As a relatively common tool and object of analysis in teaching Shakespeare and dramatic literature in general, live performance deserves further attention within the pedagogical literature. This is even more true now, since the development of digitally relayed live broadcasts has widened access to theatre, creating greater possibilities for…

This essay analyzes student experiences of studying all-female and non-binary cast Shakespeare productions in the Seattle area, including upstart crow collective's "Richard III" and The Fern Shakespeare Company's "Much Ado About Nothing." I draw on my teaching of the experimental work of these regional companies in an…

The benefits of performance-based classroom approaches to teaching Shakespeare have been well-documented in pedagogical scholarship. This paper is an effort to push beyond the performance-based classroom and begin to incorporate ideas from the field of performance studies into a new pedagogical approach that capitalizes on my institution's…

Over the past decade, local live productions of Shakespeare have become increasingly visible to scholars and audiences alike, both through critical work on the subject as well as through public projects such as Shakespeare on the Road. This visibility highlights the cultural and artistic work of regional theatre. On the one hand, local live…

The question of whether "Hamlet" belongs in a freshman composition classroom is one that institutions are making easier to answer, though perhaps for political rather than pedagogical reasons. This article describes a project in which Marie Fitzwilliam and her colleagues were asked to engage in a dialogue with the administration on…

Many students enter classes like the Shakespeare character Caliban, knowing books to be powerful but feeling eluded by them, unable to access their knowledge. Author Jill Wright shares new-found inspiration and insight she discovered while co-directing Act III, Scene ii of William Shakespeare's "The Tempest" and suddenly realized a…