Shows how Susan Glaspell's one-act play "Trifles" (when linked to "Antigone") illustrates the difficult moral choices that human beings face. Discusses Glaspell's social and political context; cultural influences; and parallels in situation, setting, and character. (PRA)

Describes the realities of current state of the teaching of William Shakespeare in U.S. schools. Compares these realities with the philosophy of teaching of the Folger Shakespeare Library in Washington, DC. Shows how the Folger Library's education program resonates with their proclaimed philosophy. (HB)

Describes an approach to teaching William Shakespeare's "A Midsummer Night's Dream" that centers on the theme of romantic love. Provides examples of the exercises used in the classroom, including exercises which implement dramatic activities by the students. (HB)

Describes the structure and activities of a thematic, episodic creative drama for third through fifth graders, which was part of a schoolwide project to celebrate Hispanic culture through the arts. Presents objectives, procedures, and materials needed for all nine sessions of the activity. (SR)

Presents five interdisciplinary lesson plans for kindergarten and grades two, four, five, and eight, along with evaluation procedures. Shows how drama can be integrated into the regular academic curriculum, successfully meeting not only Illinois Fine Arts Goals, but also state goals in the sciences, language, arts and social studies curricula. (SR)

Explores the mask and masquerade traditions, focusing specifically on African culture as a source of exciting and varied materials that can help theater arts teachers and specialists who are in search of culturally diverse materials. Offers a classroom application. (PRA)

Describes a 14-day activity which has proved successful with both beginning and advanced theater arts groups. Emphasizes coordination of music and action, problem solving, decision making, cooperative work with other students, and the ability to aesthetically mold music and movement into one theatrical experience. (PRA)

Offers a complete, thorough, all-inclusive, demanding-but-fair, easy-to-use drama performance evaluation method. Lists eight categories to evaluate for each performance, and suggests questions for each category. (PRA)

Describes three exercises used at the Oregon Shakespeare Festival in workshops for students and teachers to get participants on their feet, speaking Shakespeare's language, giving them a kinesthetic experience Shakespeare, and deepening their intellectual appreciation of the language. (SR)

Suggests that using personas helps students to engage as active learners in their study of William Shakespeare. Describes how students can assume an invisible metaphoric mask in their writing about a play. Argues that the persona approach aids students in recognizing Shakespeare's relevance for their lives. (HB)

Describes how, in his class on script analysis, the author has students watch videos of stage productions or films of a play that they have previously read. Includes a resource list of plays on video and where they can be obtained. (SR)

Provides a self-help questionnaire to enable teachers to find a position for teaching Shakespeare. Explores the concept of "uses" of Shakespeare as they vary from the conventional to the curious. Reports a 75% positive result to a survey of 35 students following their study of "Hamlet" that combined the introduction of explicit…

Provides a personal narrative of how one Shakespearean teacher-actor was "remade" through specific experiences. Claims that students must perform at least some Shakespeare in order to experience personal and social enrichment. (NH)

Aims to help teachers find a way to help students enjoy Shakespeare through the process of performance. Provides guidelines gained from personal experience for teachers presenting the plays with secondary students that include the following: (1) audience consideration, (2) actor-ownership of the performance, (3) staging limitations, and (4)…

Describes the retrieving and transposing of utterances from plays that were staged in the context of a French course using drama techniques. Results show consistency even though the number of retrieved and transposed utterances varied between the subjects from one task to the other. (Author/VWL)