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Archive for the ‘Folger Education’ Category

By Peggy O’Brien

 

In our June issue of BardNotes, I posed four questions to y’all.  Three of them were requesting your advice about our blog and some new directions it might take.  I snuck in the fourth question, purely for my own selfish purpose.  I asked you what I should read this summer.

Summer Reading. (Image: James Brantley)

Summer Reading. (Image: James Brantley)

 

Thanks to the many, many of you who sent responses to some or all of the questions.  They were wildly helpful.  We’ll be back in a bit about the blog, but for now . . . the books you recommended!   A completely fabulous list.  And since many of you said, “Send us the list!”  we’re doing just that.  In all, 126 recommendations.  Data point that is amazing to me:  only two titles were recommended by more than one of you.  You are a fascinating and eclectic group of readers!  Two or three of you recommended All The Light We Cannot See and Americanah.

 

In this blog post, you’ll find the first half of the list.  In our next post, the rest of the list plus a bonus.  We got so excited about your recommendations that we decided to ask our squad of summer interns–two undergrads, a recent high school grad starting college next month, and a rising high school junior–for their reading recs too.

 

We’re having kind of a wild summer here.  Hope yours is restorative and big fun. (more…)

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By Deborah Gascon

When I introduced myself as one of the master teachers (the other was the fabulous Michael LoMonico) to the 29 teachers participating in the Folger’s first Summer Academy, I told them the Folger was a magical place.  I thought about the unicorn painted on a screen on the ceiling of the Folger theater and the quote around it from As You Like It:  “All the world’s a stage and all the men and women merely players.”  A magical and mysterious image surrounded by magical, mysterious words.

 

This indescribable magic was a feeling I felt during my first experience at the Folger in 2012 that I just couldn’t express or convey through words (mine or Shakespeare’s) during the academy introductions.  But a week later, after five very long and very full 12-hour days, every participant came to understand that magic and mystery that my words couldn’t describe, and I was privileged, once again, to see how Folger Education can transform a teacher’s life, his/her students’ lives and classroom practice.

 

I knew that to help everyone understand that magic and the mystery in our short week of the Summer Academy, some work would be involved.  And boy, did we work.

Hamlet's speech from Quarto One. (Image: Deborah Gascon)

Hamlet’s speech from Quarto One. (Image: Deborah Gascon)

 

We read.  We read Hamlet (using the 3-D Shakespeare strategy described here). Then we read Hamlet again and compared the Quarto One “To Be or Not to Be” soliloquy which doesn’t include “that is the question” but rather “I there’s the point.”  Yep.  It was changed!  Then we read the 1604 version of Hamlet.  Then we read the 1623 First Folio version of Hamlet.  I think you get the point about how much we read.  But with every reading came deeper understanding and a closer connection with Shakespeare’s words.

(more…)

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Summer Academy participant Jennie Brown shares her experience at the mid-way point of Summer Academy 2015 which took place from July 5-10, 2015. 

By Jennie Brown

Jennie Brown arrives at Summer Academy 2015 (Image: Jennie Brown)

Jennie Brown arriving at Summer Academy 2015 (Image: Jennie Brown)

Where do I even begin to describe my experience so far (only on day 3!) of the Teaching Shakespeare Institute’s Summer Academy 2015 at the Folger Shakespeare Library in DC?!  Mind-blowing, awesome, humbling, exciting, the list goes on and on.

From workshops with theater professionals and esteemed educators to sword-fighting (yes, I said sword-fighting) on the lawn, to classes with Folger scholars and master teachers to interacting with the Folger collection of rare books, this is one week that will never be forgotten. Below, I’ve put together some of the highlights of this journey so far. [If you know me, you know you’ll find pictures below as well!]

  1. Amazing Teachers: There are 28 amazing, like-minded, Shakespeare-crazed teachers here with me at the Folger Library, and every single one has a passion for bringing the best of Shakespeare–his words–and ways to teach his language back to the classroom.
  2. Hands-on Teaching Workshops: Where do I even start with this? Mike LoMonico opened the week discussing Shakespeare’s language; he had us on our feet addressing one another in Shakespearean terms of endearment (even though some sounded more like insults). We worked with him and with his fellow Folger master teacher Debbie Gascon (who is amazing!) on close-reading strategies that can be applied not only to Shakespeare’s works, but all other units of
    Jennie Brown on the Folger stage. (Image: James Brantley)

    Jennie Brown on the Folger stage. (Image: James Brantley)

    study.

    Both LoMo’s and Debbie’s work and the plethora of strategies and teaching material they gave us will be used in my classroom, and in all of our classrooms throughout the country. Without doubt!

  3. Amazing Lectures from Scholars: The director of the Folger Library, Dr. Michael Witmore, spoke with us after “homeroom” on day two about thedigital direction in which the Folger is moving, and showed us new digital tools that give us a whole new way to look at the plays.Professor Sandy Mack had me questioning everything I thought I knew about Hamlet, and his old world vs. new world discussion — mind-blowing!  I could hear that man lecture every day!
  4. Folger Education Faculty and Staff. Honestly, I was nervous and intimidated when we first arrived at dinner on Sunday night. But after the first thirty minutes, Peggy O’Brien and Corinne Viglietta had welcomed all of us into the Folger family with open arms, immediately putting me (and many others) at ease.
  5. Acting Workshops. I haven’t been on the stage in years, and the workshops with Michael Tolaydo and Caleen Jennings made me see just how much Shakespeare’s words come to life when spoken on the stage. This will happen in all of our classrooms!

    Jennie Brown in the New Reading Room. (Image: James Brantley)

    Jennie Brown in the New Reading Room. (Image: James Brantley)

  6. Rare Materials. TOUCHED. A. FIRST. FOLIO. Do I really need to say anything more?

 

So, basically EVERY SINGLE THING we’ve done so far has made the list of highlights. This is truly an experience I will NEVER forget, and thanks to everyone at the Folger for this opportunity! From the faculty and staff, to the librarians, guest speakers, and security guards! You have ALL made this such an enjoyable experience for me.

AND DID I MENTION, WE ARE ONLY JUST STARTING DAY 4?!

I can’t wait to see what else is in store for us!

Jennie Brown teaches 9th grade English at Annville-Cleona Secondary School, Annville, PA. She can be found at @jenniekaywrites on Twitter.

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By Folger Education

Last week 29 teachers joined for a week-long Summer Academy on Hamlet. Check out how much fun we had.

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By Folger Education

 

We’re in the middle of our first-ever Summer Academy: a jam-packed week of learning with 29 passionate teachers from all kinds of schools all over the country. You’ll be hearing from them in the coming months as they reflect on their time at the Folger and take this week’s big ideas and strategies right into their classrooms. In the meantime, check out these tweets and images—they’re a pretty great slice of this invigorating Summer Academy life!

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By Folger Education

 

We’re lucky to have four fabulous summer interns with us at Folger Education—not just because they’re working hard to support our gazillion projects, but because they’re making sharp observations about their time here and the future of teaching and learning. We thought you should hear what they have to say, so we asked them some big questions and are sharing their responses.

Folger Education Interns: Jareema Hylton, Henry Newton, Jack Ludwig and Emma Remsberg. (Image: Folger Library)

Folger Education Interns: Jareema Hylton, Henry Newton, Jack Ludwig and Emma Remsberg. (Image: Folger Library)

 

Q.     When did the Shakespeare bug bite you?

Jareema:      “My love of Shakespeare started in my freshman year of high school. I was required to read Julius Caesar, and I was fully prepared to shrug off the great Shakespeare. But the language, the characters, and the rich history were more than formidable opponents for my cynicism. I fell in love, consumed by reciting soliloquies on the bus, in my house, and inevitably in the classroom. When I read The Taming of the Shrew that same year, I was absolutely smitten. And, on those terms, I learned a thing or two about love. Following a study of Shakespeare’s poetry, Bro. Martin, my then English teacher, slapped the table and uttered in his signature deadpan, “Ladies, don’t ever be with a man unless he can write you a sonnet.” Extreme…maybe. Still, it was that kind of passion that made me especially fond of the comedy and the tragedy this playwright is capable of cultivating, inside and outside of his pages.”

Henry:      “The Shakespeare bug bit me in about eighth grade when I had my first real Shakespeare experience with the text. Before that, I’d read some Shakespeare and been taught it in English class, but the experience of focusing on nothing but Shakespeare for a month was truly enlightening. I had the chance to learn from an exceptional teacher in Mr. Craig MacDougall who really brought Romeo and Juliet to life in a way that I hadn’t experienced before. Through impromptu performances (which I, admittedly, was hesitant to participate in at first) and creative activities that exposed to me the beauty of Shakespeare’s language, I was hooked.”

 

Q.     What is the coolest thing you’ve seen or done so far at the Folger? 

Jack:      “Sifting through the Folger Editions of Shakespeare’s plays searching for scenes for teacher workshops. I know it doesn’t sound very exciting, but is there anything better than reading Shakespeare all day?”

Emma:      “Interning at the Folger means that I get to combine my interest in museums and education with my love of Shakespeare. Since I started last week, I’ve geeked out nearly every day: when I saw a First Folio, when I glimpsed a preview of next year’s exhibits (they’re super exciting), etc, etc. Even when I’m just at my desk, the work is fun – I had a great time yesterday hunting down quotes.”

Henry:      “The coolest thing that I’ve done at the Folger during my internship here has been my work on the Teaching Modules available for teachers to use in their classrooms. This was most interesting thing that I’ve done here because it provided a tangible link to the educational experience of so many students that could find the same passion and form the same connections that I did, for through similar materials, I myself found my Shakespearean passion.”

 

Q.     What’s one thing you want your peers to know about the Folger?

Emma:      “One thing that I think is important with regards to my generation is to not let Shakespeare be written off as old, dull, and dusty (as I have seen several of my peers do) – I think that everyone has a capacity for appreciating Shakespeare.”

Jareema:      “While this may sound silly, I want my peers (and everyone) to know that the Folger is free! It is such an amazing institution comprised of many parts (museum, reading room, theatre, etc.), which happens to be conveniently located in our nation’s capital. So many other major cities are home to wonderful museums and observatories that charge hefty entrance fees. But here, Shakespeare is available to the public at no cost. There is no reason not to visit and share in this wonderful experience!”

Henry:      “The one thing that I would like my peers to know about the Folger is that it’s not just that place that you stopped by on your eight-grade trip to Washington D.C. It’s a diverse and fascinating collection of important Shakespearean materials that is truly important, even today. “

 

Q.     What’s one big way you expect your generation to contribute to the teaching and learning of Shakespeare?

Jareema:      “I expect my generation to contribute a more culturally and socially diverse way of teaching and learning Shakespeare. As public opinion and society changes on various issues of equality and personal freedom, literary interpretations can only grow in parallel richness.”

Jack:      “I am determined to be a member of my generation who will completely revolutionize the ways future generations will learn about Shakespeare.”
Check back later for more insights from these engaged young people!

 

Jareema Hylton serves as the Teaching Shakespeare Intern. Currently, she assists in organizing the Summer Academy 2015, gathering school data, and conducting research in the Folger’s digital archives. She is a senior honors English major at Swarthmore College.

Henry Newton is a Folger Education Intern who is a junior at the Hotchkiss School. Henry has been reading Shakespeare since sixth grade and is a talented athlete.

Jack Ludwig is a rising freshman at Haverford College. Jack currently lives in Washington, DC, and has three pets: a bird, dog, and a cat. Jack also is a Helen Hayes Award nominee for Tiny Tim’s Christmas Carol, a children’s adaptation of the Dickens classic, which he co-authored with his father, Ken Ludwig. 

Emma Remsberg is the Museum Programs Intern at the Folger Shakespeare Library. She studies Greek, Latin, and Medieval Studies at Swarthmore College. She just started dabbling in paleography.

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By Michael LoMonico

 

I recently interviewed Russ McDonald, professor of English at Goldsmiths College, University of London. Russ was a resident scholar at the Folger’s Teaching Shakespeare Institute from 1985-Bedford - LoMo1986, and served as the head scholar from 1988-1994. He is the author of The Bedford Companion to Shakespeare: An Introduction with Documents and the recent Bedford Shakespeare.

Below is an excerpt from our conversation.


 

ML:  At the Teaching Shakespeare Institute in 1988, you lectured about the tragic flaw, and wrote an essay about it called “The Flaw in the Flaw” which appears in the first volume of Shakespeare Set Free.  I suspect that many teachers aren’t teaching the tragic flaw when they teach Shakespeare but some still are. Can you explain why they shouldn’t?

RUSS:  I have to attribute a lot of this to an article by Phyllis Rose.  She wrote an article in the New York Times in the 1980s that I responded to immediately on this very problem, which is that the idea of a flaw that brings down the heroic/tragic character is just too easy a way of addressing a really complicated representation of human experience.  That is, if you simply say, ” Hamlet delays.  Hamlet cannot make up his mind.”  I mean, the beginning of the Olivier film says, “This is the story of a man who could not make up his mind.”  Well, no, it’s not.

ML: Please explain.

RUSS: Throughout the middle of the 20th century, that seems to be a common way of addressing the tragic experience for teachers and the problem with it is that it reduces to a kind of formula something that is much more complicated and much more interesting.  I don’t think we’d still be watching these plays or reading them with the fervor that we still do if it were as simple as that formula of the tragic flaw seems to make it.  Hamlet, for example, that it’s just a problem of procrastination.  Hamlet can’t make up his mind.  He delays. And the same with Othello.  You know, Othello’s just jealous.  If he weren’t so jealous, everything would be fine.

Bedford 2 - LoMoThe problem is first, it simplifies matters too much.  And second, it implies a kind of moral or ethical superiority on the part of the reader or the audience.  That is, “I’m okay, Hamlet’s not.  If I had been there to tell him to get with the program, then he wouldn’t have had that problem at all.”  And so what it means is that it allows us to feel superior to the character when, in fact, of course, what is important is that we be involved with the experience of the character.

I tend to think of the tragic figure or I try to get my students to think of the tragic figure as a kind of naïve idealist.  That’s one way of thinking about most of the tragic figures.  King Lear, for example, is naïve in that he’s 80 years old, but he’s an innocent in a way.  He thinks that words and meanings match each other, so when his daughter says, “I love you more than eyesight, more than words can wield the matter,” he thinks she means it.  And his belief that people do mean what they say is an admirable and beautiful principle.  But it’s flawed.  I mean, I hate to use the word “flaw,” but it’s a problem.

ML: How is it a problem?

RUSS:  It’s a good problem.  The world would be better if things were that way.  But that’s Lear’s particular problem.  The same thing with Hamlet.  Hamlet wants to know the truth and he wants to act ethically, rightly, on that truth.  And the world keeps putting baffles in front of him.  That’s exactly the problem.  The world will not allow the tragic character to proceed as he or she wishes to do.  Antigone is really the great example of this.  Antigone works so well in thinking about this, because she’s not flawed.  She wants to give a burial to her brothers.

ML:  Right; so Macbeth is just ambitious.

RUSS:  That man’s ambitious.  Exactly.

 

Michael LoMonico taught English for 33 years. He is currently the National Education Consultant for Folger Education and the author or That Shakespeare Kid.

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