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'This book is clear, approachable, and true. The elegant simplicity of its good guidance is the product of years of practical experience in the classroom. I wholeheartedly commend it to primary school teachers everywhere.' Michael Boyd, Artistic Director of the Royal Shakespeare Company Shakespeare’s plays are widely regarded as the greatest inheritance in English literature and recent years have seen a growing interest in introducing them to children in their primary schools. In this book, the authors bring a blend of clear thinking, playful and inventive practice and straightforward practical advice to bear on teaching Shakespeare in the primary school. Children who encounter Shakespeare early have the opportunity to become comfortable with the plays, their stories, characters and settings, long before they might become intimidated by their associations with exclusivity and ‘high’ culture. They are also given the chance to become familiar with and absorb his powerful and complex language at a stage when they are constantly encountering new vocabulary. To do this most effectively demands a dynamic pedagogy, one which recognises that the plays are best explored and understood through active, physical engagement. Beginning Shakespeare 4-11 offers a sound rationale for teaching Shakespeare in primary schools and shows how to engage children with Shakespeare through story, through the very best of early years practice, and through his rich and sensual language. It also illustrates how engagement with the plays and their language can have a dramatic impact on children’s writing. And because plays are for performing, there is helpful and practical advice on how to develop the work and share it with the whole school, parents and the wider community. This accessible and comprehensive guide is ideal for teacher trainees and practising primary teachers everywhere.
This textbook offers to introduce students to the study of Shakespeare and to ground their understandings of his work in theoretical discourses.
A brilliant and companionable tour through all thirty-eight plays, Shakespeare After All is the perfect introduction to the bard by one of the country’s foremost authorities on his life and work. Drawing on her hugely popular lecture courses at Yale and Harvard over the past thirty years, Marjorie Garber offers passionate and revealing readings of the plays in chronological sequence, from The Two Gentlemen of Verona to The Two Noble Kinsmen. Supremely readable and engaging, and complete with a comprehensive introduction to Shakespeare’s life and times and an extensive bibliography, this magisterial work is an ever-replenishing fount of insight on the most celebrated writer of all time.
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
The tragedy of Romeo and juliet - the greatest love story ever.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
A history of the Bard's competitively pursued First Folio traces the author's travels from the site of a Sotheby auction to regions in Asia, throughout which he investigated the roles played by those who have sought and owned the Folios.