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Archive for the ‘Folger Library’ Category

Karen Peakes (Emilia) and Janie Brookshire (Desdemona) in Othello, directed by Robert Richmond, Folger Theatre, 2011. Photo by Carol Pratt.

Karen Peakes (Emilia) and Janie Brookshire (Desdemona) in Othello, directed by Robert Richmond, Folger Theatre, 2011. Photo by Carol Pratt.

By Deborah Gascon

I set a goal this school year to include several, less time-consuming (but equally as meaningful), mini-research projects into my teaching of literature. Enter resident experts!

This quick strategy to get students researching more frequently scaffolds the skills they need to complete the big, scary research paper we assign in the spring.

The research also provided another opportunity to delve deeply into the text and study Shakespeare’s language. I started using resident experts with Othello, but this project is universal to anything you teach.

I provided my students with a list of possible research topics regarding Othello and Shakespeare and the time period.

Topics included, but were not limited to, Moors, Cyprus, Venice, maps, naval officers, interracial marriage laws of the time period, rights of women, love tokens, willow trees/the willow song, sumptuary laws–the list goes on.

Some students added topics while we read: one student researched the psychology behind jealousy (after reading Iago ironically boast “O, beware, my lord, of jealousy; It is the green-ey’d monster”) and another student asked to research the symbolism behind strawberries. The topics were vast and self-selected.

After students chose a topic, they were given time to research during our reading of Othello.  I told my students to find the five most interesting points about that topic related to the reading and then to back up those research topics with evidence from the text, combining Shakespeare’s language with their research. (more…)

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Secondary Festival 2013

Secondary School Shakespeare Festival, 2013. Folger Shakespeare Library.

By Mike Klein

Year after year kids in my classroom have strikingly similar reactions to my announcement, “Tomorrow, we’ll be starting Shakespeare.” That reaction is usually a series of “Ughs,” or “Oh nos!” or “Whys?” The most dreaded by English teachers everywhere is, of course, “I hate Shakespeare!”

Perhaps I am different, perhaps I’m a masochist, but I relish these answers. I see them as my opportunity to do what I set out to do when I decided to become a teacher – change minds.

Teaching Shakespeare in my class begins by starting not with books, but with words. Not just any words, Shakespeare’s words. The most effective method of getting kids of any age (I know because I do these lessons with my middle school drama kids!) comfortable with Shakespeare is by leaving the books on the shelves. Books can be cumbersome and have copious notes and footnotes so I begin by giving them a single page of lines from the play I’m going to start them with.

Almost any play works with an exercise called “Three-Dimensional Shakespeare,” outlined by Michael Tolaydo in Shakespeare Set Free. I use it for Hamlet, King Lear, A Midsummer Night’s Dream, and Much Ado About Nothing.

(more…)

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Adirondack Shakespeare Company Flag

Adirondack Shakespeare Company

By Josh Cabat

I imagine it’s a dream that many English teachers secretly harbor. You leave it all behind and join a band of players who travel from small town to small town in a beautiful and remote area, performing works by Shakespeare and others in repertory.

In some ways, it’s about as pure as it gets, and that purity came through in every wonderful, ragtag moment of the recent production of 1 Henry IV as staged by the Adirondack Shakespeare Company.

The performance was held this past August in Schroon Lake, New York, at the Art Deco-era Strand Theater (whose survival is about as miraculous as young Hal’s victory at Agincourt two plays later), and was part of a summer repertory program that included all four plays in this Henriad, as well as The Tempest (in addition to an event down the lake a bit at the old grounds of Scaroon Manor where the audience got to choose the Shakespeare play they wanted to see on the spot).

What the audience got to see at these performances was what company co-founder Tara Bradway refers to as “Shakespeare in the Raw.” In this experimental technique, all production elements are stripped down to the bare minimum, including scenery, props, costumes, and music. Bradway also noted that the company’s rehearsal process is structured in such a way that the performance we saw was the first time the cast had run through the play in its entirety.

The result is spontaneous, fresh and, for fans of the Folger, exactly what Shakespearean performance needs to be: focused almost exclusively on the interplay among the actors, the audience and those words.

As an educator, I found that there were many connections between Adirondack’s process and how we might go about teaching Shakespeare through performance. (more…)

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King Lear

King Lear, 1874. Folger Shakespeare Library.

By Dan Bruno

King Lear, in its embodiment of the horrors of human existence, is the black hole at the center of the Shakespearean tragic universe, drawing in any sense of light and hope and keeping it from escaping.

The big questions at the center of this play challenge us as human beings to confront a difficult truth: namely, that love is the source of Lear’s evil.

None of the deeper thinking that this post hopefully represents would have been possible without the resources the Folger Shakespeare Library offers. I arrived at the library on a Thursday morning and did some research in the library.

That night, I attended the engaging performance of King Lear put on by the Globe Theatre. The next day, I was part of a teaching workshop on the play. As you read the rest of this, consider that in a two-day period, I watched the play, researched the play, and learned about the play in a single place.

I first started my Lear thinking while I was under the streets of DC, in the stacks at the Folger, looking up and down the lengthy corridor for resources on a different project, when I came across the section on King Lear and began leafing through the books on the shelf. (more…)

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First Folio on display in the Exhibition Hall at the Folger Shakespeare Library.

First Folio on display in the Exhibition Hall at the Folger Shakespeare Library.

Just how important is the First Folio? Well, the First Folio is the only source for eighteen of Shakespeare’s plays, including Macbeth, Julius Caesar, Twelfth Night, The Tempest, and As You Like It, all of which would otherwise have been lost.

Imagine taking your students to see one of these books! The Folger holds 82 copies of the First Folio, about a third of those still in existence, and by far the largest collection in the world. If you happen to be teaching in the DC area, it’s not too difficult to arrange a class trip to the Folger Shakespeare Library.

But for those teachers in other parts of America, we have something for you to look forward to. In 2016, we’ll be taking the First Folio on the road – to every state in the U.S.

Encourage your local institutions to apply to host a First Folio! This opportunity is open to public, academic, and special libraries; small museums; historical societies; and other cultural venues. Online applications must be submitted by October 24.

This traveling exhibition is offered by the American Library Association (ALA) Public Programs Office, in collaboration with the Folger Shakespeare Library and Cincinnati Museum Center (CMC). The tour is made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor. Learn more at https://apply.ala.org/shakespeare.

 

 

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Shakespeare Unlimited

What happens when Shakespeare’s work is translated into foreign languages? Is it still Shakespeare? Or does something fundamental to the original evaporate in the process?

“Bless Thee! Thou Art Translated,” a podcast in the Folger Shakespeare Library’s Shakespeare Unlimited series, raises these thought-provoking questions.

A translator can retain the story, characters, and ideas of a play, but the intricate wordplay proves much more difficult. For one thing, it’s impossible to translate Shakespeare’s iambic pentameter into a language like Korean, in which poetry is based on syllable counts, not stresses. And what is to be done with those well-crafted puns?

However, translation also opens up possibilities for new depths of meaning, as the familiar recedes and a different perspective takes over.

Sound interesting? Go ahead – take a short break from back-to-school prep and listen to this delightful podcast.

Do you have any of your own stories to share about encountering Shakespeare in a different language or culture? Tell us in the comments.

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Shakespeare_Set_FreeAs you may have guessed, we never get tired of reading about the creative ways teachers are using performance-based learning techniques to teach Shakespeare.

Sarah Goodis-Orenstein, a middle school language arts teacher and department head in a public charter school in Brooklyn, recently shared in a blog post on Education Week how she’s experimented with the Folger’s Shakespeare Set Free curriculum in her classroom.

Goodis-Orenstein, who assigned her students to reinterpret scenes from Romeo and Juliet and act them out, walks the reader through each step of the assessment process and the rationale behind it.

Her conclusion:

In the end, this prompt-book project was tremendously rewarding for both myself and my students. When embarking upon this project, I had some reservations. I’m not a terribly performative person, myself, and I know I would have resented this assignment as a middle schooler. I also know that performances are often scoffed at as the low man on the totem pole of rigor.

But this project was no fluff. And it was fun.

She finishes the blog post with this gem:

…the best assessments are about creativity and application, not regurgitation or formulaic writing. It also doesn’t hurt to be reminded now and then that getting out of one’s comfort zone can lead to great things—for both students and teachers.

Read more at Education Week.

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