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Posts Tagged ‘TSI’

By Folger Education

In July 2014, 25 teachers from all over the country gathered at the Folger for an intensive month-long study of Shakespeare sponsored by the National Endowment for the Humanities: the Teaching Shakespeare Institute. Working through the lenses of scholarship, performance, and pedagogy, participants completed three major projects: 1) a research paper using items in the Folger collection, 2) a collaborative performance presentation, and 3) two short video tutorials on technology-rich strategies for teaching Romeo and Juliet and Twelfth Night. This last one is directed especially at you, our teaching colleagues.

In the next few weeks, we’ll be sharing participants’ videos with you. These clips demonstrate how to use a particular tech tool to teach a specific literacy skill or aspect of a text. First up: Romeo and Juliet. (If you teach Twelfth Night, stay tuned—those videos will be next!)

Today we’re diving into Act 1 of Romeo and Juliet, and we’re lucky to have English teacher Stefanie Jochman as our guide. She’s going to walk you through what to watch for in her videos—and how she’s adapted the strategy this year in class.

BEFORE YOU WATCH

This video lesson explains how teachers can use Mozilla Popcorn Maker, a web-based video-editing program, to explore Act I, Scene 5 of Romeo and Juliet, specifically the “Holy Palmer” sonnet. My Popcorn Maker video seeks to solve a problem teachers sometimes encounter when conducting multimedia studies: lag-time between loading video clips or showing images. Using Popcorn Maker, I knit film clips, ballet excerpts, and digital images from the Folger Library’s Luna database into one fluid video that also displays focus questions for each medium. Compilations like the one I create in this demonstration help students to analyze the representation of a key scene in a variety of artistic media (Common Core Reading Literature Standard 7) or analyze how artists like Sondheim or Zeffirelli draw on source material from Shakespeare (Common Core Reading Literature Standard 9).

THE VIDEO: Popcorn Maker Tutorial

https://www.youtube.com/watch?v=-MqkIzLQ3Yg&feature=youtu.be

THE BONUS VIDEO: The Finished Product, a Popcorn Version of the “Holy Palmer” Sonnet

https://msjochman.makes.org/popcorn/261o

AFTER YOU WATCH

The Romeo and Juliet multimedia study remains one of my favorite lessons in my Romeo and Juliet unit because students’ responses to the discussion questions are so impressive. Some of my students have never watched ballet before this lesson, but their knowledge of Romeo and Juliet the play, one seemingly-difficult medium, helps them to make sense of another. During this lesson, students recognize and hone the analytical skills they already employ whenever they go to the movies, watch TV, or glance at a piece of art on the street, in their houses, or in a gallery. When asking freshmen to compare representations of Act 1, Scene 5, I try to focus on the scene’s essential elements: the language of the “Holy Palmer” sonnet, Romeo’s feeling of “love-at-first-sight,” Juliet’s youth, and the tension between the Montagues and Capulets (personified by Tybalt). I think students surprise themselves with how quickly they notice details in costuming and performance that communicate those elements.

My Romeo and Juliet multimedia study inspired a similar exploration with my IB junior class of Shylock’s “To bait fish withal” speech from The Merchant of Venice. I challenged those older, advanced students to determine the scene’s “essential elements,” and I let their observations (rather than my own pop-up questions) guide discussions of the clips. Actors’ interpretations of Shylock’s speech vary so wildly that the end result of our study was a greater appreciation for the nuance of Shakespeare’s language. I also shared Popcorn Maker and other video tools with some of my senior IB students, and they used the program to demonstrate how the Byronic hero survives in superhero movies.

In the future, I hope to develop a compilation and analysis assignment that requires students to independently assemble and analyze multiple representations of a scene, poem, chapter, or character.

Feel free to send me your questions or ideas on Twitter (@MsJochman).

Stefanie Jochman teaches 9th grade and International Baccalaureate English classes at Notre Dame de la Baie Academy in Green Bay, WI. She received her BA in English and Secondary Education from St. Norbert College and her MA in English from the University of Wisconsin Oshkosh. Stefanie is a proud alumna of the 2014 Teaching Shakespeare Institute. 

 

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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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Folger Shakespeare Library

Folger Shakespeare Library

By Mark Miazga

When I started my career, Shakespeare intimidated me. I became an English teacher in part to share my love of reading with students, but I never had loved reading Shakespeare.

I’m not exactly sure how it happened, but my entire 13 years of public and Catholic schooling in both southwest Michigan and suburban Detroit yielded just one Shakespeare play: a reading of Macbeth in the 10th grade.

And, even though I devoured books and mainly loved English classes, the experience with Shakespeare wasn’t a good one; I remember sitting in rows, reading the play aloud, my teacher explaining lines afterwards. Nothing else.

Flash forward a few years, and I’m a high school English teacher on my own in a large urban school in Baltimore City. I held my own, for the most part, but my teaching of Shakespeare felt like the weakness in my game.

Even though I used the Shakespeare Set Free series at times, I didn’t feel confident enough to take many of the risks that the series entailed. I spent way too much time trying to make kids understand the plot, and devoted much of my energy to explaining lines, just like that uninspiring teacher I had in the 10th grade.

By the end of the unit, I think my students could probably describe some foreshadowing or celestial imagery in Romeo and Juliet, but were they any more confident in reading Shakespeare the next time they picked up a play? Would they be going to a Shakespeare play on their own when it one was being performed around town? What would they remember about their experience with reading Shakespeare 10 years from now? It was definitely “not much”.

So I applied to the 2008 Teaching Shakespeare Institute, describing much of what I just told you: that Teaching Shakespeare was a bit scary to me and I wanted to be a better Shakespeare teacher.

And the four weeks here at the Folger changed my teaching life and continue to have an impact on my students and me every single unit that I teach.  (more…)

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door knob david fulcoBy David A. Fulco

“When are we getting our costumes?”

It was the third day of my after-school program—Drama (what the kids called it)/Theater (what the school called it)/Shakespeare Troupe (what I called it)—and the kids were getting antsy.

Relying heavily on my class with Caleen Jennings during the 2014 Teaching Shakespeare Institute, I had directed my group of fourteen 7th grade girls through a host of “physicalizing” exercises over the first two days, having them work in groups to show what “Wednesday” looked like, what “Math” looked like, and what “Dismissal at 2:10” looked like.

And we were getting there—at least, when the students weren’t playing in the curtains, or hiding offstage.

But here they were on the Friday that marked the end of the first full week of school. They were in three lines of various lengths and dimensions. Much like I was this past summer at TSI 2014, they were standing in front of an easel with the words to “Oh grim-looked night” from A Midsummer Night’s Dream written in purple Sharpie. They had physicalized every word. We had practiced as a whole troupe and in small groups. And now was the big reveal. (more…)

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As we draw near to the end of the first week of TSI, we wanted to give you a glimpse into how things are going so far.

The days are just packed! Our TSI teachers have acted on the Folger stage, looked through rare materials in our Reading Room, interacted with scholars in focused seminars, worked through curriculum ideas, and much more.

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School begins soon, my vacation shortened by the intense summer I spent at the Folger Shakespeare Library’s Teaching Shakespeare Institute. As these drowsy days transform to hectic autumn, I wonder how I will use the TSI experience in my classroom. Over the past few years, I have relied on Shakespeare Set Free to teach Romeo and Juliet, but I want to use the month I spent in DC this summer to expand my repertoire. Which play should I add? As I wade through the dusty stacks in our textbook room, Henry IV, Part 1 stands, tall and regal . . . and unread since 1990 – a complete class set. Have I the courage to go forth?

Even though we spent a full week (and I mean FULL) on Henry IV, Part 1 during the Institute – lectures, discussions, debates; illuminating, recording, memorizing and performing; and a 15-minute rendition of the play acted by our troupe of secondary school teachers from around the country – I am still intimidated. The play is long, confusing, historical – all the complaints my students voice before we embark on anything Shakespeare. Plus, I don’t know the play or English history well enough to . . . to what? I’ve no illusions of perfection – just being moderately versed is enough – but instead of urging myself forward, I demoralize myself with doubts. “What ifs” clog my consciousness. What if students ask how Bolingbroke seized the crown from Richard? Or what is a Plantagenet? Whose wife is sister to whom? Which characters did Shakespeare conflate? Or a hundred other questions I can’t answer? Thankfully a voice emerges between the scratchy static in my head, the voice of Folger curriculum specialist, Mike LoMonico: You don’t have to do the whole play.”

An encouraging chorus of “What ifs” surface: What if we only consider the father-son aspects of the play? What if we act the 15-minute version from Shakespeare Set Free, look at a few speeches, and save the heavy lifting for Othello?

I quell my fears by reminding myself that Shakespeare study is not about knowing the plays inside out, but about challenging ourselves with difficult text. Decoding Shakespeare does something to our brains that ultimately makes us smarter, so when we come to a different Shakespeare, or Marlow, or Jonson, we are that much better equipped to untangle its meaning. So what if I don’t know enough and I enter Henry IV, Part 1 as my students do: learning what I can, knowing I will never know it all, and taking a chance just to see where it leads?

Marion Levine is a guest contributor to Making A Scene.  She teaches high school students at the Los Angeles Center for Enriched Studies in Los Angeles, CA.

For Folger Education resources on Henry IV, Part 1, including lesson plans, activities, and video interviews with cast and crew members of Folger Theatre’s 2008 production, please click here.

Photo credit: Ellen Adair (Lady Percy) and David Graham Jones (Hotspur), Henry IV, Part 1, directed by Paul Mason Barnes, Folger Theatre, 2008. Carol Pratt.

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