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Archive for the ‘Discussion Questions’ Category

We know that Shakespeare wrote at least 37 plays – though not all of them are taught in our classrooms. We love teaching the recognizable and easily-found HamletMidsummer, Othello, and Macbeth, but there are so many to choose from if you have the time and the inclination to dig deeper. In this week’s Teacher to Teacher videos, teachers like you make the case for the plays they enjoy teaching:

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You may remember Gina Voskov’s impassioned post on this very blog, “Fighting With Truth,” in which she described her students’ affinity for learning Shakespeare and her comparison of Titus Andronicus to modern events and other authors. Hear more from Gina in her video, below. 

 

Then, of course, there’s something to be said for a play that can generate fantastic discussions. One of Shakespeare’s more modernly controversial plays, The Merchant of Venice, provides us with ambiguous characters and tough questions. Four of our teachers chose this play, but Dr. Robert Thompson sums it up nicely:

 

Finally, you may already be teaching King Lear, but we love what Gabriel Fernandez has to say about how personally relatable this play is for everyone. It appeals to our love of fairy tales, but does not give us the resolution we want. What can we learn from that?

 

What is your favorite play to teach? Why so? Let us know in the comments!

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Opening weekend has come and gone for Julian Fellowes’s new version of Romeo and Juliet in cinemas, and the numbers were not good.

I wouldn’t bring this up again so soon, but for a quote from Fellowes which appeared in an article from BBC News last week:

“When people say we should have filmed the original, I don’t attack them for that point of view, but to see the original in its absolutely unchanged form, you require a kind of Shakespearian scholarship and you need to understand the language and analyse it and so on.

“I can do that because I had a very expensive education, I went to Cambridge. Not everyone did that and there are plenty of perfectly intelligent people out there who have not been trained in Shakespeare’s language choices.”

My mind ground to a halt reading that. I went quite speechless (except for the occasional squeak or screech or indignant huff.) Is he serious? The NY Times tried to give him the benefit of the doubt, preceding this quote thusly: “With tongue presumably in cheek or perhaps just a foot deep in mouth,” but still I reel at this presumption. How grossly can you underestimate your audience?

A richly furnished Cambridge education is not what’s needed to revel in understanding of Shakespeare’s verses. It’s exposure to the language itself: put into action, spoken aloud, seen in performance, played with.

It seems, so far, that at least some reviewers agree that this pandering approach isn’t working:

“why not encourage the tween audience to rise to the language rather than hide the words from them?”
~ The Village Voice

“If this “Romeo & Juliet” were better, fierier or juicier, far less polite and rather more unhinged, it would be easier to ignore Mr. Fellowes’s ideas about the intelligence of his audience.”
~ The NY Times

“The Fellowes defence is that he’s writing for a new generation, who need the play livened up a bit. In the shonky hands of Italian director Carlo Carlei, his dutiful pastiche has quite the opposite effect.”
~The Telegraph

And yet – I still wouldn’t have so much ire towards this if Fellowes had simply owned  his adaptation and felt sufficiently comfortable to put his name in front of the title instead of Shakespeare’s. Sure, Shakespeare’s name sells, but don’t the names Romeo and Juliet have a little selling-power of their own? Why rely on the writer you’ve cut from the project? Shakespeare was an adapter, as I’ve mentioned before. So why hide behind him if you’re only going to push him out of the way because you think people are too stupid to understand his words?

What do you think? Were any of you one of the few who saw this film over its opening weekend? Do you plan to see it before it closes?

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Yesterday I stumbled upon this video from Australia’s ABC in 2011 about Shakespeare and his hip relevance to today’s audience. Excited, I started the video, and felt my face twist into a confused squint.

AU Shakespeare in Schools

A lot of their statements are great! Shakespeare was a great writer. His plays have survived for centuries. His language can be difficult because it’s very stylized, and once you “click in” it rolls more easily. However, they sort of veer off the point when they’re talking about these things for a modern audience. The stories are a part of what keeps Shakespeare alive, but the stories were all (or mostly) taken from other sources. Shakespeare’s language has survived, as well. It’s not just because we can make Romeo “emo” that we relate to the characters today, it’s because they are saying things that we think and feel as well.

The Complete Works of William Shakespeare [abridged] is a really fantastic show, but it – on its own – is not “Shakespeare.” I do love that show, and it adds an element of fun that students would respond to – but it’s not the only way to make Shakespeare fun!

What do you think? Why do you think Shakespeare is relevant, and how do your students find connections to his plays?

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Every year the schools participating in our local outreach programs, Shakespeare Steps Out  and Shakespeare for a New Generation, have to select one of Shakespeare’s plays to perform at their respective Festivals. There are always the big populars: Midsummer, Macbeth, Romeo and Juliet – but sometimes the teachers are looking for something a little different, or something they can tie into other parts of their lessons throughout the year.

But how to choose?

Student Players, Secondary Schools Festival 2013

Student Players, Secondary Schools Festival 2013

Lucretia wrote a fantastic post for us on this topic in 2010. One of the things she’s seen teachers do in the past is give their students examples of a few plays and lets them decide which they’d like to focus on. Additionally, using our 15-minute plays would also give them an idea of the language and plot! Here’s an excerpt from our Romeo and Juliet:

There, at this party, is where Romeo first sees Juliet. (6. O, she doth teach the torches to burn bright!) They dance. They kiss. She says, (7. You kiss by the book.) Only at the end of the party do they learn that the other is from their own family’s hated enemy.  It’s too late, they are in love with each other. Romeo sneaks away from his friends, climbs the wall into the Capulet’s orchard, and sees Juliet at her window (8. But soft, what light through yonder window breaks?) Juliet, not knowing Romeo is nearby, says (9. O Romeo, Romeo, wherefore art thou Romeo?)  They confess their love to each other, but Juliet is called inside. Romeo says, (10. Wilt thou leave me so unsatisfied?) Juliet says, (11. If that thy bent of love be honorable, Thy purpose marriage, send me word tomorrow.) They enlist the help of Juliet’s Nurse to send messages and Friar Lawrence to marry them.

Lucretia also gathered some great advice from veteran festival participant Sharon Rosenblatt of Gesher Jewish Day School:

When I select a play, I try to use one that has as much of these elements [outrageous humor, black magic, blood and lots of great sword fights] as possible. I also consider, of course, the number of students with which I have to work. Midsummer is great for a large cast. Macbeth is wonderful; the ghosts, madness, blood and sword fights make it fun to perform. I have recently added Twelfth Night to my selection…the idea of boys being girls and girls being boys gives everyone a great laugh and a real sense of Shakespeare.

Ms. Rosenblatt also offers up three insights from working on Shakespeare with her students over the years.

1) The plays are very confusing at first, but the more you work with them the more they understand. The more they understand the better the performance becomes. 2) Encourage everyone to take a part- the bigger, the better. It never fails that those reluctant students who selected very minor roles always regret their decision. 3) Don’t panic or become discouraged. These kids will knock you out; just give them this opportunity and step back!!

What are your favorite plays to focus on in class? Would your choices be different if you were (or weren’t) planning to perform them?

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Shakespeare’s plays are considered by many to be the pinnacle of high art – lovely language with high philosophy and idealized characters. But not everyone is ideal, and many words and turns of phrases are… well… not exactly dinner-table talk. 

Shakespeare was writing to be entertaining, and his Elizabethan audience was just as entertained by uncouth humor as our own modern audience – except now instead of playing on words about being “hung,” we now see Will Ferrell’s butt. Where today we have websites dedicated to parsing out each offensive moment in each movie or television show for our protection from smut, what could Shakespeare be censored for?

The government of Shakespeare’s time wasn’t so concerned about jokes with bad taste (though those jokes do abound!), but were rather more concerned with political uprisings and religious offenses. During Shakespeare’s own lifetime, playwrights were especially susceptible to suspicion from above as their words entertained masses of people, and could plant the seeds of an idea subtly. Every new play had to be approved for performance by the Master of the Revels, who looked the pieces over for any possible sedition. Shakespeare and his contemporaries were often questioned for their work, and sometimes it had very awful consequences. You can read more about 16th century censorship at PBS’s In Search of Shakespeare site.

William Shakespeare. Mr. William Shakespeares comedies, histories, and tragedies. London, 1632. Folger Shakespeare Library.

William Shakespeare. Mr. William Shakespeares comedies, histories, and tragedies. London, 1632. Folger Shakespeare Library.

Over time, different audiences have determined what is offensive to them in Shakespeare’s work. A second folio of 1632 in the Folger collection, seen here, bears the work of a censor for the Holy Office in Spain, Guillermo Sanchez. In the name of religious piety, Sanchez blotted out whole swaths of Shakespeare’s language, and cut Measure for Measure out of the book in its entirety. Nahum Tate rewrote a happy ending for King Lear in 1681 that wasn’t altered in performances for almost 200 years.

Outside of the realm of censorship, but just as famous for its alteration, David Garrick, a famous Shakespearean actor, rewrote the end of Romeo and Juliet so that Juliet awakes just after Romeo drinks the poison so that they briefly see each other alive before their final demise. You can see a comparison of these scenes in performance on the mobile tour video for the Folger’s next exhibit, Here is a Play Fitted.

Victorian audiences were so appalled by apparent homosexual overtones in the sonnets, that they dismissed the idea that Shakespeare even wrote them. Oscar Wilde, persecuted at that time for much the same reason, wrote a short story in which characters go mad over many years examining the sonnets for hidden meanings, The Portrait of Mr. W. HOthello has a long history of criticism, as well, being called “disgusting” by US  president John Quincy Adams for its depiction of a mixed-race couple. The Folger’s former exhibit, Shakespeare in American Life examines the experience of African Americans with Shakespeare.

Even today, there are just some things a modern audience would rather not see or hear when it comes to Shakespeare. We don’t want to see filthy humor mixed in with the glorious art – but some of the best art comes from being a mix like that, and Shakespeare was a true master of this mix of elements that both comfort and disquiet us – for whatever reason. Measure for Measure is still a difficult play to produce – after all, its plot hinges on a Puritanical political figure attempting to force a nun to sleep with him. As Michele Osherow said, this play and those like it are closer to modern drama in that it makes us ask harder questions of ourselves and our world – and that’s not always a comfortable experience, be we queens or commoners.

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One of the things we regularly like to see is students taking command of Shakespeare’s language as they say it. Showing us what the words mean to them, and making the character saying these words their own.

William Shakespeare's Flying Circus, 2011. Photo by Duy Tran.

William Shakespeare’s Flying Circus, 2011. Photo by Duy Tran.

That doesn’t always mean seeing a whole play exactly as Shakespeare wrote it. We’ve seen ownership take many forms in our festival – including schools that pull quotes or scenes from the entire canon to tell their own story with them. Perhaps they collected scenes about friendship to explore the theme; or used quotes with keywords to re-tell another story. One particularly memorable festival group once parodied the entire Twilight saga using only lines from Shakespeare for a very funny 20 minutes. The year before that, they performed scenes from Monty Python’s Flying Circus the same way. And they were using Shakespeare’s language!

Below are two YouTubers doing much the same thing: Hank Green (singer, songwriter, vlogbrother), wrote a song using only insults from Shakespeare’s texts, and the channel Chicken Shop Shakespeare takes bite-size bits of Shakespeare’s words and performs them in their own world. (Their very first video, Romeo lamenting his banishment, was filmed in a fast-food chicken place.) These artists have taken Shakespeare’s words and made something of their own from them, and it’s awesome.

 

Have you done any projects like this with your students? Share them with us! We loved it when teachers sent in videos of their kids making Shakespeare their own for our “Shakespeare Remix” during our first Electronic Field Trip!

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This afternoon we sat in on the design presentations for Folger Theatre‘s upcoming production of Romeo and Juliet. From a practical point of view, we need to see how the Theatre space will be changed so that we can adjust for our programs which take place onstage; but from the perspective of a fan of Shakespeare, it’s so exciting to see – each time – how this company at this point in time takes on a familiar play to tell a new story.

For example, director Aaron Posner says that his inspiration for this production came out of a conversation with his wife, actress Erin Weaver (who will be playing Juliet, and will also be joining us for our Romeo and Juliet set free workshop), in which they discussed the moment in which Juliet decides not to face the consequences, not to run away, but to end her life, instead. It’s nice to say that it’s the culmination of the story of a whirlwind romance in which two people were never meant for anyone but each other and her decision not to go on without him is romantic as well as sad – but, says Posner, “that’s not a story I can relate to.” Exploring, instead, what kind of world shapes Juliet in this direction and makes her choice not only one borne of love, but also of necessity, tells a different story than we might be used to as an audience.

“It’s a hard play to cut,” Posner added, since the language is so good and everything seems important to the story. The words are so familiar – they’ve been said hundreds of thousands of times – but each inflection and each decision made by Aaron and his cast of actors will tell a different story from each production that came before it. That’s something truly wonderful about Shakespeare in performance, anywhere in performance – In classrooms or theaters, amateurs to professionals – each person brings something new to the table to tell a new story with the same words.

Have you seen this play in performance recently, or read it with your students? What sort of discoveries did you make? Did anything change the way you perceive the play for good?

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Earlier this week we were approached by a performing group who was going to use Romeo and Juliet for the first time with their young audience. They were concerned with how to tell the end of the story without being too disturbing or too blase – getting the lesson across without traumatizing their audience.

We’ve been giving the tragedies to elementary-aged kids for a good long while, but it was still an interesting question to ponder. Lucretia Anderson put in her two cents: “They were desperate teens who did something awful to themselves resulting in a huge tragic loss for both families. This should teach students that coming together and eradicating hate is the way to go. We usually say that they “took their own lives” instead of saying they “committed suicide” or “killed themselves.” Romeo takes poison, Juliet stabs herself with a dagger. The elementary kids can handle it.

Ultimately, each teacher or presenter is familiar enough with their own audience of students that they know what they’ll be able to handle. But is there a line to toe, and where is it?

The research bug got me again, so I looked at a few examples of books for kids that depicted the lovers’ final acts. Read on for these examples, below, but how do you talk about fictional tragedy in your classroom?

Graham Hamilton, Nicole Lowrance, Romeo and Juliet, Folger Theatre, 2005.

Graham Hamilton, Nicole Lowrance, Romeo and Juliet, Folger Theatre, 2005.

~Tales from Shakespeare by Charles and Mary Lamb

Here Romeo took his last leave of his lady’s lips, kissing them; and here he shook the burden of his cross stars [sic] from his weary body, swallowing the poison which the apothecary had sold him, whose operation was fatal and real, not like the dissembling potion Juliet had swallowed, the effect of which was now nearly expiring, and she about to awake, to complain that Romeo had not kept his time, or that he had come too soon.

…but when Juliet saw the cup closed in her true love’s hands, she guessed that poison had been the cause of his end, and she would have swallowed the dregs if any had been left, and she kissed his still warm lips to try if any poison yet did hang upon them: they [sic] hearing a nearer noise of people coming, she quickly unsheathed a dagger which she wore, and stabbing herself, died by her true Romeo’s side.

~Shakespeare Stories by Leon Garfield
He knelt beside her and made his sad farewell.

“Eyes, look your last. Arms, take your last embrace! And lips, O you the doors of breath, seal with a righteous kiss a dateless bargain to engrossing Death.” Then, with a sudden joyfulness he cried, “Here’s to my love!” and drank the apothecary’s poison; and so, in an instant, ended for ever the parting from his love.

Longingly she kissed Romeo’s lips in the hope that some poison still remained on them. There was none; so she took his dagger and pressed it lovingly into her heart.

~Romeo and Juliet for Kids by Lois Burnett
He held her close in a final embrace.
Romeo found the poison and held it high,
“Here’s to my love. Thus with a kiss I die!”

The Friar left her in the tomb below,
And she knelt one last time by her Romeo.
What’s here? A cup, closed in my true love’s hand?
Poison, my lord! This is not what we planned!”
She drank from the bottle, but it was dry,
“One friendly drop to me you deny?

Juliet stabbed herself, and life defied,
Then fell to the ground by Romeo’s side.

~The Random House Book of Shakespeare Stories, [liberally] retold by Andrew Matthews

With a cry, Romeo rushed to her side and covered her face with kisses and tears. “I cannot live without you,” he whispered. “I want your beauty to be the last thing my eyes see. We could not be together in life, my sweet love, but in death nothing shall part us!”

Romeo drew the cork from the poison bottle and raised it to his lips. He felt the vile liquid sting his throat. Then darkness swallowed him.

For a time, there was no sound except the spluttering of the torch. Then Juliet began to breathe. She opened her eyes and saw Romeo dead at her side with the empty poison bottle in his hand. At first, she thought she was dreaming. But when she reached out to touch Romeo’s face and smelled the bitter scent of the poison, she knew the nightmare was real. Friar Laurence’s plan had gone terribly wrong. She cradled Romeo in her arms and rocked him, weeping into his hair. “If you had only waited a little longer!” she whispered. She kissed Romeo again and again, desperately hoping that there was enough poison on his lips to kill her too.

Then she saw the torchlight gleam on the dagger at Romeo’s belt. She drew the weapon and pressed the point to her heart. “Now, dagger, take me to my love!” she said, and pushed with all her strength.

~The Best-Loved Plays of Shakespeare, from Star Bright Books

The death of Romeo
Romeo opens Juliet’s tomb. He gazes lovingly at his bride.

“…Ah, dear Juliet, Why art thou yet so fair? Shall I believe that unsubstantial death is amorous and that the lean abhorred monster keeps thee here in dark to be his paramour?”

Romeo then prepares himself to die.

“Eyes, look your last! Arms, take your last embrace! And lips, O you the doors of breath, seal with a righteous kiss…”

He drinks the poison and dies.

Juliet Awakes
Just as Juliet wakes up, the Friar arrives. He sees the bodies of Paris and Romeo. He tells Juliet they must fly away at once. When Juliet sees that Romeo is dead, she refuses to leave. She sees that he has taken poison. ‘O, churl! Drink all and left no friendly drop to help me after?’ she says. She kisses his lips. Then she takes up Romeo’s dagger to stab herself.

~Tales from Shakespeare, by Tina Packer

Romeo held the lantern over Juliet’s face. “O my love! My wife! Death hath had no power yet upon thy beauty.” He kissed her cold lips, then lay beside her. “Here will I remain with worms that are thy chambermaids.” Romeo uncorked his poison. “Here’s to my love!” He closed his eyes and drained the bottle. The poison was quick. Romeo kissed Juliet again. “Thus, with a kiss, I die.”

Juliet knelt down. She found Romeo’s bottle and lifted it to her lips. “O, churl,” she said fondly. “Drunk all, and left no friendly drop to help me after? I will kiss thy lips. Perhaps some poison yet doth hang on them.”

The voices outside grew louder.

Juliet drew Romeo’s knife and aimed it at her heart. “Oh happy dagger! This is thy sheath. There rust and let me die.” With a swift motion, she stabbed herself and collapsed beside her husband.

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It seems we’re not alone in our disappointment with Julian Fellowes’s adaptation of Romeo and Juliet (sans Shakespeare’s words). While the language still sounds lofty, they’re not Shakespeare’s word choices – and that’s a big deal.

R&J Posters - Shall I Compare Thee to a Quarto

Terry Guerin suggested in the comments that one of the quotes was perhaps based on First or Second Quarto language – which made me think that maybe Fellowes was working from an early text instead of the ones with which we’re more familiar. So I went to the library sherpa, Alan Katz, who linked me to the texts in the Luna database so I could reference them from the comfort of my own desk (where I can still consume coffee and cookies – unlike in the Reading Rooms!).

Using images of each page from a 1597 First Quarto and 1599 Second Quarto, I ran through the quoted lines from the Fellowes trailer again. The results for a few notable differences are below, but this reminded me so strongly of a really cool video segment and activity idea from our 2012 Electronic Field Trip, that I just have to share that first:

In this clip, Dr. Gail Kern Paster speaks about how comparing two texts of the same play is useful for editors as they make their choices about what language to use when they create their edition of the play, and she references these two Quartos. On page 4 of the accompanying teaching guide for this program, we included images of the passages Dr. Paster references for students to compare in their own classrooms.

It becomes obvious, below, that Fellowes’ “translation” is not even close to First or Second quarto language, and is actually closer to that blasted “no fear” than anything else – which I’ve included, too.

What do these comparisons make you think? What’s gained and lost with each iteration?

Fellowes: On honor of my blood, I’ll strike him dead
First Quarto: Now by the stocke and honor of my kin, To strike him dead I hold it for no sin.
Second Quarto: Now by the stocke and honor of my kin, To strike him dead, I hold it not a sin
Folger Edition: Now, by the stock and honor of my kin, To strike him dead I hold it not a sin.
No Fear: Now, by the honor of our family, I do not consider it a crime to kill him.

Fellowes: [Juliet, if your heart like mine is full then tell the joy that weights us this night,]
I cannot tell of what is limitless.
First Quarto: NOT FOUND
Second Quarto: My bountie is as boundlesse as the sea, My love as deep, the more give to thee The more I have, for both are infinite:
Folger Edition: My bounty as boundless as the sea, My love as deep. The more I give to thee, The more I have, for both are infinite
No Fear: My generosity to you is as limitless as the sea, and my love is as deep. The more love I give you, the more I have. Both loves are infinite.

Fellowes: Romeo! Come settle with me, boy!
First Quarto: Bace boy this cannot serve thy turn, and therefore drawe.
Second Quarto: Boy, this shall not excuse the injuries That thou hast done me, therefore turn and draw.
Folger Edition: Boy, this shall not excuse the injuries That thou hast done me; therefore turn and draw.
No Fear: Boy, your words can’t excuse the harm you’ve done to me. So now turn and draw your sword.

Fellowes: What have I done but murdered my tomorrow?
First Quarto: Ah, I am fortunes slave.
Second Quarto: O I am fortunes fool.
Folger Edition: O, I am Fortune’s fool!
No Fear: Oh, I have awful luck.

Fellowes: Then you are mine no more, so help me God.
First Quarto: If you be mine, I’ll give you to my friend: If not, hang, drowne, starve, beg, Dye in the streets: for by my Soule Ile never more acknowledge thee, Nor what I have shall ever doe thee good, Thinke ont, look toot, I doe not vie to jest.
Second Quarto: And you be mine, Ile give you to my friend, And you be not, hang, beg, starve, dye in the streets, For by my soul ile nere acknowledge thee, Nor what is mine shall never do thee good: Trust too’t, bethink you, ile not be forsworne.
Folger Edition: An you be mine, I’ll give you to my friend. An you be not, hang, beg, starve, die in the streets, For, by my soul, I’ll ne’er acknowledge thee, Nor what is mine shall never do thee good. Trust to ’t; bethink you. I’ll not be forsworn.
No Fear: If you act like my daughter, I’ll marry you to my friend. If you don’t act like my daughter, you can beg, starve, and die in the streets. I swear on my soul, I will never take you back or do anything for you. Believe me. Think about it. I won’t break this promise.

Fellowes: Take this vial… and drink through the last drop… and there will be no sign of life within you.
First Quarto: take thou this Violl, And this distilled Liquor drinke thou off: … No sign of breath shall testifie thou livst.
Second Quarto: Take thou this violl…And this distilling liquor drink thou off,… No warmth, no breast shall testify thou livest.
Folger Edition: Take thou this vial… And this distilling liquor drink thou off… No warmth, no breath shall testify thou livest.
No Fear: take this vial, mix its contents with liquor, and drink… Your flesh will be cold, and you’ll stop breathing… It will seem like you’re dead

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I was speaking with Folger Theatre’s resident Dramaturg, Michele Osherow, this morning as she prepared for an on-camera interview. While catching up, I mentioned that my husband would be working on a performance of Measure for Measure during his first year of graduate school - one of my least favorite plays. Michele replied that Measure for Measure is one of her favorites because it is so messy and unsettling, the same reasons I don’t like it.

Isabella (Karen Peakes), Mark Zeisler (Duke), Measure for Measure, Folger Theatre, 2006. Directed by Aaron Posner. Carol Pratt.

Isabella (Karen Peakes), Mark Zeisler (Duke), Measure for Measure, Folger Theatre, 2006. Directed by Aaron Posner. Carol Pratt.

Michele went on to point out that while her college students express distaste for Measure for Measure or Troilus and Cressida during her class, those complicated and uncomfortable plays are the ones they return to explore in their final papers and presentations. They’re the plays that stick in their minds because there’s so much to explore even as it discomfits us.

My favorite plays tend to contain comic banter. I like how the words intersect and dance around each other, especially out loud, in plays like Much AdoTwelfth Night, and Romeo and Juliet (before it becomes a tragedy). I also enjoy the bumbling comic characters in Midsummer, as you already know, because I feel so close to Shakespeare as a player in those scenes. I enjoy talking about the use of language and the playing with the several meanings of words in performance.

Kate Eastwood Norris (Beatrice), P.J. Sosko (Benedick), Much Ado About Nothing, Folger Theatre, 2005. Directed by Nick Hutchison. Photo: Carol Pratt. Carol Pratt.

Kate Eastwood Norris (Beatrice), P.J. Sosko (Benedick), Much Ado About Nothing, Folger Theatre, 2005. Directed by Nick Hutchison. Photo: Carol Pratt. Carol Pratt.

For Michele, those complicated plays are very close in nature to modern theatrical experiences. They make us question how we feel and what we think about the world we live in – just as Shakespeare’s audience must have felt and thought. Is marriage a reward or a punishment? Is your best friend a good or bad person – are you? Who do you relate to: the villain or the hero – or is there a character you can identify as either role?

This reminded me of several videos in our Teacher to Teacher series – especially ‘Beauty in Difficulty‘ from Kristyn Rosen on plays that will challenge her students. Additionally, there is a whole section of videos related to teachers responding to the question “What is your favorite Shakespeare play to teach?” They cite relatability, good discussions, fun, and playable moments as their best reasons for one play or another.

What is your favorite play to read, see, teach, or talk about?

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