Teaching Shakespeare through performance

Performance pedagogy does more than involve students in the acting, directing, and production work needed to bring a play text to life. It engages them in interpretation; it makes issues of structure or subtext immediate; it deepens understanding of stage history; in film, it demonstrates the role of camera, lighting, sound.

Teaching Shakespeare through Performance is designed for teachers of both high school and college English courses who wish to introduce performance strategies into their classroom. The volume illustrates how attention to theatrical detail can give insight into Shakespeare's work and world: the significance of an omitted exit or entrance, the role of stage directions in King Lear , costumes and transvestism on the Renaissance stage, the changing fashions of acting Juliet, how experimenting with the use of different personal props in a scene from Hamlet reveals cultural attitudes, and much more.

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Riggio's contribution to this Modern Language Association series caps more than a decade of scholarship that has not only revised the interpretative process but also changed the way Shakespeare is taught. Academics today fast-forward through the BBC Titus Andronicus or the Olivier King Lear to find the teaching moment they prefer; they take classes to performances, access theater reviews on the Web, compare the three texts of Hamlet, and invite students to stage a scene three ways. The volume is intelligently arranged in five parts: "Theory and History," "Teaching Strategies," "Exemplary Courses," "Films and Electronic Resources," and "Annotated Guides." Its 38 contributors are scholars and directors well known to Shakespeareans--among them David Bevington, Maurice Charney, Ralph Alan Cohen, H. R. Coursen, Alan Dessen, Miriam Gilbert, Bernice Kliman, Jill Levenson, Cary Mazer, Stephen Orgel, G. B. Shand, and Michael Shapiro--and they all offer wise, often witty practical and theoretical accounts of performance issues. Though one might have wished for a less pedestrian introduction, the volume succeeds admirably in recording the scholarly consensus that Shakespeare intended his works for the stage. As a compendium of ideas, a bibliography of resources, and a vocabulary for teaching, the volume is a splendid, stimulating classroom guide. Upper-division undergraduates through professionals. J. Schlueter; Lafayette College

Milla Cozart RiggioMichael KahnDavid Kennedy Sauer and Evelyn TribbleEdward L. RocklinAlan C. DessenRalph Alan CohenStephen OrgelJill L. LevensonRobert HapgoodCary M. MazerDavid Bevington and Gavin WittMichael ShapiroThomas L. BergerStephen M. BuhlerLois PotterG.B. ShandMaurice CharneyRobert Einenkel and Bernice W. KlimanElise Ann EarthmanJames N. LoehlinCynthia LewisMiriam GilbertW.G. Walton, Jr.David KranzPeter ReynoldsMichael MullinPeter DonaldsonLarry FriedlanderFelicia Londre and Kimberly L. JanczukMilla Cozart RiggioH.R. CoursenW.G. Walton, Jr.

Acknowledgments	p. ix
Introduction	p. 1
Prologue	p. 19
Part 1 Theory and History
Shakespeare in Performance: Theory in Practice and Practice in Theory	p. 33
Performance Is More Than an "Approach" to Shakespeare	p. 48
Shakespeare's Theatrical Vocabulary and Today's Classroom	p. 63
Original Staging and the Shakespeare Classroom	p. 78
Why Did the English Stage Take Boys for Women?	p. 102
Romeo and Juliet on the Stage: "It Is a Kind of History"	p. 114
Re-wrighting Shakespeare: A Conversation with Richard Schechner	p. 127
Part II Teaching Strategies
Listening for the Playwright's Voice: Rehearsing through Class Discussion the "Kill Claudio" Episode	p. 145
Playing the Action: Building an Interpretation from the Scene Up	p. 155
Working in Workshops	p. 169
Improvisational Techniques for the Literature Teacher	p. 184
The (Play) Text's the Thing: Teaching the Blinding of Gloucester in King Lear	p. 196
Introducing Stage History to Students	p. 220
Part III Exemplary Courses
Teaching Shakespeare: The Participatory Approach	p. 235
Reading Power: Classroom Acting as Close Reading	p. 244
The Shakespeare Seminar as Pedagogical Entertainment	p. 256
Team Teaching Shakespeare: Breaking Barriers to the Bard	p. 266
Shakespeare in the City	p. 277
On Your Imaginary Forces Work: Shakespeare in Practice	p. 286
Performing Shakespeare: The Outward Bound of the English Department	p. 295
Writing about Performance, Writing as Performance	p. 307
Part IV Films and Electronic Resources
Bringing Performances into Classrooms through Multiple Media	p. 321
Cinematic Elements in Shakespearean Film: A Glossary	p. 341
Shakespeare and Image Theater: Henry V	p. 361
Digital Shakespeare: A Retrospective and Update	p. 373
The Electronic Archive in the Classroom: Multimedia Shakespeare at MIT	p. 390
Playing in Cyberspace: Experiments in Computer-Mediated Shakespeare	p. 413
Part V Annotated Guides
A Guide to American Shakespeare Companies and Festivals with Academic Affiliations	p. 435
Annotated Guide to Classroom Editions of Shakespeare	p. 442
Selected Film and Television Resources	p. 454
Shakespeare on Video	p. 459
Notes on Contributors	p. 465
Works Cited	p. 475
Index of Names	p. 493
Index of Shakespeare's Plays	p. 501

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