Approaches to Shakespeare in the Classroom
“Shakespeare knew he had early readers, less numerous by far than his audience, but more than just a chosen few. He wrote primarily to be acted, yes, but he wrote also to be read, by a more select group.”18 Shakespeare’s works are plays and they are intended for performance. However, to only act and not carefully consider the meaning and indications of the words chosen is to do the text and its masterful author a disservice. Hence a combination of reading and performance should be used in the classroom to create a wide breadth of experiences with the text.
Close Textual Reading and Interpretation
Reading and understanding the words of Shakespeare takes time. Slow and methodical examination of the words of characters and their responses and reactions to the words of others creates a context to understand characterization in the play. Allowing students to stop, slow down and re-read may be a skill that must be taught in an educational climate that pushes students to read once, get the answer correct and move on. Several pedagogical manuals advocate variations of this type of exercise, all suggesting the teacher provide students with a statement of inquiry or set of essential questions to use as a point of entry (examples provided in Appendix B). Once the question has been posed and students have been given the task, they need time. This is the most important takeaway an educator must extract from this strategy: time. Naturally, this type of activity cannot be used all of the time or at length. Instead, as outlined in the Suggested Classroom Activities section below, students can complete mini-versions of close reading to take stock of events and actions and demonstrate competency at a more formal level in the group and in individual tasks. One teaching authority notes, “Shakespeare’s language is . . . a modern resource for students…it offers unlimited opportunities for students’ own linguistic growth.”19 The exposure to, consideration and careful study of the way in which Shakespeare uses words to depict a rounded, well-developed character afford students a maximized opportunity to think critically about how and to what effect words can be used.
Julius Caesar considers many questions of honor, politics, relationships and loyalty. These themes will naturally be brought up as students begin to delve into the words of the characters. Urging students to answer essential questions about the nature of a character does not preclude a discussion of one or more of these thematic topics; rather it leads into them.
Suggested Scenes for Close Reading
2.1.1-34 – Brutus’ meditations on the necessity and justification of Caesar’s murder present a passage ripe with imagery and metaphor.
3.1.63-78 – The speech Caesar gives right before he is slain provides excellent points of connection and characterization.
3.2.13-47 and 3.2.80-148 – The funeral speeches of Brutus and Antony require close attention and multiple readings to fully appreciate the skill used to construct the vastly differently identities of the two men speaking.
4.3.1-139 – This argument between Cassius and Brutus is a place in which both characters construct their own definitions of friendship and loyalty, as well as identify issues they have with each other’s personalities. Characterization and representation of personality in words is illuminated throughout this exchange.
Performance
Student performance in the classroom is a fruitful social experiment. The obvious hams will eagerly step up and steal the spotlight for a few moments; as performance becomes a routine part of the class, however, students who are meeker or have not cultivated the persona of willing participant will gleefully take part in the action as well. In my experience, there is something infectious about standing up, speaking and going for broke. I suggest that you let the class clowns break the ice because once it is broken the potential for students to surprise you is infinite.
One authority on teaching Shakespeare suggests using the play as a script.20 Allowing students to insert connections to their own lives or cultures will inspire further understanding of the universality of Shakespeare. There does not appear to be a unifying consensus on memorizing soliloquies or passages from the play, but providing ample opportunities for students to speak the words out loud is a necessity. Amassing a collection of brief exchanges from various plays may be a useful strategy for getting students to participate in rapid-fire dialogue. This type of recitation activity will help students wrap their tongues around the language and rhythm of Shakespeare’s words.
Additionally, encouraging students to practice vocal intonation, facial expression, and gesturing creates a space for students to carefully read the text in order to make inferences about the appropriate expressions for their scene. Students can act in small groups or in front of the class and should practice in both settings during the unit.
Suggested Scenes for Informal Performance
1.2 – Many roles and lots of talking provide a good introductory occasion for students to meet the main characters of the play. This is a long scene and may take two days to get through.
2.1.90-242 – The conspiracy meeting provides parts large and small for actors of various capabilities. This scene moves the plot along and presents opportunities to discuss the motivations and psychologies of the members of the conspiracy.
3.2 – This scene is fun to act out, as all students can join in to create the thunder and lighting that loom over it. Varied and multiple parts create maximum opportunities for student participation.
3.1.14-133 – The death of Caesar cannot be done justice to without having students stage this event. Again, many roles provide maximum participation opportunities.
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