Teaching Hamlet in the Twenty-First Century Classroom is for both the novice and veteran teacher and offers fresh takes on teaching Shakespeare’s iconic Hamlet. Its lessons push students to engage deeply and creatively. Rooted in text and performance, each chapter provides ready-to-use learning objectives, reading guides, notes on language, critical backgrounds, discussion questions, film-based strategies, and project-based culminating activities that embrace students’ role in meaning-making. It is the book for teachers who want to get their students to love Hamlet.
Teaching Hamlet in the Twenty-First Century Classroom offers fresh takes on teaching Shakespeare's Hamlet. Each chapter provides learning objectives, guides, discussion questions, film-based strategies, and activities that embrace students' role in meaning-making.
This book discusses current issues in literacy teacher education and illuminates the complexity of supporting self-efficacious educators to teach language and literacy in the twenty-first century classroom. In three sections, chapter authors first detail how teacher education programs can be revamped to include content and methods to inspire self-efficacy in pre-service teachers, then reimagine how teacher candidates can be set up for success toward obtaining this. The final section encourages readers to ruminate on the interplay among teacher candidates as they transition into practice and work to have both self- and collective- efficacy.
The comprehensiveness and detailed presentation of this book will deepen the collective conversation, challenge thinking, and give up-to-date tools that may be used today."--BOOK JACKET.
In the spirit of Studs Terkel's Working, Bill Smoot interviews master teachers in fields ranging from K--12 and higher education to the arts, trades and professions, sports, and politics. The result suggests a dinner party where the most fascinating teachers in America discuss their various styles as well as what makes their work meaningful to them. What is it that passes between the best teachers and their students to make learning happen? What are the keys to teaching the joys of literature, shooting a basketball, alligator wrestling, or how to survive one's first year in the U.S. Congress? Smoot's insightful questions elicit thought-provoking reflections about teaching as a calling and its aims, frustrations, and satisfactions.
This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'.
Thinking Shakespeare gives theater artists practical advice about how to make Shakespeare’s words feel spontaneous, passionate, and real. Based on Barry Edelstein’s thirty-year career directing Shakespeare’s plays, this book provides the tools that artists need to fully understand and express the power of Shakespeare’s language.
Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.
This yearbook contains essays by international scholars which deal with the relationship of Shakespeare and higher education. Topics include teaching Shakespeare in the multicultural classroom; using performance pedagogy; and teaching Shakespeare to foreign language students.
Showcasing a wide array of recent, innovative and original research into Shakespeare and learning in Australasia and beyond, this volume argues the value of the 'local' and provides transferable and adaptable models of educational theory and practice.
