I promised to let you know when the Shakespeare Uncovered website was up. It is, and it’s a fantastic resource all Shakespeare teachers should know about.

First of all, you can actually watch full episodes of the series online. So even if you missed out the first time, it’s all there waiting for you now.

The Education section, the part where I contributed, boasts a collection of fantastic lesson plans on Shakespeare that use clips from the television show in class. The lessons are relatively short, so they can either be used on their own or worked into longer Shakespeare units you may already be planning. And if you want to see the bios for all of the members of the Advisory Board, you can find them here (mine is the fifth one down).

The series may be over, but the website is the gift that keeps on giving. So head on over to watch the show, play the games, and teach the lessons!

Today, I worked with science teachers on their performance tasks. Actually, I’ve been doing a lot of consulting this year on performance tasks, which is the hot new trend in assessment.

A performance task is an opportunity for students to demonstrate that they can independently apply the skills they’ve learned in a real-world context. So it’s like a post-test, only instead of multiple-choice questions, students have to do an authentic activity. Teachers examine the resulting student work with a rubric to measure whether or not students have learned the skills, and they can then use this information to plan future instruction. It’s much more effective than standardized-testing data in diagnosing student needs, though I do admit it is much more time-consuming.

This year, I’ve been working a lot with social studies and science teachers. Because of the Common Core shifts, these teachers are now required to teach literacy skills. There are no actual content standards in social studies or science in the Common Core; all of the standards for these subject areas are literacy standards. There are science content standards currently under development by Next Generation. When they are completed, states will have the option of adopting them in the same way they adopted Common Core. But until then, science content standards come from the states, and literacy standards from the Common Core are applied across the curriculum.

Now, I actually like the idea of literacy across the curriculum, but it is a big adjustment for science and social studies teachers, and so the schools where I consult have asked me to work with these teachers to help them infuse literacy skills into their curriculum and their assessments, particularly the performance tasks that New York City is requiring them to administer this year.

I have had a lot of experience working with social studies teachers in the past, but I’m probably working more with science teachers this year than I ever have before. And that’s fantastic, because I get the opportunity to learn a lot of new things. I also get the chance to yell “Science!” like Magnus Pyke a lot. No, I don’t really do that, but it would be fun.

One of the science teachers I worked with today swears by a website for an organization called Urban Advantage. It has some great resources for teaching middle-school science with an inquiry-based approach. I like the way that their materials scaffold scientific writing, which is my focus this year.

Another science teacher I worked with today showed me the PhET website, which has some really compelling interactive simulations in the sciences. I watched 7th-grade students run a simulation on density, in which they had to determine the mass and volume of various mystery substances and identify them from a list of materials and their densities.

Science!

Just as we make Shakespeare more relevant to our students by drawing modern-day connections to his plots and characters, so too can we use the elements of today’s world to make connections to his language.

Sometimes when I teach iambic pentameter, I feel like my students can be like the syllables in that very meter: about half of them are stressed and half of them are unstressed. Whichever half you’re in, you should enjoy Pentametron. This is a website that searches Twitter for tweets that are naturally in iambic pentameter. It then somehow sorts them into rhymed couplets and groups them 14 lines to a page.

It’s intriguing to see instances of unintentional meter. Here are a few quick examples (slightly edited in the retype):

I will forever love The Cosby Show.
Whatever, ready for tomorrow, though.
I haven’t eaten anything today.
I really want to dance the night away.
That breakfast sandwich didn’t stand a chance.
So… what’s the definition of romance?
It’s pretty much already Thursday, damn.
Bob Dylan IS the Tupac hologram.

Click through to see many more. Some of the language is a little salty to use the actual website in the classroom, but it’s a good place to find examples of natural language iambic pentameter and with social media cred to boot! Note that these people aren’t deliberately writing in iambic pentameter, but they ended up doing it anyway. This can help you to make the meter less intimidating for students, and to make the point, as some have argued, that iambic pentameter mimics common natural English language patterns.

I’ve written before about using song lyrics to teach poetic devices, but “Mosh” is about eight years old and I’ve been searching and searching for a more recent song that would be just as useful.

Ladies and gentlemen, we have a winner.

From “More” as performed by Usher
Written by Hinshaw, Khayat, and RaymondWatch me as I dance under the spotlight-
Listen to the people screaming out more and more,
‘Coz I create the feeling that keep ’em coming back,
Yeah, I create the feeling that keep ’em coming back,
So captivating when I get it on the floor.

Know y’all been patiently waiting, I know you need me, I can feel it,
I’m a beast, I’m an animal, I’m that monster in the mirror,
The headliner, finisher, I’m the closer, winner.
Best when under pressure with seconds left I show up.

If you really want more, scream it out louder,
Get it on the floor, bring out the fire,
And light it up, take it up higher,
Gonna push it to the limit, give it more.

Rhyme: more/floor, fire/higher

Alliteration: “monster in the mirror,” create/coming/captivating

Assonance: “patiently waiting,” finisher/winner, Best/pressure/seconds, “limit/give it”

Lists: “I’m a beast, I’m an animal, I’m that monster in the mirror, the headliner, finisher, I’m the closer, winner.”

Antithesis: Get it on the floor/take it up higher

You can have students analyze these lyrics side-by-side with a speech from Shakespeare and compare how the two texts use the same devices. They can then find more examples within the play you are teaching or song lyrics they bring in. They can even start using these devices in their own poetic creations!

…be with you.

Today is Star Wars Day, and Shakespeare Geek and Bardfilm made sure that Shakespeare got in on the action. For my contribution… No, I’m not going to compare Luke Skywalker to Hamlet, at least not today. But I would like to share how the Star Wars franchise has made teaching Shakespeare just a little bit easier.

A series of three related dramatic works is called a trilogy. Four works make a tetralogy. Early in Shakespeare’s career, he wrote a tetralogy of plays about the English kings: Henry VI, Part One; Henry VI, Part Two; Henry VI, Part Three; and Richard III. The plays cover the span of events from 1422 to 1485, and are referred to collectively as the first tetralogy.

A bit later (though still early in his career), Shakespeare wrote another tetralogy of plays about the English kings: Richard II; Henry IV, Part One; Henry IV, Part Two; and Henry V. These plays were set earlier; they depict events that occurred from 1399 to 1415. This was the second tetralogy.

This seems pretty straightforward, but it could often cause confusion, even for graduate students. The second tetralogy takes place before the first tetralogy? How can that be? Why did he do it that way? Wait, which was the first tetralogy?

Everything changed with the release of Episode One: The Phantom Menace. Now, when I explain that Shakespeare wrote the first tetralogy before the second, but the second takes place before the first, I can enjoy their momentarily confused looks. I know I can just add “You know, like Star Wars…” and instantly see the clouds lift and light shine into the room. Since the second Star Wars trilogy, everyone understands the idea of a prequel series.

So thank you to Star Wars for making a hard thing easy. May Henry IV be with you!

I met with my middle-school classes on Thursday. They have finished reading the plays, and we were able put together plans for our Digital Shakespeare projects. Plans may change, and who knows what will happen as we head into test prep season, but here is where we have decided to go by the end of the year.

6th Grade The 6th grade class has decided to retell the story of Antony and Cleopatra via Cleopatra’s Facebook page. We are currently discussing what that will look like on our discussion forum, but some of the ideas discussed include status updates, wall posts, photos, and video snippets of students performing scenes from the original play that might have been “uploaded” by characters. We even have a student who knows how to create a mock-up Facebook page when all of the other work is done. This project has a lot of potential! “Marc Antony has changed his relationship status to Married. Dislike!”

7th Grade The 7th grade class is doing a stage production of Macbeth. The plan is to film each scene and create a website with embedded videos, along with student writing about the play and emendations linked from the text. Both teacher and students know this is a very ambitious project, but they have made a commitment to put the time in. If they do, this project will be phenomenal. If they don’t, or if circumstances intervene, it will be my job to make sure the end result does honor to the work they were able to put in. This is similar to a project I did with fifth-grade students years ago, but these students are a little older and the technology is so much better now. I really hope this happens.

8th Grade The 8th grade class will not be available to me much after testing season, since they typically get pulled out for various senior-related activities throughout June, but I think our idea is quite manageable in the time we have left. The students want to create a trailer for a non-existant movie version of As You Like It. Students are currently watching real movie trailers (which are easily accessible online) to notice what features they have in common. This will be one of those movie trailers you see in the theatre that tells you the whole story of the movie, so the final product will respect the play and demonstrate student comprehension as well.

I’ll continue to post updates about the projects here, and hope to share the final projects here as well. Needless to say, I’m very excited by the possibilities! Stay tuned…

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

Every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service. All of the following searches brought readers to this site in the past week.

Enjoy!

Well, there is a bit of sexual content in it. Iachimo bets Posthumous that he can seduce Imogen, Posthumous’s wife. To prove he’s won his bet, he describes Imogen’s body in intimate detail.

But why do we flinch at mild sexual content like this for kids, and shrug off graphic violence? Does anyone ask if Macbeth is appropriate for kids?

I just did it myself. When asked if Cymbeline is appropriate for kids, I immediately addressed a verbal description of a female body, and completely ignored the decapitated corpse on stage.

I addressed the same concern when I taught the play to 8th graders. In the end, they did very well with it. You will have to let your own moral compass guide the way.

It depends on how deep you want to go. I have taught Macbeth in one lesson; I’ve taught it over an entire year. I’d recommend at least a month, but you’ll have to see what fits in your curriculum.

There’s plenty of inhumanity in the canon to go around.

My vote is for King Lear, though I suppose Titus Andronicus would be an appropriate choice as well.

Unlike other war-themed plays of Shakespeare, Much Ado about Nothing does not seem to center on any actual historical war. Directors, therefore, have the freedom to set the play in any post-war period that strikes the fancies of their set and costume designers. Of course, directors of Shakespeare hardly need such an invitation.

In the play, Don John has stood up against his brother Don Pedro, so the Civil War is a good choice. But really, the war itself is such a small part of the story that any war will suffice, even the indeterminate war of the text.

There are some organizations, like Flocabulary and The Hip-Hop Shakespeare Company, that use rap music to teach Shakespeare. But my favorite Shakespeare rap is still from the Reduced Shakespeare Company’s three man show The Compleat Wrks of Wllm Shkspr (abridged):

Full disclosure: Back in my acting days, I performed in this show. I played the role of Daniel (the first guy in the video, wearing red pants), and performed in this rap. The play is rather silly on the page, but turned out to be a great audience pleaser.

UPDATE: The embedded video doesn’t seem to be working right now. Here’s a direct link.

Hamlet, prince of Denmark, died yesterday from complications from a wound by a sword laced with a deadly unction. Some sources reported his age to be 30, while other sources insisted that he could not possibly have been that old. He is survived by nobody. King Fortinbras is requesting that any flowers sent on behalf of the deceased are of a botanical variety that have deep symbolic and/or ironic meaning.

I leave the task of responding to the remaining search terms to my readers:

The Antony and Cleopatra project is going well. Yesterday, I used the play to help the sixth-grade students make connections to present-day world events.

Antony and Cleopatra takes place in the first century B.C., a time when there was one global superpower in the world. By the time of the play’s opening scene, the Romans had scooped up most of the Hellenistic nations; only Egypt remained independent. However, both Romans and Egyptians were well aware that Egypt was living in Rome’s shadow. Philo has the opening speech of the play, and his racism and entitlement are readily on display:

Nay, but this dotage of our general’s
O’erflows the measure; those his goodly eyes,
That o’er the files and musters of the war
Have glow’d like plated Mars, now bend, now turn
The office and devotion of their view
Upon a tawny front; his captain’s heart,
Which in the scuffles of great fights hath burst
The buckles on his breast, reneges all temper,
And is become the bellows and the fan
To cool a gipsy’s lust. Look! where they come.
Take but good note, and you shall see in him
The triple pillar of the world transform’d
Into a strumpet’s fool; behold and see.

For a rank and file Roman soldier to speak of the Egyptian queen as “tawny” and a “strumpet” sets the tone for a world where there is an unequal balance of power.

Today, there is once again a single global superpower in the world, but that has only been true for the past twenty years. In fact, there have only been a handful of unchallenged superpowers in world history. (The Macedonians and the Mongols are the other two that come to mind. Others?) Therefore, this play offers a unique opportunity to explore power dynamics in our present world community.

How does it affect the world when there is one dominant superpower? What opportunities does that country have? What are its responsibilities in the world? How did Rome handle its power? How does the United States handle its power?

We had a fantastic conversation, and I think the students have a new lens for viewing both the play and world affairs.

There is only one posting to the message board, but I’m patient. And it looks like I am going to be working with an eighth-grade class on As You Like It asynchronously. I’ll be meeting with them the week after next, but most of our interactions will be online. Watch this space for updates!

UPDATE (That was fast): I’ve just added an Antony and Cleopatra category, so you can follow along with the project.

I’ve just added a new category called “Blended Learning” which is something I’ll likely be writing about in the next few months. Blended learning, for us, will refer to a learning model that consists of any combination of traditional face-to-face instruction with technology-enabled learning that takes place outside of the regularly structured school day.

The reason that I’ll be writing about this is that I’m currently working with a school that is part of the NYC Connected Learning program. All of the 6th grade students in the school have been given desktop computers to take home, as well as free broadband access to the Internet. The school is already using the Moodle online learning management system, so we have a real opportunity to leverage this powerful tool to extend learning beyond the school day.

I am currently setting up an online classroom for a 6th grade class on Shakespeare’s Antony and Cleopatra. The space is private for the students and other invited members of the school community. I can post documents, links, and message boards for the students. I will have limited opportunities to work with them in person, so this will truly be a blended learning model. I may also be setting up an online classroom for 8th grade students studying As You Like It who I may not even be working with in person at all. (This would still count as blended learning, as they would be studying the play in class.)

Do you have any suggestions about what I should include in the online classrooms?

I am proud to announce that I have recently published a chapter in this book on teaching literature through technology. You can ignore the description; it seems to have been inadvertently switched with that of this book. Neither page describes my chapter, but you can read the abstract on the publisher’s page, or I could just tell you what it’s about.

Unlike this blog, the book chapter is actually about teaching Shakespeare! No riddles. No anagrams. No politics. (Well, maybe a little bit of politics.)

Here is the basic idea. I begin by citing experts who are skeptical of the ability of elementary school students to do Shakespeare. Specifically, I discuss the Dramatic Age Stages chart created by Richard Courtney.

Courtney describes “The Role Stage” as lasting from ages twelve to eighteen, at which point students are capable of a number of new skills that I would consider essential for understanding Shakespeare in a meaningful way. These skills include the ability to think abstractly, to understand causality, to interpret symbols, to articulate moral decisions, and to understand how a character relates to the rest of the play. So based on this chart, I would have to conclude that a student younger than twelve would not be ready to appreciate Shakespeare in these ways.

But Courtney bases his chart on the framework of developmental phases of Swiss psychologist Jean Piaget. These phases describe what a lone child can demonstrate under testing conditions. A more accurate and nuanced way of looking at development is provided in the work of Soviet psychologist Lev Vygotsky, who described a “Zone of Proximal Development” (ZPD), which is a range between what a child can demonstrate in isolation, and what the same child can do under more social conditions.

So I wondered if fifth-grade students (aged 10) would have some of the skills associated with “The Role Stage” somewhere in their ZPD. If so, a collaborative class project should provide enough scaffolding to develop those skills and allow ten-year-old students to understand and appreciate Shakespeare on that level.

So I developed and implemented a unit to teach Macbeth to a fifth-grade class in the South Bronx, using process-based dramatic activities, a stage production of the play performed for their school, and a web-based study guide to apply what they had learned. The idea was to use collaborative projects to get the kids to work together to make collective sense of the play. I then examined their written work for evidence that they had displayed the skills associated with “The Role Stage” in Courtney’s chart, and I was able to find a great deal of it.

I also create a three-dimensional rubric to assess the students’ work over the course of the unit. I say a three-dimensional rubric because I use the same eight categories in all three rubrics, but they develop over time to reflect the increased sophistication that I expect the students to demonstrate. I then compare the students’ performance-based rubric scores to their reading test scores to demonstrate that standardized testing paints only a very limited picture of what a student can achieve. (I did say that it had a little bit of politics.)

Anyway, that’s what my chapter was about. I just saved you $180! And I’m hoping to return to a regular blogging schedule soon, so more content is hopefully on the way.

It’s time once again to check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond in the name of fun and public service. All of the following searches brought people to this site in the past week.

That’s a great question. I think it’s fair to say the idea that human beings develop in distinct stages was pioneered by Sigmund Freud in the 20th century, when he outlined his psycho-sexual stages of development in childhood. Erik Erikson, a developmental psychologist strongly influenced by Freud, described his own set of psycho-social stages, which carried through to adulthood.

Groundbreaking as these ideas were, they were to some degree anticipated by Shakespeare in his Seven Ages of Man speech from As You Like It. In the speech, Shakespeare describes seven developmental stages that carry through from childhood to adulthood, and the common characteristics that men display at each stage. Freud and Erikson would later codify this scientifically, but the Bard was able to figure it out just by observing the human condition. Point: Humanities!

It’s worth noting that both Freud and Erikson wrote about Shakespeare, and Hamlet in particular, to describe their theories. In a 1962 article entitled “Youth: Fidelity and Diversity,” Erikson actually references Shakespeare’s “ages of man” before spending about four pages examining fidelity and identity in Hamlet. So it would seem that the answer to the question is, yes, Erikson was influenced by Shakespeare to some degree, as was Freud. But influence often tends to be reflective, and the developmental psychologists certainly left their mark on Shakespeare as well.

I touched on this a bit about a month ago. I used to use “Mosh” to teach poetic devices, and I’m having trouble finding a more contemporary replacement. I’ll just give a sampling of each of the poetic devices I mentioned in that post. I tend to use only the middle stanza and the chorus, which I make into a handout. I also distribute the Prologue for Romeo and Juliet as a handout, so we can compare the two.

Repetition: “We gonna fight, we gonna charge, we gonna stomp, we gonna march”; “All you can see is a sea of people”; “If it rains let it rain”; “Rebel with a rebel yell”

Rhyme: Not only is there end rhyme, but there is internal rhyme as well. “They tell us no we say yea, they tell us stop we say go/ Rebel with a rebel yell, raise hell we gonna let em know”; “yea the wetter the better”; “that we need to proceed”

Rhythm: “Mosh” is written in anapestic tetrameter, which I always point out is the same meter as “‘Twas the Night Before Christmas”… and other popular poems as well. The Prologue for Romeo and Juliet, of course, is in iambic pentameter.

Alliteration: Note that in “we gonna mosh through the marsh” the words “mosh” and “marsh” start and end with the same sounds. Compare with “doth with their death” in the Prologue for Romeo and Juliet.

Antithesis: “They tell us no we say yea, they tell us stop we say go”; “from the front to the back”; “some white and some black”

Allusion: There’s a reference to George W. Bush in the passage.

Emendation: This is where I edited the reference to George W. Bush. I usually change it to “Stomp, push, shove, mush, [mock] Bush” even using the brackets like a Shakespeare editor.

In a 2006 interview with Brian Williams, President Bush claimed to have recently read “three Shakespeares” in addition to curling up with some Camus:

WILLIAMS: We always talk about what you’re reading. As you know, there was a report that you just read the works of a French philosopher. (Bush laughs)

BUSH: The Stranger.

WILLIAMS: Tell us the back story of Camus.

BUSH: The back story of the the book?

WILLIAMS: What led you to…

BUSH: I was in Crawford and I said I was looking for a book to read and Laura said you oughtta try Camus, I also read three Shakespeare’s.

WILLIAMS: This is a change…

BUSH: Not really. Wait a minute.

WILLIAMS: A few months ago you were reading the life story of Joe DiMaggio by Richard Ben Cramer.

BUSH: Which was a good book.

WILLIAMS: You’ve been on a Teddy Roosevelt reading kick.

BUSH: Well, I’m reading about the battle of New Orleans right now. I’ve got an eclectic reading list.

Williams didn’t ask him what “Shakespeares” he read, but I have my guess at one of them, as well as a selection I wish he’d read.

The constant pi is nature’s random digit generator, stretching out infinitely long and with no predictable pattern. This means that any finite string of numbers can be found somewhere out in the vast expanse of digits.

So if we were to express the Complete Works of Shakespeare in, say, ASCII code, it would indeed be represented as a very long, but certainly finite, string of digits. This string of digits is represented somewhere in pi, not once, but an infinite number of times. What’s more, the very first time it appears would be a finite distance in. Which means, there is some number X where you could say that if you start X digits into pi, you can read the Complete Works of Shakespeare.

Before you get too excited by that, you should realize that X is so unfathomably large that it would most likely be beyond human comprehension to even find a way to express it, let alone come anywhere near identifying it. You may think of the monkeys-at-typewriters thought experiment (and for our purposes, we can consider both the digits of pi and monkeys typing to be generating random characters). Even using theoretical monkeys, the number of simian typists needed would be beyond astronomical.

But, yes, the Complete Works of Shakespeare are somewhere in pi with a probability of 1. If the thought of that makes you smile, I’ve done my job.

Henry IV was often referred to as Henry Bolingbroke, but actually, his last name was Plantagenet.

In fact, all of the English kings from Henry II to Richard III carried the surname Plantagenet. This means that throughout the entire Wars of the Roses, the Yorks and Lancasters all had the same last name, which is found throughout the history plays. This is because both sides were led by male-line descendants of Edward III. There is a reference to this in Richard III, as Richard hits on the widow of the cousin he killed:

Glo. He that bereft thee, lady, of thy husband,
Did it to help thee to a better husband.
Anne. His better doth not breathe upon the earth.
Glo. He lives that loves thee better than he could.
Anne. Name him.
Glo. Plantagenet.
Anne. Why, that was he.
Glo. The self-same name, but one of better nature.
Anne. Where is he?
Glo. Here.

The long Plantagenet line comes to an end in 1485, when Richard III is defeated by a young man named Henry Tudor.

Rick Astley, before he became well known as a singer, did a bit of acting and even performed in some Shakespeare. Most of his Shakespeare work was done on stage and not screen, but there is a video clip of him performing the “never give her o’er” speech from The Two Gentlemen of Verona. The video can be found on YouTube here.

I leave the task of responding to the remaining search terms to my readers: