevance for Shakespeare at a time when uptake in English and the arts is decreasing? Using my own company, PurpleCoat, as a model for interrogation, I will examine how performance can be used as a guide for Shakespeare in education. Through this research, I aim to understand the impact of my company’s work, and to better question how professional theatre, community theatre and classroom education can work together and learn from one another, to develop a more inclusive arts environment for those alienated by Shakespeare as a result of traditional systems.

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20

Lublin, Robert I. "Feminist History, Theory, and Practice in the Shakespeare Classroom." Theatre Topics 14, no. 2 (2004): 397–410. http://dx.doi.org/10.1353/tt.2004.0021.

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21

Ratz, Matthew. "Shakespeare in Circles: How a New Approach Enlivened My Classroom." Kappa Delta Pi Record 45, no. 1 (October 2008): 40–44. http://dx.doi.org/10.1080/00228958.2008.10516531.

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22

Sam. "Shakespeare and Literacy: A Case Study in a Primary Classroom." Journal of Social Sciences 8, no. 2 (October 1, 2012): 170–76. http://dx.doi.org/10.3844/jssp.2012.170.176.

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23

Paquette, Maryellen G. "Sex and Violence: Words at Play in the Shakespeare Classroom." English Journal 96, no. 3 (January 1, 2007): 40. http://dx.doi.org/10.2307/30047293.

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24

Miles, Laura Saetveit. "Playing Editor: Inviting Students Behind the Text." Early Modern Culture Online 6, no. 1 (October 18, 2015): 41. http://dx.doi.org/10.15845/emco.v6i1.1275.

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This commentary feature considers the advantages of using textual criticism to teach Shakespeare and using Shakespeare to teach textual criticism, at both the undergraduate and graduate level. First I discuss how to do this in practical terms, by suggesting some specific, concrete activities that bring an editorial approach into the classroom: interactive ‘editorial exercises’ that involve micro to macro textual problems. Then I discuss what is to be gained by teaching textual criticism through Shakespeare. Students can be profoundly transformed into critical thinkers and critical readers in four ways: 1) Healthy skepticism: i.e. undermining trust in editions, editors—and authority; 2) Healthy optimism: i.e. building a feeling of critical community; 3) Defamiliarizing the text and unsettling reading practices; 4) Combining a relish for puzzles, clues, data, detective work with the love of reading. In general this piece aims to be both a practical and philosophical consideration of the intersection of editing, Shakespeare, and teaching.

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25

Carlisle, Carol J., and Sidney Homan. "Shakespeare and the Triple Play: From Study to Stage to Classroom." Shakespeare Quarterly 40, no. 4 (1989): 505. http://dx.doi.org/10.2307/2870619.

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26

Bragg, Sara. "‘Like Shakespeare it's a Good Thing’: Cultural Value in the Classroom." Media International Australia 120, no. 1 (August 2006): 130–41. http://dx.doi.org/10.1177/1329878x0612000115.

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Questions of cultural value, aesthetics and evaluative judgments have vexed media education since its inception. Whilst they continue to count heavily both in teachers' conceptions of the work they do, and in students' responses to it, they have become increasingly problematic in contemporary society. The diverse environments of contemporary schools and the capacity of new media technologies to foster different taste communities have contributed to the dispersal of cultural authority and undermined traditional judgments. This article addresses how we might approach cultural value through a case study approach, exploring multiple value judgments deployed by teachers and students in post-16 classroom practice. It shows how current pedagogical thinking about cultural value does not take into account the complexity of classroom life, particularly its social relations and young people's awareness of the valorised identities and ‘supervisory discourses’ that circulate there. It explores specific educational practices that might make it possible for students to enter into debates about value, taste and preference.

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27

Reynolds, Paige Martin. "Not Just for Actors: Shakespeare and Emotion in the Literature Classroom." Theatre Topics 22, no. 2 (2012): 163–71. http://dx.doi.org/10.1353/tt.2012.0031.

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Brataas, Delilah Bermudez. "Teaching Shakespeare through Collaborative Writing and Performance in a Norwegian Primary School ESL Classroom: An Interview with Ellen Marie Kvaale." Early Modern Culture Online 7 (January 26, 2020): 120–31. http://dx.doi.org/10.15845/emco.v7i1.2975.

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This interview outlines the experience of Ellen Marie Kvaale, primary school teacher in Hoberg Primary School, in Stange, Norway. She discusses her innovative three-year project introducing three of William Shakespeare’s plays to 5th, 6th, and 7th -grade ESL students. Her project successfully employed challenging pedagogical methods that resulted in student performances, as well as student publications. The project was designed to develop their written and communicative skills in English with students producing multimodal written texts and collaborating on all levels of scene writing, performance design, and production. Building on her project, Ellen Marie also held workshops at Inland Norway University of Applied Sciences for pre-service teachers in which her primary school students participated. Her experience demonstrates the value and efficacy of using Shakespeare and his texts in ESL Primary School classrooms through active and interactive approaches, including performance, music, and collaborative writing that effectively engaged the four basic language skills.

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McDonald, Russ. "Shakespeare Goes to High School: Some Current Practices in the American Classroom." Shakespeare Quarterly 46, no. 2 (1995): 145. http://dx.doi.org/10.2307/2871042.

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Coles, Jane. "Testing Shakespeare to the limit: Teaching Macbeth in a Year 9 classroom." English in Education 43, no. 1 (March 2009): 32–49. http://dx.doi.org/10.1111/j.1754-8845.2009.01028.x.

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31

Shapiro, Michael. "Experiencing Shakespeare: Essays on Text, Classroom, and Performance by Charles H. Frey." Comparative Drama 24, no. 1 (1990): 92–93. http://dx.doi.org/10.1353/cdr.1990.0036.

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32

Hawkins, Paul. "Frye in the Classroom: Teaching Shakespeare with Northrop Frye and Harold Bloom." ESC: English Studies in Canada 37, no. 2 (2011): 131–36. http://dx.doi.org/10.1353/esc.2011.0029.

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33

Miller, Sheila. "Shakespeare, a Supernova, and a Little Green Man Walk into a Mathematics Classroom." Journal of Humanistic Mathematics 7, no. 2 (July 2017): 340–54. http://dx.doi.org/10.5642/jhummath.201702.17.

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Riggio, Milla C. "The Universal Is the Specific: Deviance and Cultural Identity in the Shakespeare Classroom." Shakespeare Quarterly 46, no. 2 (1995): 196. http://dx.doi.org/10.2307/2871047.

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35

Cheng, Astrid Yi-Mei, and Joe Winston. "Shakespeare as a second language: playfulness, power and pedagogy in the ESL classroom." Research in Drama Education: The Journal of Applied Theatre and Performance 16, no. 4 (November 2011): 541–56. http://dx.doi.org/10.1080/13569783.2011.617101.

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36

Young, Robert. "Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries ed. by Kathryn M. Moncrief, Kathryn R. McPherson, Sarah Enloe." Shakespeare Quarterly 66, no. 4 (2015): 511–13. http://dx.doi.org/10.1353/shq.2015.0068.

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Hansen, Claire. "Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and his Contemporaries ed. by Kathryn M. Moncrief, Kathryn R. McPherson, and Sarah Enloe." Parergon 31, no. 2 (2014): 196–97. http://dx.doi.org/10.1353/pgn.2014.0149.

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임정인 and 문도식. "Teaching a Translocal Shakespeare in a Korean Classroom: the Case of Julie Taymor’s Titus." Journal of Classic and English Renaissance Literature 19, no. 2 (December 2010): 225–48. http://dx.doi.org/10.17259/jcerl.2010.19.2.225.

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Nogueira, Clara Matheus. "Royal Shakespeare Company‘s #dream40." Letras & Letras 37, no. 1 (June 30, 2021): 207–17. http://dx.doi.org/10.14393/ll63-v37n1-2021-12.

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William Shakespeare is one of the greatest authors of the English language and is present in multiple school curricula. However, reading Shakespeare in classrooms can be a challenge for both teachers and students. In schools, adaptations from literature to social media platforms, such as #dream40, a production by the Royal Shakespeare Company, remain not fully explored. In this paper, this production is presented as a possible ally in the effort of bringing the English canon closer to the students’ reality, making the Bard more engaging and accessible, since this production uses mechanics that are part of most students’ daily lives on social networking platforms, such as the hashtag that appears in the title of this production; besides, #dream40 is closely aligned with our contemporary paradigm of worldview.

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Evain, Christine, and Chris De Marco. "Teaching Shakespeare in the Digital Age: The eZoomBook Approach." English Language Teaching 9, no. 6 (May 11, 2016): 162. http://dx.doi.org/10.5539/elt.v9n6p162.

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<p>What collaborative process can teachers offer in order to stimulate their students’ reading of and writing on Shakespeare’s plays? How can new technologies contribute to facilitating the classroom experience? The eZoomBook (eZB) template was designed for teachers to create and share multi-level digital books called “eZoomBooks” that allow readers to access enriched versions of the original, organized according to different tabs related to places mentioned in the original text. A zooming in and out function enables the readers of the eZoomBooks to navigate freely between the original and the enriched tabulated versions. This paper focuses on a pilot study of the methodology using a simplified version of the template. The targeted learners were English as a Second Language engineering students. Our objective is to show that the eZB framework and pedagogical applications are especially appropriate in making a difficult subject easier to teach (giving and correcting group assignments) and learn by providing learners an innovative and motivating approach to reading literature.</p>

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41

Hancher, Michael. "COLLEGE ENGLISH IN INDIA: THE FIRST TEXTBOOK." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 553–72. http://dx.doi.org/10.1017/s106015031400014x.

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In her groundbreaking bookMasks of Conquest: Literary Study and British Rule in India (1989), Guari Viswanathan established that “the discipline of English came into its own” not in England but in India, as an instrument of cultural colonization: “As early as the 1820s, when the classical curriculum reigned supreme in England despite the strenuous efforts of some concerned critics to loosen its hold, English as the study of culture and not simply the study of language had already found a secure place in the British Indian curriculum” (2, 3). Pausing to summarize the English literary curriculum fostered by “government schools in midcentury India,” she lists the following poetical works, gleaned from a report reprinted for the House of Lords in 1853: “Richardson's Poetical Selections (Goldsmith, Gray, Addison, Pope, and Shakespeare), Otway's Venice Preserved, Shakespeare's Hamlet, Othello, and Macbeth, Pope's Iliad by Homer, [and] Milton's Paradise Lost (the first four books)” (54). Although Viswanathan does not identify Richardson or his Poetical Selections, she is right to head the list with that textbook, which is mentioned in many other government reports of the period, and which was instrumental in establishing a classroom canon of British poetry in India before any such curriculum had been determined in Great Britain.

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Windholz, Jordan. "Not Something, Not Nothing, Not Shakespeare: Digitized Playbooks and the Question of Access in the Undergraduate Literature Classroom." Humanities 8, no. 2 (March 27, 2019): 61. http://dx.doi.org/10.3390/h8020061.

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The digital divide is deeply felt by undergraduate students in resource-restricted universities, but creative, if also labor-intensive, solutions exist for instructors negotiating paywalls and other institutional impediments. In this essay, I argue that teaching early modern drama outside the restraints of the Shakespearean archive and through a host of digital archives, databases, and tools not only engages students in inquiry-based, active learning but also cultivates a critical sense of how digital tools obviate and exacerbate questions of access. To make my case, I describe how I designed and taught a course on non-Shakespearean drama for English majors at Shippensburg University, one of Pennyslvania’s state-funded universities. After describing the mechanics of the course, I further theorize and examine the ways centering digital archives, databases, and tools as course texts enables students to think critically about the content available through these resources as well as the information hierarchies and receptions histories they promulgate.

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43

Logotheti, Anastasia. "Of text and tech: digital encounters with Shakespeare in the Deree College classroom in Athens, Greece." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 1 (January 2, 2020): 38–48. http://dx.doi.org/10.1080/13569783.2019.1687288.

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44

Brown, David Sterling. "(Early) Modern Literature: Crossing the Color-Line." Radical Teacher 105 (July 7, 2016): 69–77. http://dx.doi.org/10.5195/rt.2016.255.

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This article examines the pedagogical implications of teaching about the past in a way that establishes continuity in relation to present and future moments. I describe and analyze how my Trinity College students navigated my course, “Crossing the Color-Line,” which aimed to eradicate boundaries and entangle the professional and personal, social and political, past and present, and black and white in an engaged manner. I argue that a radical course such as “Crossing the Color-Line” can showcase, through literature and other media, how fusing difference of all kinds—cultural, religious, literary, historical, gender—promotes rigorous student directed learning experiences that are inclusive. Because Shakespeare was not the sole authorial voice in the room, or the only early modern author in our syllabus, “Crossing the Color-Line” actively resisted the literary, racial, social, and cultural homogeneity that one can often find in an early modern classroom. By not being Shakespeare-centric, the course placed value on the female perspective and refrained from being androcentric in its authorial focus. Moreover, by positioning “the problem of the color-line” as relevant in the early modern period, the combined study of African-American and early modern English texts challenged critical race studies to include pre-nineteenth-century literature.

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Irish, Tracy. "Would you risk it for Shakespeare? A case study of using active approaches in the English Classroom." English in Education 45, no. 1 (March 2011): 6–19. http://dx.doi.org/10.1111/j.1754-8845.2010.01081.x.

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46

Giebert, Stefanie. "Shall I Approach Thee Through Improvised Play? Dramatising Poetry." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 107–14. http://dx.doi.org/10.33178/scenario.8.2.10.

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Dramatising poetry in the language classroom – why and how? I first realised the dramatic potential of poetry when adapting Shakespeare’s sonnets for a university drama club. Staging a full-length play based on a poetry-cycle is usually not possible in class, but individual poems are mostly short and thus well-suited for exploration during a class-period. Despite this being a window of practice article, I will give a short overview of reasons for approaching poetry through drama before I describe concrete exercises. Moreover, besides ideas for dramatising Shakespearean sonnets, other authors’ ideas about dramatising poetry in general will be included as well. The articles that resulted from my database search on 'dramatising poetry' focus on two different target groups. Articles about poetry in L1 classrooms tend to focus on how students can be encouraged to appreciate poetry in itself (Feinberg 1979, Taylor 1994, Comeaux 1994) or on how certain types of poems can be taught (Rodberg & Jennings 2007 or Newlin & Bradford 2011 on sonnets). Texts about poetry in foreign/second language classrooms, however, often see poetry as a means to an end, a tool for improving learners’ language proficiency (Tomlinson 1986, Gasparro & Falletta 1994, Elting & Firkins 2006, Hestnes ...

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MUKHERJEE, MANJARI. "From Classroom to Public Space: Creating a New Theatrical Public Sphere in Early Independent India." Theatre Research International 42, no. 3 (October 2017): 327–32. http://dx.doi.org/10.1017/s0307883317000621.

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Abstract:

Though India declared itself a sovereign nation only in 1947, after two hundred years of British rule, its people had unleashed the processes of ‘Indianization’ well before independence. While addressing the transition from colonial subjecthood to independent citizenship is intricately linked to efforts of decolonization, the role of English-medium education in the creation of a new emergent class of independent Indian citizens often gets overlooked. This essay analyses the immediate impact of independence (1947–50), and locates the educational spaces where Indians (predominantly elite Bengalis) were struggling to unlink citizenship from nationalism and exploring inter-community relationships such as those between the Bengali elite and the micro-minority Jews, Parsis, Armenians and Anglo-Indians. I show how theatre activities by the students of St Xavier's Collegiate School and College, their new roles as potential public intellectuals and citizens of post-independent India and their theatre constituted an important intervention in the new democratic processes. I examine the duality of a Bengali elite who acquired an English-medium education and performed English-style Shakespeare while trying to construct a political dramaturgy as an ensemble or collective.

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Farabaugh, Robin. "‘The Isle is Full of Noises’: Using Wiki Software to Establish a Discourse Community in a Shakespeare Classroom." Language Awareness 16, no. 1 (February 15, 2007): 41–56. http://dx.doi.org/10.2167/la428.0.

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Wudel, Darcy. "Shakespeare's Coriolanus in the Political Science Classroom." Political Science & Politics 35, no. 02 (June 2002): 217–22. http://dx.doi.org/10.1017/s1049096502000549.

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Xeni, Elena. "Can pop culture and Shakespeare exist in the same classroom? Using student interest to bring complex texts to life." Educational Media International 51, no. 4 (October 2, 2014): 331–32. http://dx.doi.org/10.1080/09523987.2014.977013.

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