Since my early teens, I’ve felt strongly about Shakespeare—about the value of studying and memorizing significant passages by the greatest writer who ever lived—but it wasn’t until I became a father that I figured out how to share my passion with the people I loved.

One day, when my daughter Olivia was six years old, she came home from first grade spouting a line of Shakespeare:  “I know a bank where the wild thyme grows.”  Her first grade teacher was an English woman who took a particular interest in the hero of her youth, and she had decided to pass the torch on to the younger generation.  When I heard my daughter happily quoting this line from A Midsummer Night’s Dream, a light went off in my head.

From that day on, I set up a routine.  My daughter and I would spend one hour on Saturday and one hour on Sunday memorizing my favorite speeches from Shakespeare’s plays.  We started with short accessible passages from the comedies and, gradually over time, increased the length and complexity of the passages.  To my delight, my daughter took to it immediately, and it turned out that these hours spent together learning everything from As You Like It to King Lear were some of the best family times of our lives.   For two hours each week, we sat next to each other totally engaged in something we both loved, and we had enormous fun doing it.

Sir Derek Jacobi in Twelfth Night – who, along with Richard Clifford and Frances Barber, made special recordings of passages from the book. Photo by Geraint Lewis.

About two years ago, it occurred to me that other parents and teachers might enjoy hearing about our family’s adventures with Shakespeare, and I sat down and started writing this book.

What I have tried to do in How To Teach Your Children Shakespeare – which will be published in early June by Random House – is offer to parents and educators the techniques and strategies I developed over the years for my own children.  I realized early on in this process that Shakespeare is a lot like a foreign language.  Some of his words are unknown to us, even as adults; Shakespeare’s sentence structure can sounds odd to our modern ears; and Shakespeare is constantly speaking in complex metaphors that can sometimes be difficult to understand.

So what I did for my kids – as I do in the book – was teach them how to understand every word in the Shakespeare passage being studied, then memorize the passage so that their knowledge of Shakespeare became fluent, the way a foreign language can become fluent.

In total, the book presents the first 25 passages that I taught my kids, ordered into a specific sequence to make learning them as easy as possible.   And as each passage is discussed, from A Midsummer Night’s Dream to The Tempest (with a lot more plays in between), I talk about the stories, the characters and the meanings of the works so that, ultimately, the kids get the kind of knowledge of Shakespeare they’ll need to become great students, great thinkers, and great teachers.

Recently, I had the opportunity of trying this method out on a large group.  I was invited by Random House, as part of Take Your Children to Work Day, to spend a couple of hours with the 9-11 year olds, about 35 of them.  I thought it would be fun to see if they could memorize a few facts about Shakespeare, along with one of my favorite passages from A Midsummer Night’s Dream:

Captain of our fairy band,
Helena is here at hand,
And the youth mistook by me,
Pleading for a lovers fee.
Shall we their fond pageant see?
Lord, what fools these mortals be!

The kids had a fantastic time. At the end, when their parents came in, they proudly recited what they’d learned from memory.  Shakespeare triumphed again!

There is no doubt in my mind that knowing Shakespeare will make our children better citizens of the world.  It will better prepare them for the joys, as well as the whips and scorns of time (as Hamlet says).  It will introduce them to the rich world of literature, and, from there, to the universe of cultural references embedded in that literature.  It will give them confidence.  And it will, ultimately, by giving them Shakespeare’s perspective on the world, make them more moral human beings.  To quote Hamlet again, it’s a consummation devoutly to be wished.

Ken Ludwig is an author, theatre educator, and award-winning playwright of Lend Me a Tenor and Crazy for You. Ken will give the keynote address at our Conference for Teaching Shakespeare in the Elementary Classroom on June 24 (early bird registration discount ends June 3!). and a demonstration from  How to Teach Your Children Shakespeare to be released June 11, 2013. Copies will be available for signing after the session. Find out more about his work and new book at www.kenludwig.com.

These young students are a constant inspiration with their enthusiasm for Shakespeare’s language, their commitment to Shakespeare’s ideas, and their embodiment of Shakespeare’s stories in their performances. They embrace the experience of performing Shakespeare—getting the words in their mouths and making it their own.

Students shared with us, the audience members, the sweetness of Romeo and Juliet falling in love and the pain of their loss when forbidden love was denied. They shared the fun of Helena, Hermia, Demetrius, and Lysander searching for each other through the woods. They shared the tragedy of King Lear as he realizes his older daughters might have professed their love, but they don’t really love him. They shared the confusion of Hamlet as he tries to work through the chaos of his life.

Children’s Shakespeare Festival 2013

During this festival week, we see in action what we know so well: performing Shakespeare gives students the opportunity to use language in ways that are exciting and empowering.

Children and Shakespeare: a winning combination!

In this recent post from the Folger’s Manifold Greatness blog, Vickie Horst, manager of the Tifton-Tift County Public Library in Tifton, Georgia, gives a firsthand account of multi-generational learning at an April 2013 Manifold Greatness workshop entitled “Let’s Make a Quarto,” developed by a local retired educator.

—Esther Ferington, editor, Manifold Greatness blog

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Modern book making is a highly mechanized business. In the most common case, sheets of paper are piled together into a block, the spine edge might be sanded or notched, glue is applied, and a cover attached. There is little handcraft in the process, and when you consider the adage, “Good, cheap, and fast—you get to choose two,” modern glue binding is mostly cheap and fast.

On April 25, 2013, some Tifton-Tift County library patrons got an opportunity to see how book production might have occurred in 1611. Jerry Walker, a retired educator with a lifelong interest in the arts and a highly skilled crafter, led a workshop that we titled “Let’s Make a Quarto: a type of book made in the Renaissance era.” The workshop was held in the museum that houses the Manifold Greatness exhibit, so anyone who had not seen the exhibit got the opportunity to see it then, as well as make their own little book.

Advertised as a family activity, the workshop attracted a wide range of ages.

The basic idea behind a quarto is that a large sheet of paper is folded to make four smaller pages (hence the “quarto”). It was a very common way of producing books during the time of the King James Bible, allowing eight pages to be printed with only two trips through the press and using only one sheet of paper.

Some of our participants found out the hard way what this folding does to the orientation and the numbering of the pages. We suggested folding the paper, marking the page numbers and the bottom of the pages with a pencil, and then unfolding the page before decorating the pages with a story, stamps, stencils, pictures, and other decorations. (There was no glitter—we had used it all at the Renaissance Faire.) We got some great little stories and pictures. Some of them were upside down and in the wrong order, but we decided that you learn from mistakes, too.

The quarto workshop was held at the Tifton Museum, where Manifold Greatness is on display.

Our amateur bookbinders learned how pages were made into “gathers” and then sewn together to make a finished book, ready to be bound. On the 16th of May, Tracy Iwaskow will be coming from Emory University’s Theology Library and will be bringing some selections from their special collections. Many of the participants are looking forward to seeing examples of the professional bookbinder’s craft.

Vickie Horst is the Manager of Tifton-Tift County Public Library in Tifton, Georgia.

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For more tips on quarto-making, ruff-making, pen-making, and ink-making, see our activities videos and accompanying PDFs on the Manifold Greatness website. You can also view the videos on our Manifold Greatness YouTube channel on this playlist. 

We invite you to learn more about the exhibition in Tifton and at other libraries and about the King James Bible on the Manifold Greatness blog, which will continue through mid-July of this year.

“If this were played upon a stage now, I could 
condemn it as an improbable fiction.”

It’s just such a wonderful, inclusive, self-aware joke. And because I’ve seen him so often in these self-aware parts, Louis Butelli has become my face of Will Shakespeare for the present, and I can almost see him creating that line 400+ years ago.

Mike LoMonico has said, and it’s true, that it’s not necessary to teach a biographical background in order to teach Shakespeare’s plays. You don’t need to know about Elizabethan life or stage practices to enjoy and explore the text, though instances for dropping in facts as they come up do arise. As a sometimes actor, I love finding these moments of player-hood in the text. This line in Twelfth Night, Hamlet’s speech to the tragedians, Henry V‘s apologetic Chorus, and – most especially dear to my heart – all of the mechanicals’ scenes in A Midsummer Night’s Dream.

I’ve made it no secret that these terrible rustic actors are my favorites in the whole canon. Each festival season I fervently pray to see as many renditions of this play-within-a-play as there are schools to perform it. I even tried to get my wedding party to perform Pyramus and Thisbe at my wedding (they talked me down from that ledge). I love these players for throwing themselves whole-heartedly into their art, and committing to it despite lacking talent and means.

Students perform Pyramus and Thisbe during the 2009 Secondary Festival at the Folger

Recently, Carol Ann and I were left in charge of another school visit, and having discussed our mutual appreciation for Quince’s ragtag team, and Mike’s suggestion of dropping in facts as they came up, we decided to test out an activity for the students that combined Shakespeare’s Text with some player background, discussion, and history- to try to paint a larger picture, so to speak, as they came up in the mechanicals’ scenes in Midsummer. After a brief introduction to what an Elizabethan Theatre would have felt like, we used clips from the following scenes:

Act 1, Scene 2

(line 11) Quince tells his assembly what play they will produce: “The most lamentable comedy and most cruel death of Pyramus and Thisbe.” What kind of play does an audience want to see? What does this title make you think of?

(line 20) Quince assigns the roles in the play. Bottom asks if Pyramus is “a lover or a tyrant?” You were likely to see many plays about kings and lovers much of the time. Try to pick out Shakespeare’s plays that aren’t about either subject, how many do you have?

(line 45) Francis Flute protests playing a woman – on the Elizabethan stage, women’s roles were played by young men and boys.

(line 75) Why are the players concerned about the Lion being too frightening? What could happen to you if your play displeased the monarch at the time? The Lord Chamberlain’s Men, Shakespeare’s company, were once in danger of their lives when Queen Elizabeth I saw herself in the deposed monarch in Shakespeare’s play Richard II.

Act 3, Scene 1

(line 9) Bottom is concerned that their play is too violent. Can we relate to that today? Who in the audience is he most concerned about? What solution does he propose?

(line 46) During their rehearsal, Quince says that he hopes to have the moon shining on the night of their performance because “Pyramus and Thisbe meet by moonlight.” Is it actually necessary for the moon to be out for the play to be believable? What devices did Shakespeare have available to him to set the scene (ie: Merchant 5, 1; Midsummer 3, 2, 190)?

(line 61) Quince also points out the need for a wall for the lovers to whisper through. What is their solution. How would you solve this issue?

(line 90) Flute speaks all his lines at once. In the 16th century, actors learned their lines from “sides” – papers that contained their lines only, and maybe a cue or two.

Act 5, Scene 1

(line 134) The mechanicals’ play begins with a Prologue. Where else have you seen a Prologue, and what is its function?

(line 179) “O, grim-looked night!…” the O encompasses all of the emotion of the line (ie: “O, she doth teach the torches to burn bright!”) What emotion is Bottom/Pyramus playing here with all of these many many O’s? This part is especially fun for the best over-actor in the class.

Students perform Pyramus and Thisbe during the 2009 Secondary Festival at the Folger

(line 260) Throughout the play, the married couples add their own comments and interjections. Live theatre includes a live audience with live reactions. In Elizabethan England, nobles attended plays as much to be seen as to see. Sometimes there were seats onstage for them to show off their latest finery, and there’s a legend that Queen Elizabeth I once crossed the stage mid-performance to greet someone. The groundlings had no problem voicing their reactions during the play, either. Have you ever experienced something like that today?

(line 291) Even more fun – bad rhymes and stage deaths for Pyramus and Thisbe! Did the audience enjoy the play?

All-told, this portion of the activity took about 45 minutes, and we had a wonderful group of 8th grade students acting it out for us! At the end, we asked them to share anything they would take away from this, one student said, “You really had to use your imagination back then – it was all about the words and the actor.”

Not a bad takeaway.

Our good friend and contributor, Holly Rodgers, and her ESL/ELL class celebrated by writing sonnets inspired by their favorite season, and a few examples are included below. How are you celebrating?

Summer Sights
By Anh Tran

Summer is here, how lovely days play out
side in the hot day play ball at the beach.
Eat ice cream on a hot day, play and shout
all day. My favorite ice cream’s mango peach.

And apple picking will be fun for one.
The summer day, I got no rules to break
or follow, but with my family have fun.
Make a cake and make a milk shake, fun take!

A break from all that homework is so great.
Summer homework is just to have some fun.
To the pool, swim, eat pizza on my plate.
Look at the sky, the clouds I see, and sun.

Can name the different clouds up in the sky.
Still see them without looking with my eye.

Summer Friend
By Hannah Tijani

A summer day is great for outdoor play.
It’s fun to go play with a big, beach ball.
I hit with my hands then I like to lay
upon the sand, then I go to the mall.

I also like to play upon the swings.
Sometimes I pump and kick my legs so high.
Feel that I almost touch the cloudy rings
of wispy puffs of cotton in the sky.

I like to go swimming at my own pool.
Sometimes I see my friends who go there, too.
The water feels so good on my skin, cool
like ice that’s melting into liquid blue.

I wish that summer didn’t have to end.
My favorite season is my best friend.

Summer Stage
By Rosana Ayala

Hot days need ice cream to go play with friends.
We sing and dance and have a lot of fun.
Chocolate and strawberry love to blend
in my mouth as to my stomach they run.

I go to the beach on hot summer days.
I play soccer on summer days with friends.
I go to pools with my sis and do plays
for my family our acting up ascends.

I like to eat mangoes on summer days.
It’s fun to let the juice drip from my lips.
I like to entertain others amaze
them with my talents like shaking my hips.

Like those Hawaiian hula dancers do.
Maybe tomorrow I’ll go to the zoo.

This month,PBS LearningMedia is celebrating “Much Ado About Shakespeare” with online events and resources for educators. Tonight (April 16) from 8-9pm EDT we’re joining forces for a Twitter Party discussing our favorite resources and tools for bringing Shakespeare to life in the classroom! Join us live and share your stories with us!

PBS LearningMedia is also re-releasing episodes and resources for Shakespeare Uncovered, and will be hosting a free webinar with the executive producers of the series on April 22 from 4-5pm EDT. They’ll review video from each episode and the educational resources created to accompany the series with Folger educators.

As you know, we’re coming up on our Electronic Field Trip next Tuesday and our local Shakespeare’s Birthday celebration at our historic building on Sunday. How will you celebrate?

~by Emily DenBleyker

The Taming of the Shrew came first, when I was 7 or 8 – a community theatre production in their tiny theatre in the middle of a cornfield. Then, when I was 9 and bored with the 4^th grade reading list, my teacher gave me special permission to read Romeo and Juliet for a book report. My mom and I read it together: first the story from Lamb’s Tales from Shakespeare, then the actual play, side by side on the couch, trading roles, talking through each scene, playing with the language.

My mother started buying every Shakespeare DVD she could find – filmed theatre productions, movies, specials about Shakespeare – and we would watch them together on quiet nights. I would watch them by myself in my free time or while I was doing homework, internalizing Juliet’s “Wherefore art thou,” and Beatrice’s “What fire is in mine ears?”

I’ve spent this semester as an intern in the Education Division of the Folger, and I’m finding myself more in love with these words than ever before – both how and what they say. It would be cliché to extol the magnificence of Shakespeare’s metaphors and the intricacies of his characterizations, but what I’m marveling over are the lessons and truths he could convey.

At the Secondary School Festival, I saw students who had found the sweetness in the lines years before and I saw students discovering the language for the first time. No matter how new they were to this crazy world we call the theatre, they learned what it feels like to stand in front of a few hundred people and say centuries-old lines that still apply to today. The costumes and the details are a little different, but these stories are told everyday in real life: people lie, fall in love, pretend to be something they’re not.

The biggest thing I’ve learned these past few months is this: to be able to teach these lessons, we have to learn them ourselves. Not literally – I’m not advocating usurping your brother’s dukedom just so you can learn how it feels to be reunited.  In the broader sense, if you look for Shakespeare’s stories in everyday life, you will find them. The words will come alive on the page and your life will be that much more dramatic (in a good way). 

Emily DenBleyker is a junior at Gordon College in Massachusetts. She is spending this semester in Washington DC with the American Studies Program and interning with the Education Division of the Folger Shakespeare Library. After graduating next May, Emily hopes to work in theatre education. Or literature. Or film criticism. Or marketing. 

Julia Perlowski led an excellent Webinar on this topic in March, “Shakespeare in Other Words,” in which she compared certain passages from Shakespeare to their updated counterparts to show just how much is lost in translation. She also made a great point that the Common Core Standards require students to study complex texts that challenge their minds. You can view a recording of this presentation HERE!

But how can we make connections between our Students and Shakespeare? How can we encourage them to explore Shakespeare’s language with confidence and creativity? For one thing, getting them on their feet with the language discovering Action Clues and other in-text identifiers (which you can learn more about during our upcoming Electronic Field Trip!). For another, we’ll be exploring how two teachers are using Social Media to explore Shakespeare with their classes communicating cross-country with each other in our upcoming May 14th webinar: What’s Done is Done Online.

How are you connecting Shakespeare with your students this year?

Sure: not everything always goes as planned. Lines are dropped; nerves get the better of someone; a cast-mate misses a cue… but on those days we hope students take away the knowledge that they can try again tomorrow. The Festival is not the be-all and end-all, but appreciating the language and trying something new is something to hold on to.

Our Secondary Festival takes place over seven days, with 8 schools participating each day. Each group has 25 minutes to present their piece – whether it’s a selection of scenes, an edited full play, or a montage of scenes from many plays creating something new. Between performances, our Mistress of the Revels plays games in which students die the deaths of the tragedies, race to finish Hamlet in under 32 seconds, and compare the comedic tropes of the canon. There’s a break for lunch in the middle, and a break for entertainment (provided by us) in which our commentators discuss the performances of the day and decide whom to recognize for their efforts in acting or understanding of the language. There is no competition for these recognitions, only a celebration of their achievements.

The Children’s Festival later this spring will be five days long with 6 schools performing each day. They’ll be entertained by each other, by an entertainer, and by our Mistress; and they will not get recognitions. Instead, they’ll process through the Folger with homemade banners and our special guest Queen Elizabeth I.

Are there Shakespeare festivals in your area? Tell us about them! We love hearing about (and seeing) Shakespeare performed by students of all ages!

The benefit of exposing students to Shakespeare is paramount to establishing strong literary foundations in the classroom, for all learners, regardless of age and academic abilities.  While I could give testimony of the many advantages to be gained by doing so, I would like to focus on one in particular, the ability of Shakespeare to serve as a metaphorical gateway drug to get students addicted to reading. While I had known that allowing my young ELL (English Language Learner) students to participate in performance-based Shakespeare study would improve their developing language skills, and perhaps make them more critical evaluators of what they read; I had underestimated the stepping stone Shakespeare could provide to gain access to other challenging works of literature.

My 5^th and 6^th grade ELL students had spent the first nine-weeks of the school year studying Hamlet, Macbeth, Romeo and Juliet, and A Midsummer Night’s Dream.  While they were enjoying working with the plays, they also began to complain that they missed reading novels.  They wanted something “hard” to challenge them, but I was struggling to find them something that would segue nicely from Shakespeare.  Due to the extensive fantasy worlds woven into the plays my students had studied, I felt the mythology and adventure of J.R.R. Tolkien would suit them well.

We proceeded to read The Hobbit during the month of December and I soon became aware of how well-prepared my students were for the challenging vocabulary, complex plot lines, and colorful characters, which are all signature trademarks of Shakespeare’s works.  While my students were unconvinced that they would ever find another writer  they would worship at the feet of like Master Will, they quickly grew to love Tolkien and reading about the adventures of Bilbo Baggins and his band of dwarves.  Many of the themes and motifs present in the plays we studied were also found in the fantasy world of Middle-Earth.  My students had no difficulty accepting the existence of fantastical creatures such as dragons, dwarves, hobbits, wizards, and elves when they had already been exposed to fairies, witches, and ghosts in MSND, Macbeth, and Hamlet.  The rhythm of Tolkien’s language also required their ears to acclimate, as was also necessary to establishing the beat of iambic-pentameter.  Challenging vocabulary was not intimidating to them as Shakespeare had taught them to have no fear of unknown words.

While Shakespeare will always be their first love, my students are learning that their relationship with The Bard is not exclusive.  There are many great writers out there worth reading and I believe that Shakespeare has given my students the courage to tackle each one with no trepidation.  Always up for a challenge, my students have now chosen to take on a new literary task.  They are attempting to read the entire Lord of the Rings by the end of the school year.  For those of you who would like to follow along with our progress, we are chronicling our reading adventures on our recently-founded blog Teaching Tolkien.   My students are completely hooked on reading and for that, I am eternally grateful, Master Shakespeare.

Holly Rodgers is an elementary school ESOL (English for Speakers of Other Languages) teacher in Fairfax County, Virginia.  She has been a presenter at the Folger Elementary Educators Conference and has created ELL (English Language Learner) and elementary focused lesson plans for the Folger Education Website. She has spent her varied educational career as both a language and music teacher.  She earned her M Ed in Multilingual/Multicultural Education from George Mason University and her BME in Instrumental Music from Louisiana State University.

Keep the conversation going with Holly on Twitter @hmrodgers