In a workshop intended to develop their ability to read drama perceptively," students studied conflicting interpretations of Shakespearean scenes, infomally staged the scenes, and discussed the appropriateness of the interpretations in the context of the entire play. (Author/RD)

Attempts to find exclusively Elizabethan solutions to the human problems in Shakespeare's plays often lead us to deny our own responses. (JH)

Discusses the dissociation of two kinds of tragedy, melodramatic and moral. (SW)

Argues that when the comic world or worlds" are examined as independent entities . . . useful information about comic character, plot, and setting" can be obtained. (Author/SW)

The focus story forms are differentiated by their characteristic uses of time and space and by the psychological processes they engage.

Aims to rehabilitate the reputation of Shakespeare's "Henry VIII" and emphasizes its potential usefulness in the classroom by reconsidering it in the context of Renaissance history writing. Shows how "Henry VIII" can be taught as a commentary on or seen as a continuation of incipient themes in "The Tempest" and…

A psychological analysis of the motivations and actions of the characters in Act I, Scene 2, of Shakespeare's King Lear" (RD)

Modern drama criticism is rebuked for taking the "closet drama approach" which reduces the theater to yet another type of philosophical and content-oriented literary genre. Group participation and discussion are suggested as means by which the student is encouraged to stage an imaginary performance leading to intelligibility and appreciation of…

Discusses the classroom as a setting where Hamlet'' can be read dramatically, recreating the meaning captured in theatrical productions. (RB)

Marxist approach to a discussion of Henry IV, Part One." Differing position presented by Richard M. Eastman (TE 202 171). (MB)

Liberal humanist approach to a discussion of Henry IV, Part One." Differing position presented by William B. Stone (TE 202 170). (MB)

Argues that a recognition of the non-representational nature of the Corpus Christi cycles yields an awareness of the rich, multidimensional theatrical panorama" they created. (Author/RD)