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Introducing Shakespeare – A Brief Insight - April 2008
Introduction: This INSET training course was adapted from an Introducing Shakespeare Course run for IAPS Drama specialists. I adapted it in an attempt to give a brief insight and some practical ideas for Introducing Shakespeare for both English specialists and Class teachers at the Preparatory School in which I teach. This particular INSET was presented to ALL Staff from Early Years up to Year 8, so I tried to offer some practical ideas to be used in different ways across the curriculum, whilst not losing sight of my original brief which was to focus on the introducing of Shakespeare. Although I feel that in general the plots or texts of Shakespeare are impractical to introduce below Year 2, I hope some of the drama techniques and activities offered could be usefully adapted by Teachers of Foundation and Early Years, and several of the texts are, of course jolly good “stories”! So to Shakespeare............ How many of you can remember your own introduction to the work of Shakespeare? Can you also remember your reaction and feelings to this first meeting? Hopefully you felt a mixture of excitement and anticipation or perhaps you did not! Sadly too many children today are still “turned off” Shakespeare at this first impasse due perhaps, I fear, to an unimaginative or rigidly academic and crusty lesson delivered by a text bound teacher. How many times have you heard the proverbial groan from children “Shakespeare is boring!” What a responsibility we as teachers have when it comes to introducing the Bard! Of course, what these children really mean is that the contents of the lesson did not inspire them, and not that Shakespeare’s text was boring! I believe with a passion that a child’s first encounter with Shakespeare is crucial, whatever form that encounter takes it is vital that it is lively, imaginative and accessible. It is from this first experience that our children form what for many of them will be a life long held opinion. I constantly hear myself saying not only to practitioners but to students of all ages – Shakespeare wrote for performance! I believe that with all the wonderful teaching resources available plus some energy and imagination a lesson or a scheme of work can be transformed into an exciting journey for the children you teach. Action: Children need to be inspired and encouraged to understand Shakespeare as an exciting performance challenge, rather than to just attempt to read the words of the text, that probably appear to them as out of date and unfamiliar. Try an approach that starts by placing the play in the context of its performance and location, that is, Elizabethan England. (This could easily be adapted to use in a History based lesson (Year 4); or the idea could be altered with younger children linked to study of the Greeks or Romans (Year 3); or work on amphitheatres etc.) Give the children plenty of background of Elizabethan life, for example……. Activity 1
It is 1606 at the Globe. Before theatres were built, plays were performed in the courtyard of inns or inn-yards, or sometimes, in the houses of noblemen, but now you are at the Globe. You are now Elizabethans in an open-air theatre. Some of you are standing closely packed together in the open pit before the stage. Some of you are the rich nobles, watching the play from a seat set round the stage above the pit, some of you are prosperous women wearing a mask to disguise your identity. If an audience disapproved of an actor, they would shout or pelt him with oranges or anything handy and also hiss! On the other hand, if they liked him and approved of his performance they would applaud, clap and cheer. A visit to the theatre in Shakespeare’s day was a rousing, lively, experience.
Now - Improvise Audience Activity
This can be handled in a number of ways, encouraging children to experiment with the different character type roles of the audience, first one group at a time and then by using all character types to create the atmosphere of a performance.
Extension Activity This activity can be extended by repeating but placing an actor on the stage who performs whilst the audience reacts (this will need firm supervision!). Try this speech by Egeus from “A Midsummer’s Night Dream” Act I Scene 1 (22). Help the children to understand what Egeus is actually complaining about and then they will react appropriately! Egeus: Full of vexation come I, with complaint Against my child, my daughter Hermia. Stand forth, Demetrius! My noble lord, This man hath my consent to marry her. Stand forth Lysander! And, my gracious Duke, This man hath bewitched the bosom of my child. Thou, thou, Lysander, thou hast given her rhymes, And interchanged love-tokens with my child. Thou hast by moonlight at her window sung With feigning voice verses of feigning love, And stolen the impression of her fantasy, With bracelets of thy hair, rings, gauds, conceits, Knacks, trifles, nosegays, sweetmeats – messengers Of strong prevailment in unhardened youth; With cunning hast thou filched my daughter’s heart, Turned her obedience, which is due to me, To stubborn harshness. And, my gracious Duke, Be it so she will not here, before your grace, Consent to marry with Demetrius, I beg the ancient privilege of Athens; As she is mine, I may dispose of her; Which shall be either to this gentleman Or to her death, according to our law Immediately provided in that case.
Further Extension Now try repeating the activity with a group of actors, it will get quite chaotic, so be prepared to be in role yourself. I offer two contrasting extracts for you to use:
From “A Midsummer Night’s Dream” - Act 1:Scene 2 (Quince, Snug, Bottom, Flute, Snout and Starveling)
From “Romeo and Juliet” - Act 2:Scene 2 (24 -89) (Romeo and Juliet)
Introducing the Text I might now upset the purists, but when introducing Shakespeare’s text to children up to and including Year 6 I would recommend ignoring the rhythm of the lines as it will be a great hindrance and unnecessary impediment to the freedom of the children’s expression. The rhythm will come naturally when the words and speeches are properly understood. The same approach can be taken with Years 7 and 8, although I think it is important to introduce the knowledge of iambic pentametre (10 beats to the line) even if it is not adhered to initially. This will fall into place more easily with confidence and experience. It is also useful and appropriate to introduce a simplified version of the plot of a play the children are going to work with or study prior to any other form of work. This then gives children a basic understanding of characters and plot. There are a good range of simplified texts available, or you could just give your own précis of the proceedings. I cannot emphasise strongly enough the need for children to perform Shakespeare and highlight the need for keeping it simple. Once children have been encouraged to understand the type of audience for which Shakespeare was writing, teachers need to find simple ways to encourage imagination, thought and understanding in performing from the text. I would suggest that the teacher guides the children to focus on the need to speak and perform the lines in “thought” sections. Activity 2 (Teacher in role as Shakespeare) Now you are actors and you are taken back-stage to receive pages of a brand new play called Macbeth written by William Shakespeare for the theatre’s new patron, King James I (James VI of Scotland), following the death of Queen Elizabeth. The play has witches in it because James was interested in witch-craft and it is also set in Scotland to please the King. The play tells the story of a man, urged by his wife, who kills his king to gain power. The witches foretell this event. Shakespeare (Teacher) tells you that you are going to perform this new play which is about ambition. He/she asks, who can tell me what ‘ambition’ is? Is it dangerous? Our main actor, Macbeth, is going to kill the king, prompted by his wife. The following scene is where Lady Macbeth receives a letter from her husband – what does it make her think? The children need to be guided to first see and understand these sections, asking them to seek each motive and how it is expressed, and what thoughts have produced the words. Act 1: Scene 5 Inverness. Macbeth's castle. Enter Lady Macbeth reading a letter. LADY MACBETH: They met me in the day of success: and I have learned by the perfectest report they have more in them than mortal knowledge. (thoughts of death or murder) Shakespeare asks what this means, and the children discuss the meaning. When I burned in desire to question them further, they made themselves air, into which they vanished. Shakespeare asks if the children can visualise this scene? What would it make you think? Can you see it in your minds eye? Whiles I stood rapt in the wonder of it, came missives (messengers) from the King, who all-hailed me 'Thane of Cawdor'; by which title, before, these weird sisters saluted me and referred me to the coming on of time with 'Hail, King that shalt be!' Shakespeare checks for understanding and ask the children how they would feel being told this. This have I thought good to deliver thee (report to you), my dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell." Shakespeare asks what is going on? How would you react to this? Glamis thou art, and Cawdor, and shalt be What thou art promised. Shakespeare asks does she mean she will make sure the witches are correct? Will Macbeth be king and she be queen? Yet do I fear thy nature It is too full o' the milk of human kindness To catch the nearest way. Thou wouldst be great; Art not without ambition, but without The illness (evil) should attend it. What thou wouldst highly, That wouldst thou holily; wouldst not play false, And yet wouldst wrongly win. Shakespeare asks the children do they think she taking control? Is she being ‘manly’ Is he too weak? What would you do? Thou'ldst have, great Glamis, That which cries, "Thus thou must do, if thou have it; And that which rather thou dost fear to do Than wishest should be undone."Hie thee (hasten) hither, Shakespeare asks why? That I may pour my spirits in thine ear, And chastise with the valour of my tongue All that impedes thee from the golden round, Which fate and metaphysical aid doth seem To have thee crown'd withal. Enter a Messenger. LADY MACBETH: What is your tidings? MESSENGER: The King comes here tonight. Shakespeare asks what the children would reply? But here is what Lady Macbeth actually replies. LADY MACBETH: Thou'rt mad to say it! Shakespeare asks why does she say this? Do you think it is because it seems fate has brought him there to be murdered? Has she said too much – given the game away? YES! So what would you reply to stop the messenger from being suspicious? Here is what she says – think why she may say this. Is not thy master with him? who, were't so, Would have inform'd for preparation. Shakespeare explains that it is not the news that the king comes tonight that has caused her outburst – but because her husband has not told her! What is she going to do when her husband arrives?
Activities to reinforce the performing of lines as “thoughts”
Activity 3 Actors stand in a space with script in hand. Speak the first thought standing still. For the second thought speak whilst walking. For the third thought stand still again whilst speaking. For the fourth thought walk again whilst speaking. And so on……. It may be helpful to do this activity in unison initially, but encourage independent solo working very quickly.
Activity 4 Actors stand in a space with script in hand. They speak whilst moving, and this time they do not stop moving, but change the direction they are moving in at each separate thought. This should be an independent solo activity.
Activity 5 Place two chairs next to each other. The actor sits on one chair and speaks the first thought. At the end of the thought the actor stops speaking, stands up and moves to the other chair and sits down. The actor does not start to speak again until sitting down. This action is repeated from chair to chair with each thought. This activity can be used very successful to reinforce the use of pause, and therefore slow down delivery. (Useful in all age groups).
Activity 6 This is a “thought passing activity” to be performed in pairs. The two actors can be sitting on the floor, chairs or standing, they need a copy of the script each and a pile of “thoughts” (these can be sheets of paper, books, bricks, bean bags, etc. something that can be passed). The first actor holding “the thought” speaks the first thought and at the end of the thought passes it to the second actor who places on a new pile. Then the second actor picks up a thought from their own pile of “thoughts” speaks the thought and then passes it to the first actor. This action continues in this alternate way. You can extend this activity by the speaker holding on to the thought and waiting for the non-speaker to take it from them – it is important that the non-speaker places it in the pile and picks up a new thought before speaking again.
Activity 7 Another “thought passing” activity which is a little more difficult. The actors stand on opposite sides of the acting area, only one actor speaks. The first actor only has a “thought” in their hand they speak whilst moving towards the second actor who also moves slowly and hand their thought to the second actor. The first actor now walks away from the second actor whilst speaking the next thought but the second actor pursues them and hands the “thought” back at the end of the next thought. The second actor then moves away and the first actor follows them with the third thought, and so the action continues.
Activity 8 When Shakespeare first wrote his plays he wrote each part separately, with no punctuation and no stage directions. This meant that the actors were free to interpret their own roles. These are now known as “The First Folio”. A lively activity is to take one particular scene and divide the children into roles, they then have to make the scrolls and copy the lines of that character only. Then using their scrolls they try to act out the scene – it can be chaos to start with, but it takes shape surprisingly quickly! One word of warning – choose your scene carefully! Activity 9 This activity is just based on Shakespearean insults, it needs to be controlled, but is enormous fun. Start off working individually, then move on to working in pairs, and if you feel brave small groups or even whole class. The idea is from a list of insults you provide them with they select 2 or 3 and hurl them at each other, experimenting with as many vocal variations and techniques as they can. Some suggested insults: Hiss him in scorn! I will bite thee by the ear for that jest! Thou sober suited matron! Hang thee young baggage! You juggler! You canker-blossom! Thou painted maypole! O viper vile! You crusty botch of nature!
Any of these activities could be easily adapted to use in other subjects and diversified to use in other ways.
Conclusion I cannot stress enough the importance of a positive introduction to the work of Shakespeare, teachers have a responsibility to engage children in an active and imaginative way in order to pass on a love and respect for one of the most significant writers in our literary heritage. There are excellent teaching resources available to inform and assist your planning, and I attach a brief list of these. Do not forget there are also some excellent educational Shakespeare practitioners who you can invite into school, such as the dynamic Scott Eck with his totally interactive learning programme for Shakespeare. I would also encourage taking children to see a Shakespeare performance at the theatre. Films are a good educational resource, but nothing demonstrates the power and the passion of the Bard as well as a live performance. I hope that you will have found something interesting, informative or even inspiring amongst these ideas to use or adapt to use in your own lessons. To those of you who teach Shakespeare either through the English or Drama curriculum always be prepared to perform, share and enjoy Shakespeare in a practical way with the children you teach. Remember…. Shakespeare wrote for performance! Enjoy your teaching! Linda Cardigan Acknowledgement: My huge thanks to Derren Nesbitt with whom I worked with to produce the original IAPS Course, his knowledge, enthusiasm and talent were vital.
Useful Shakespeare Resources
Books Starting Shakespeare Eric Boagey Collins Educational (There are also several “Starting” titles available for some of the plays)
Starting Shakespeare First Encounters with Shakespeare’s Plays Linda Marsh Longman Imprint Books
Orchard Books A range of stories based on the individual plays Retold by Andrew Matthews Illustrated by Tony Ross Pearson Education (Longman) Genre Range – (Literacy Land) A range of simplified scripts but using Shakespearean language
Mr William Shakespeare’s Plays Lively, colourful comic strip versions of the plays By Marcia Williams Walker Books
Bravo Mr William Shakespeare Volume Two of Lively, colourful comic strip versions of the plays By Marcia Williams Walker Books
Shakespeare’s Globe A pop-up Play Theatre including guidebook, scripts, press-out characters By Toby Forward Illustrated by Juan Wijangaard Walker Books
Eyewitness Guide – Shakespeare By Peter Chrisp Dorling Kindersley
Acting Shakespeare By Frank Barrie Dramatic Lines
Lambs Tales from Shakespeare Charles and Mary Lamb Various versions published
Shakespeare – The Animated Tales By Leon Garfield Egmont Books Ltd
Shakespeare in a Nutshell
A rhyming guide to all the plays By James Muirden Constable
Pronouncing Shakespeare Essential reading for the actor and teacher David Crystal
The Young Person’s Guide to Shakespeare (in association with the Royal Shakespeare Company) Includes CD with a range of actors speaking from selected speeches By Anita Ganeri
DVD’s The BBC TV Shakespeare Collection The complete works (Alvin Rakoff) Shakespeare – The Animated Tales (also Act 1, Act 2, Act 3, Act 4, Act 5 and Act 6)
Shakespeare – The Complete Collection (Starring Richard Burton and Elizabeth Taylor) Shakespeare’s Globe
The Themes of Shakespeare A range of plays covered Shakespeare Retold BBC (This is a 12) Shakespeare in Love There are a range of good quality film versions of the plays available individually, and these are generally easy to purchase.
Web-sites
www.rsc.org.uk Royal Shakespeare Company www.shakespeare.org.uk Shakespeare Birthplace Trust www.bbc.co.uk/drama/shakespeare/60secondsshakespeare BBC www.keeline.com/shakespeare Teachers web-site www.shakespeare.bham.ac.uk Shakespeare Institute www.britishshakespeare.ws British Shakespeare Association www.nationaltheatre.org.uk The National Theatre www.shakespeares-globe.org The Globe Theatre
Make sure you are on the mailing list for your local theatres, or regularly check their listings on line. There are always good amateur groups putting on Shakespeare as well. |
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