Book contents
- Frontmatter
- CONTENTS
- ILLUSTRATIONS
- The Commercial Bard: Business Models for the Twenty-First Century
- International Innovation? Shakespeare as Intercultural Catalyst
- Brand Shakespeare?
- Global Shakespeare 2.0 and the Task of the Performance Archive
- An International Database of Shakespeare on Film, Television and Radio
- ‘Sounds and Sweet Airs’: Music in Shakespearian Performance History
- Using Shakespeare with Memes, Remixes and Fanfic
- ‘Pretty Much how the Internet Works’; or, Aiding and Abetting the Deprofessionalization of Shakespeare Studies
- Catalysing What? Historical Remediation, the Musical, and What of Love's Labour's Lasts
- Kabuki Twelfth Night and Kyogen Richard III: Shakespeare as a Cultural Catalyst
- The Sonnets as an Open-Source Initiative
- ‘A Stage of the Mind’: Hamlet on Post-War British Radio
- Post-Textual Shakespeare
- I am What I am Not: Identifying with the Other in Othello
- Desdemona's Book, Lost and Found
- Non-Catalyst and Marginal Shakespeares in the Nineteenth-Century Revival of Catalan-Speaking Cultures
- Shakespeare, Mácha and Czech Romantic Historicism
- An Irish Catalysis: W. B. Yeats and the Uses of Shakespeare
- François-Victor Hugo and the Limits of Cultural Catalysis
- ‘You Taught me Language’: Shakespeare in India
- There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
- The Royal Shakespeare Company as ‘Cultural Chemist’
- Shakespeare at the White Greyhound
- Dark Matter: Shakespeare’s Foul Dens and Forests
- What We Hear; What we see: Theatre for a New Audience's 2009 Hamlet
- Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure
- Québécois Shakespeare goes Global: Robert Lepage's Coriolan
- Endless Mornings on Endless Faces: Shakespeare and Philip Larkin
- Shakespeare Performances in England 2010
- Professional Shakespeare Productions in the British Isles, January–December 2009
- The Year’s Contribution to Shakespeare Studies
- INDEX
- References
There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
Published online by Cambridge University Press: 28 November 2011
Edited by
Book contents
- Frontmatter
- CONTENTS
- ILLUSTRATIONS
- The Commercial Bard: Business Models for the Twenty-First Century
- International Innovation? Shakespeare as Intercultural Catalyst
- Brand Shakespeare?
- Global Shakespeare 2.0 and the Task of the Performance Archive
- An International Database of Shakespeare on Film, Television and Radio
- ‘Sounds and Sweet Airs’: Music in Shakespearian Performance History
- Using Shakespeare with Memes, Remixes and Fanfic
- ‘Pretty Much how the Internet Works’; or, Aiding and Abetting the Deprofessionalization of Shakespeare Studies
- Catalysing What? Historical Remediation, the Musical, and What of Love's Labour's Lasts
- Kabuki Twelfth Night and Kyogen Richard III: Shakespeare as a Cultural Catalyst
- The Sonnets as an Open-Source Initiative
- ‘A Stage of the Mind’: Hamlet on Post-War British Radio
- Post-Textual Shakespeare
- I am What I am Not: Identifying with the Other in Othello
- Desdemona's Book, Lost and Found
- Non-Catalyst and Marginal Shakespeares in the Nineteenth-Century Revival of Catalan-Speaking Cultures
- Shakespeare, Mácha and Czech Romantic Historicism
- An Irish Catalysis: W. B. Yeats and the Uses of Shakespeare
- François-Victor Hugo and the Limits of Cultural Catalysis
- ‘You Taught me Language’: Shakespeare in India
- There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
- The Royal Shakespeare Company as ‘Cultural Chemist’
- Shakespeare at the White Greyhound
- Dark Matter: Shakespeare’s Foul Dens and Forests
- What We Hear; What we see: Theatre for a New Audience's 2009 Hamlet
- Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure
- Québécois Shakespeare goes Global: Robert Lepage's Coriolan
- Endless Mornings on Endless Faces: Shakespeare and Philip Larkin
- Shakespeare Performances in England 2010
- Professional Shakespeare Productions in the British Isles, January–December 2009
- The Year’s Contribution to Shakespeare Studies
- INDEX
- References
Summary
I really look forward to doing Shakespeare when I come to school…Instead of just writing what happens in the play, like conversations between characters, we actually live it and we try to feel how the characters must feel. I think that is a good way of learning.
(ten-year-old girl from a school in Rotherham in the RSC Learning and Performance Network)Im anfang war die tat
This article offers an account of the theory, practice and relevance of the Royal Shakespeare Company's recent work with schools in England and the implications that this might have for creating a foundation for internationalizing a pedagogy for teaching and learning Shakespeare based in the practices of the ensemble and the rehearsal room. We argue that there is something distinctive about this approach that takes the artistry and critical engagement of its pedagogy beyond the conventional uses of ‘active methods’ in the teaching of Shakespeare. It begins with a commitment to the idea that engagement with Shakespeare and his plays should be a cultural as well as a curriculum entitlement for children of all ages and abilities.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 240 - 250Publisher: Cambridge University PressPrint publication year: 2011
References
Authentic Achievement: Restructuring Schools for Intellectual QualitySan Francisco 1996Google Scholar
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Drama as Learning: Dorothy Heathcote's Mantle of the Expert Approach to EducationLondon 1996Google Scholar
Attitudes to Shakespeare Among Year 10 Students: Report to the RSC on the Learning and Performance Network Baseline Survey 2007/08Warwick 2009Google Scholar
Stand up for Shakespeare The Royal Shakespeare Company Learning & Performance Network: Research for the Training and Development Agency for SchoolsUniversity of Warwick 2009Google Scholar
Interim Report to Creativity, Culture and Education: The Learning and Performance NetworkNottingham 2010 13Google Scholar
The Learning Performance Network: An Education Programme of the Royal Shakespeare CompanyNewcastle-upon-Tyne 2010 13Google Scholar
Narrative Approaches to Shakespeare: Active Storytelling in SchoolsShakespeare Survey 53Cambridge 2000 161Google Scholar
The Value of Creativity: The Origins and Emergence of a Modern BeliefAldershot 2005 232Google Scholar
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