This interview and response explores the functionalities of the digital platforms Digital Theatre+ (DT+), Drama Online and Cambridge University Press as represented by the interviewees, with a focus on Robert Delamere's DT+. Delamere discusses the history of DT+, and his vision for it to become a site where students can create 'remixes' of DT+…

In this article, I outline and theorize about a series of three lessons on playwriting I conducted in a secondary English Literature classroom in Singapore using drama improvisation strategies that I name drama-based playwriting, or DBP. I advance the argument that this genre of creative writing is best taught through the medium of drama so as to…

For an introduction to Shakespeare's "Tempest," dramatic interest and tension were created in the classroom through taped interviews with survivors of present-day sea disasters, student improvisations of scenes, music, and historical accounts of shipwrecks. (MF)

This teacher's guide for William Shakespeare's play "Henry V" is designed to accompany the Kenneth Branagh Masterpiece Theater film production of the play, and to help teachers use the film in a variety of ways. The guide includes pre-viewing background information, five teaching units, and a pullout poster for classroom display. The…

Gustave Weltsek, a high school English teacher, has turned to process "A Midsummer Night's Dream" to avoid passing on traditional views and interpretations of the play. He has helped the students to see relevance in William Shakespeare's text by using improvisations to get them talking about issues that are important to them.

Argues for increasing the use of nontraditional methodologies in the reading of Shakespeare's plays for secondary school students. Discusses the "myth of Shakespeare" and his plays as a cultural inheritance, an attitude that is implicitly encouraged by the British National Curriculum. Posits that children in the classroom should be in…

Lists words students commonly find difficult to understand when reading Shakespeare's drama and suggests a solution to the problem. (RB)

THIS TEST--"THE MERCHANT OF VENICE"--WAS DESIGNED BY THE OREGON CURRICULUM STUDY CENTER FOR A NINTH-GRADE LITERATURE CURRICULUM. IT IS INTENDED TO ACCOMPANY CURRICULUM UNITS AVAILABLE AS ED 010 815 AND ED 010 816. (MM)

Offers two rules that should be followed in order to successfully teach Shakespeare's plays in a classroom setting. (DF)

A detailed use of this play during five class hours is offered, including goals, method, organization and homework assignments. A detailed text analysis follows, which considers the play's plot, character development, and message. (Text is in German.) (IFS/WGA)

Interviews Joseph Papp, director and founder of the New York Shakespeare Festival. Discusses how to teach Shakespeare to high school students. (MM)

Claudia Klein Felske, a high school English teacher, has created a vital dramatic experience in the classroom with the help of a guest workshop leader. The three activities, such as how to read William Shakespeare, Metaphor Theater and character cacophony, which helped students to experience the intensity of language and discover ramifications of…

THESE TWO TESTS--"JULIUS CAESAR" AND "AUTOBIOGRAPHY"--WERE DESIGNED BY THE OREGON CURRICULUM STUDY CENTER FOR A 10TH-GRADE LITERATURE CURRICULUM. THEY ARE INTENDED TO ACCOMPANY CURRICULUM UNITS AVAILABLE AS ED 010 817 AND ED 010 818. (MM)

Notes that the brief but crucial appearances of Prince Escalus in "Romeo and Juliet" offer a key to the understanding of how plot proceeds in any dramatic or comedic work. (FL)

Describes the combination of lecture and theater techniques which made a one-month course on Shakespeare so successful for American students visiting the University College of North Wales, Bangor, Australia. (DD)