Describes a workshop approach to plays (especially Shakespearean) that included the academic study of the text, a theatrical presentation, and an exploratory workshop. (HOD)

Argues that by acting out, rather than only reading Shakespeare's plays, they can be better interpreted and appreciated. (SRT)

Discusses four works of criticism written since 1983 on the subject of Shakespeare's histories. Describes the approaches of works by Graham Holderness, C. W. R .D. Moseley, and Alexander Leggatt. Argues that Leggatt, whose writing reflects love for Shakespeare's histories, has produced the most nourishing work of its kind in years. (SG)

For an introduction to Shakespeare's "Tempest," dramatic interest and tension were created in the classroom through taped interviews with survivors of present-day sea disasters, student improvisations of scenes, music, and historical accounts of shipwrecks. (MF)

Argues the need for teaching drama in the classroom and exposing students to dramatic performances to provide them with a variety of literary experiences. (RB)

Describes a technique in which students work together in a group to rewrite "Hamlet" and then stage their abbreviated version of the play. (RB)

Argues that schoolwork with the plays of Shakespeare should be rooted in the twin concepts of performance and audience, for which the teacher needs to understand the scripts in terms of Elizabethan theatrical presentation and response. (FL)

The value of a "miscellany"--prose, poetry, drama, and music centering on a particular theme--staged by secondary students lies in its adaptability. It may be created by and for a group of individuals, with the staging, lighting effects, arrangement of pieces, and grouping of performers all planned to express most effectively the mood or idea of…

Intended to provide intense and immediate classroom experiences, tape recording projects of students can take several different forms: (1) unscripted plays and improvised situations (e.g., such "biographies" as "The Life of Charlie MacHerckumdingle: An Awkward Cuss"); (2) plays based on stories or poems (e.g., dramatizations of episodes from "The…

Offers two rules that should be followed in order to successfully teach Shakespeare's plays in a classroom setting. (DF)

Presents a rationale for teaching "As You Like It" to elementary school students and discusses some of the problems teachers may encounter in teaching this particular comedy of Shakespeare's. (RB)

Discusses ways to teach modern plays and poetry, using a reader response approach that makes the works more accessible to students. (HTH)

Discusses the concept that a philosophical approach to reading "Hamlet" is the easiest for students to comprehend. (DF)

Examines the strength of Prospero's feelings against those who wronged him and uses that as a focus for a consideration of the way in which readings and interpretations change. (CRH)

Describes the combination of lecture and theater techniques which made a one-month course on Shakespeare so successful for American students visiting the University College of North Wales, Bangor, Australia. (DD)