The North Face of Shakespeare  23255

• 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

1. 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]
2. 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

3. Group formation activities[rtoc]
   • Group formation
   • Getting started
   • Moving together
   • Working together
   • Mixing and meeting
   • Introductions
   • Names
   • Trust[/rtoc]
4. 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]
5. Drama exercises[rtoc]
   • Using drama exercises in the Shakespeare workshop
     • Movement
     • Stage fighting
     • Mime
     • Voice
     • Improvisation
     • Breathing[/rtoc]
6. 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]
7. 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]
8. 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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