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Posts Tagged ‘Shakespeare Set Free’

In this special series we’re calling “Inside the Classroom,” we’ll follow middle school teacher Gina Voskov and her students as they embark on a Twelfth Night unit. Today, it’s all about pre-reading—check back for notes from the group throughout the learning process.

By: Gina Voskov

Photo: Gina Voskov

Photo: Gina Voskov

I am so pleased to introduce Won Jae, Lois, and Alexandra, three of my 7th grade English students.

As you’ll see, these students have a wide range of experiences when it comes to engagement in English, comfort with public speaking/performance, familiarity with Shakespeare, and with the English language. My challenge is to make the story and language accessible (and hopefully enjoyable and meaningful) to everyone.

Shakespeare’s works were formally added to our 7th grade English curriculum three years ago and the Shakespeare unit has quickly become a favorite for both teachers and students because we use the Folger approach. In two weeks, we will begin our study of Twelfth Night, a play I really love but have never taught before. My colleague and I will be using the Shakespeare Set Free materials for the play as well as other performance techniques I learned at the 2012 Teaching Shakespeare Institute.

This first post is an introduction the students have written about themselves and a brief overview of their thoughts about learning Shakespeare and studying Twelfth Night. I suspect the concerns they share with you will mirror the concerns many of your students have about learning the language. A second post will follow, mid-unit, where the three will be able to share specific activities that challenged them the most to learn. The final post will be a reflective piece after their performance project has ended.

It is my hope that my students will be able to see growth in confidence, skills, and excitement as we use the Folger approach to studying this play. It is truly a joy to be able to share these students’ words with you, and I hope you’ll check back in on their journey through our unit.

 

Meet Won Jae: (more…)

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By Jill Burdick-Zupancic

 

Midterms.

This word always evokes a bit of panic in my mind. It feels like some kind of “super assessment” I’m expected to give to my students. Even in my seventh year as an educator, it’s a jarring word; however, the past three years, since my experience at the Teaching Shakespeare Institute at the Folger, I’ve started to look at this time of year a little differently.

Of course as English teachers, we want our students reading closely and analyzing text for something – characterization, big questions, effects of figurative language, etc… – and this is the time of year, through Shakespeare, that I assess how far we’ve come from those first days in September. If you’re familiar with the education department at the Folger, or you’re a regular reader of this blog, you’ve heard “close reading through performance” before. Every year, at midterm time, the power of this statement is solidified for me.

At the time I’m writing this blog, we’re through Act IV of Macbeth. I spend a lot of time with film versions of the play throughout our study, this year it’s Polanski, the Folger production, and Goold’s version for PBS, and while we never watch anything straight through, we’ll look at a specific scene (the opening witches scene, the “dagger” soliloquy, Lady Macbeth’s sleepwalking scene) in each version.

I remind the students that each of these directors has made conscious and analytical decisions regarding anything from movement, facial expressions, pacing and pauses when delivering the lines, costumes, body language, and so on. Now through Act IV, the students do a stellar job identifying choices that these director’s make and discussing why, in the context of the play as a whole, they’re made. (more…)

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Happy holidays, readers! We’ll be on hiatus until January 6, 2015. Check back then for a new post—and have a very merry winter break!

 

By Sara Lehn 

Othello promptbook

Paul Robeson’s promptbook from production of Othello in 1930. (Folger Shakespeare Library)

 

Occasionally, those of us who revere the Bard speak of his works as if they are some sort of holy text. These plays contain such incredible and untouchable genius that it’s sometimes hard not to treat them with awe.

The danger is that once we start to look at a work of literature as something to be revered we cease to see it as something over which we can take ownership.  It is too awe inspiring, and what right have we, peons of the modern educational system, to touch such perfection?

The answer is, of course, that we have every right, and that teaching our students to revere these plays as paintings in a museum, to be seen and not touched, is to put up a wall between inquiring young minds and the very real and lively nature of these plays.  Instead, we need to give students the tools to take these words into their hearts and their minds and truly embrace them.

The need to dig deeply into the language is one reason that performance is such a key element of teaching Shakespeare.  Sometimes, however, jumping directly into performance can be a bit intimidating for shy students.  It can be helpful to offer other ways for students to familiarize themselves with Shakespeare’s language as part of the performance process. (more…)

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Shakesbear the mascot

Shakesbear, the club mascot.

By David Fulco

After-school programs find a way to weave themselves into the fabric of a school. At my school, all sixth and seventh grade students participate in after-school activities from 2:15-4:30pm, five days a week.

It has been more than evident during the school day that students are not only enjoying their after-school activities, but also building an appreciation for them.

Students in “Fit Club” ask for apples instead of candy at lunch. Students in “Computer Technology” build radio-controlled robots and walk them from class to class. There is a buzz and an energy in the air after school that is palpable.

And what of the Shakespeareans working through A Midsummer Night’s Dream?

The work my seventh grade Shakespeare troupe is doing after school is also starting to permeate the rest of their school day. In ELA, students are writing crossover pieces in a dystopian unit in which they choose 2-3 characters from different tales to create mash-ups of plots and themes. Titania has made an appearance in a story with Maleficent – the connection between the Indian boy and Aurora perhaps supplying the crux of the story arc.

“Helena from the Bronx” is now a popular drawing for the students to doodle in their notebooks. Helena wears her hair in a tight bun with a midriff shirt and a belly button ring, with a speech bubble saying, “The more I love, the more he hateth me”. (1.1.204)

But perhaps the most influential… (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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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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Find this quote in context at folgerdigitaltexts.org

Guest post by Josh Cabat

“Uneasy lies the head that wears a crown.”

While the average ELA Chair or Director has little to fear in terms of civil unrest in the Northlands, we have all, as did Henry IV, struggled with internal resistance to change.

How often have you found a great idea at a conference or in a journal, and then presented it at a department meeting only to have it greeted with smiles and nods and subsequently ignored? Reflecting on and changing our own process is challenging enough; to get others to do so is often a steep mountain indeed.

This is even more true when it comes to Shakespeare. Resistance to new ideas in teaching Shakespeare usually comes in two flavors. One comes out as “You expect those students to do Shakespeare?” which usually signifies the teacher’s own insecurity with the material. The other is the complete opposite: “You’re telling me how to teach Shakespeare?” Take heart, though; there are many ways over, around, and through these walls. (more…)

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