- Foreword Cicely Berry
- Preface to the new edition
- Introduction[rtoc]
- Using this book
- The organisation and content of the eight chapters
- Developing the use of drama to teach Shakespeare
- The teacher’s autonomy[/rtoc]
Section 1: Active teaching
- Why use active methods to teach the plays?[rtoc]
- The North Face of Shakespeare
- The problem of monumentalism
- The teacher repositioned: ‘Shakespeare shared’
- Starting active work
- Drama workshops
- The learner and the text at the centre
- Active Shakespeare and independent learning
- Back to the art of teaching – and student achievement[/rtoc]
- Practical work and drama workshops[rtoc]
- The classroom as stage: activities in conventional teaching sessions
- Safety: physical and emotional
- Different needs and abilities
- Workshop practices
- Workshop objectives and the use of warm-ups and preparation exercises
- Workshop planning; an example of a language workshop – Macbeth’s soliloquies
- The origins of the workshop activities in the following chapters[/rtoc]
Section 2: Activities for teaching Shakespeare’s plays
- Group formation activities[rtoc]
- Group formation
- Getting started
- Moving together
- Working together
- Mixing and meeting
- Introductions
- Names
- Trust[/rtoc]
- Drama games[rtoc]
- Using games in the Shakespeare workshop
- Games testing authority
- Straight-face games
- Hunting, chasing and catching games
- Tricking games
- Victim games
- Guarding games
- Racing games
- Mine games
- Improvisation games[/rtoc]
- Using games in the Shakespeare workshop
- Drama exercises[rtoc]
- Using drama exercises in the Shakespeare workshop
- Movement
- Stage fighting
- Mime
- Voice
- Improvisation
- Breathing[/rtoc]
- Using drama exercises in the Shakespeare workshop
- Shakespeare’s language[rtoc]
- The aims of language work
- Shakespeare’s language gives ‘the motive and the cue’ for action
- Discourse and rhetoric as sources of dramatic energy and action
- Language ownership and familiarity through workshops
- Teaching approaches
- Listen and speak
- Active reading
- Learn and act[/rtoc]
- Narrative in Shakespeare[rtoc]
- Harnessing the power of narrative’s theatricality
- The nature of Shakespeare’s narratives
- Teaching approaches
- Structural approaches
- Dynamic approaches
- Investigative approaches[/rtoc]
- Character in Shakespeare[rtoc]
- Changing ideas about character in drama
- Characters and their speech utterances
- Role differentiated from character
- Character and setting
- Mise en scène
- Teaching approaches
- Personal encounters with roles
- Roles in social settings
- Roles in action in the narrative
- Every student ‘on stage'[/rtoc]
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